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Tribit XSound Plus 2 review: a budget Bluetooth speaker with booming, well-rounded sound

3:00 pm | July 6, 2024

Tribit XSound Plus 2: Two-minute review

The Tribit XSound Plus 2 is an impressive Bluetooth speaker, especially given its modest price. Into its slight frame, Tribit has managed to squeeze two 15W, neodymium full-range drivers, as well as a battery that it says will last a healthy 24 hours. You also get IPX7 weatherproofing, which means it’ll see off any splashes or showers, and Tribit’s app offers nine-band EQ, enabling you to fully customize the sound. Not bad for $69.99 / £63 (about AU$105).

When it comes to performance, the Tribit Xsound Plus 2 isn’t short of enthusiasm. It’s able to produce a ridiculous amount of sound for a relatively small unit: it can happily fill a room with energetic, full-bodied sound, and doesn’t skimp on detail just because you’re sitting outside the sweet spot of its stereo field. And it can reach ear-splitting volumes if pushed: I’d urge you to use caution when hitting that volume button, lest it upsets your neighbors or audiologist.

But it’s not just a blunt instrument – it’s capable of some surprisingly sophisticated sound for a speaker of the price. Producing decent, well-rounded and expressive mids, as well as pumping bass, it makes certain genres shine. However, higher frequencies don’t fare quite as well as they do with some of the best Bluetooth speakers – these sometimes sound a little thin and fragile, and tracks that lean on a full, treble-heavy mix, can end up feeling a bit glassy.

Fortunately, the Tribit XSound Plus 2 has a secret weapon here. That nine-band EQ means you can tailor the sound it produces to suit your favorite songs and genres, create your own presets, and assign them to one of the three settings on the programmable EQ button atop the speaker. Given how much the sound profile of the speaker can vary though, any genre-hoppers among you might find yourselves needing to chop and change the EQ pretty regularly to ensure it keeps sounding its best.

Design-wise, the XSound Plus 2 is pretty conservative, with a matte-black plastic casing and slightly convex grille. Behind a rubber plug on its rear is a 3.5mm jack to use as a line-in, and a USB-C port for charging the device. There are buttons on the top for turning it on, activating pairing mode, changing the volume, playing, pausing and skipping music, changing EQ presets, and pairing with another Tribit speaker. It’s maybe not quite as robustly built as rivals like the Ultimate Ears Boom 3, so bear that in mind if you’re looking for something that can cope with a proper adventure out in the wilderness.

All things considered, the Tribit XSound Plus 2 can produce sound that its size and – more importantly – its price would belie. If you’re willing to really ride the EQ settings, you can get a lot out of it for such an affordable speaker. But if you’re looking for something that’s a true jack – or, preferably, master – of all trades, you'll likely want to spend a bit more on something that has more range, like the JBL Flip 6, which you'll be able to rely on for great sound regardless of the genre you play.

'XSound Plus 2' is engraved on the reverse side of the Tribit XSound Plus 2 — (Image credit: Future)

Tribit XSound Plus 2 review: Price & release date

Released April 2024
Costs $69.99 / £63 (about AU$105)

Released in April 2024, the Tribit XSound Plus 2 is available to buy in both the US and the UK, although it doesn’t seem to be available in Australia at the time of writing.

It's priced at a very reasonable $69.99 / £63 (around AU$105). Perhaps its closest rival at this size and spec is the JBL Flip 6, which costs $99.95 / £129.99 / AU$149.95; even Tribit’s more pocket-sized Bluetooth speaker, the StormBox Micro 2, costs $59.99 / £54 (about AU$90), making the XSound Plus 2 look like something of a bargain.

Tribit XSound Plus 2 review: Specs

Power, Bluetooth, and volume down button on the top of the Tribit XSound Plus 2 — (Image credit: Future)

Tribit XSound Plus 2 review: Features

Supremely customizable 9-band EQ
Rock-solid Bluetooth connection with easy pairing
Epic battery life

Surprisingly for a speaker of this price, the Tribit XSound Plus 2 has an impressive feature set. While you’re not going to get top-of-the-range features like lossless audio Dolby Atmos, or fancy automatic room-correction algorithms, this speaker does offer plenty of attributes that rivals twice its price don't.

Across the top, a band of buttons allows you to control most aspects of the speaker. The power and pairing switches behave exactly how you’d expect, while there's also a button to toggle between the three assignable EQ presets, and one to toggle Party Mode. There are also volume controls and the play button, which can be tapped once to play / pause, twice to skip forward, and thrice to skip back.

Fire up the Tribit app and not only does it allow you to toggle the speaker's auto-shutdown feature on and off, it gives you access to a pretty comprehensive EQ. This comes with six pre-programmed presets – XBass, XBass Off, Audiobook, MaxSound Traditional, Rock and Jazz – but also allows you to create your own profiles with its nine-band EQ. As a result, you can seriously customize the sound it produces, based on your tastes and the genre you’re listening to.

By default you can quickly switch between XBass, XBass Off, and Audiobook mode using the physical EQ button on the speaker, with the light above it turning white, off, or blue respectively to indicate which mode you’re in. But what if your tastes extend beyond just ‘bassy’, ‘less bassy’ and ‘books’? Then you’re in luck: you can assign any of the presets, or your custom profiles, to each setting. Personally, as someone with absurdly eclectic tastes, I’m a big fan of any speaker that allows me to quickly fire up dedicated sound profiles for witch house, UK drill, and psychobilly at the press of a button.

Thanks to the inclusion of Bluetooth 5.3, the XSound Plus 2 also has rock-solid connectivity. The connection can in theory extend as far as 150 feet and, while I rarely stretched it this far, it was able to cover the full 46-foot length of my apartment through walls without breaking a sweat. And the multi-device pairing that's built into more recent versions of Bluetooth meant it was always consistently quick to pair and swap between devices – you won’t need to spend 10 minutes forgetting and repairing connections just to get the speaker to swap from your phone to your laptop.

This also means the XSound Plus 2 supports pairing with other Tribit speakers. Once it's paired with your phone, all you need to do is tap the TWS button on the right-hand side of the speaker and the two speakers form a stereo pair. Alternatively, if you’re just looking to boost the volume for a larger space, you can press the TWS button on a stereo pair to switch the speakers into Party Mode, turning them into an ersatz multi-room setup.

If you throw particularly epic parties, perhaps the XSound Plus 2’s most attractive feature is going to be its battery life, especially for such a small unit. Tribit claims it will last 24 hours at 60% volume, which is a life long enough to make Methuselah envious. Putting this to the test, I set it to play at that volume until it had dropped down from 100% to 60%, which took eight hours and 45 minutes – that means it should last almost 22 hours on a full charge. That’s a little shy of what Tribit promises, but very few Bluetooth speakers are going to give you this much juice, especially for this kind of budget.

Features score: 4/5

Various button controls on top of the Tribit XSound Plus 2 — (Image credit: Future)

Tribit XSound Plus 2 review: Sound quality

Seriously loud, room-filling sound
Punchy bass and warm mids…
…but you’ll really need to ride the EQ to make some tracks shine

The Tribit XSound Plus 2 offers shockingly good sound considering its cost; both in terms of dynamics and how well rounded its lower frequencies are, it can hold its own against speakers twice its price. It's tuned to play to its strengths, and it smashes any music that matches its preferred sonic profile. Unfortunately, this also means it can rapidly come unstuck when served something outside its wheelhouse.

Despite its relatively small footprint, it can pack a pretty decent punch when it comes to anything with dynamic bass, especially when you enable XBass. When I dropped Cirrus by Bonobo, I was genuinely impressed by how effortlessly the XSound Plus 2 was able to shift between the punchy kicks and the organic melodies of the kalimbas. The sound felt very cohesive, and while it didn’t have quite the outrageous levels of bass that the more party-focused Bluetooth speakers can muster, the bass response was tight and well-integrated with the rest of the frequency range.

But there are definitely some compromises going on in order to enable such a cohesive, well-integrated sound. Listening to Paul Simon's vocals and Ladysmith Black Mambazo’s choral hook during the intro of Diamonds on the Soles of Her Shoes feels like you’re being immersed in honey and, when the drums kick in, they rise through the mix without overpowering it. However, I could detect some undeniable sharpness in the treble of elements like those jangly guitar chords, suggesting the XSound Plus 2 is less proficient when it comes to handling transients.

Some songs clash with the XSound Plus 2’s processing, coming off much worse. Initially, when I played Go Your Own Way by Fleetwood Mac, I was rather taken aback – it sounded tinnier than my hearing after a week-long festival. Both the high-mids and trebles sounded surprisingly brittle and, unlike with other genres, the band’s leaner soft-rock sound didn’t serve up enough bass to stop things from sounding seriously top-heavy. Playing the same song on the JBL Charge 5 really showed me what I was missing – the tom tom fills that were almost entirely neutered on the XSound Plus 2 added much more body. Clearly the cohesive sound the Tribit delivers while playing some genres means that certain frequencies are ducked and, to me, those low-mids seem to be one of the areas that are squeezed out.

This is where those EQ settings come in handy. When I flipped the XSound Plus 2 to its rock setting, Fleetwood Mac’s breakup anthem sounded much more like the song I recognized – the treble had a bit more oomph across the spectrum, while the bass was less subby, prioritizing the register of those toms and bass kicks. And finding the right setting can make other tracks shine too: Kamasi Washington’s Clair de Lune already sounded solid, but when I popped it into jazz mode, it gave due deference to that double bass, while giving more timbral depth to rest of the instruments, particularly that sultry trombone solo.

Ultimately, though, there isn’t any set-it-and-forget-it EQ setting that shows all tracks off in their best light. That may be less of an issue if you tend to only listen to one or two specific genres, but if you have diverse tastes or chop and change a lot, you may find yourself having to pull out the app more often than you’d like to ensure you’re getting the absolute best sound for your favorite tunes.

Given that it only has two forward-facing drivers, I’ll admit I was a little skeptical about the kind of presence that the XSound Plus 2 could deliver. But blow me down: it’s actually a solid little performer when it comes to soundstage. Naturally, it’s very much a point source of sound, but I tried sitting with it at a range of angles, and I didn’t find that the audio suffered when I was outside of the optimum stereo field. Even with the speaker pointing directly away from me, the treble didn’t significantly diminish, so when you have guests round they won’t all be jostling for the one seat from which they can actually hear the tunes playing.

And it’s just absurdly loud when you push it. Not only could it happily fill my living room with sound – which is no small feat given that I have cavernously high ceilings – but while running the above battery test at 60% volume in our offices, I could still hear it two rooms away despite the fact that it was wrapped in a jumper, stuffed in my rucksack, and in a room with acoustic damping on the walls. Inevitably, there’s a fair amount of distortion when you really crank it up to its eardrum-melting maximum, but you’re never going to be left wanting when it comes to sheer volume.

Sound quality score: 3.5/5

Tribit XSound Plus 2 with attached lanyard on gray surface — (Image credit: Future)

Tribit XSound Plus 2 review: Design

Pleasant (if slightly anodyne) matte plastic finish
IPX7 rating protects it from rain and puddles
Lanyard feels a bit flimsy for a speaker of this weight

All told, the Tribit XSound Plus 2 is a likeable enough package. Don’t get me wrong: it’s not an objet d’art, but equally it doesn’t look conspicuously cheap. It’s far from the most flamboyantly hued Bluetooth speaker ever: your choices here are black or… erm… black. But plenty of brands offer brightly colored speakers; the XSound Plus 2 is clearly aiming for a subtler aesthetic, and I’d say it nails it.

Its body is made of a matte-black plastic that feels pleasingly soft to the touch, while the round curves on its rear make it comfortable to grasp in a single hand. On the front of the device, the drivers are covered by a convex metal grille, which is a bit more visually distinguishable than the cloth-covered cylinders that seem pretty much ubiquitous these day. If there’s any speaker the Tribit resembles, it's the Beats Pill, but less rounded overall.

If you’re wanting to take the Tribit XSound Plus 2 into the great outdoors, it will easily be able to handle the elements. Thanks to its IPX7 rating, it should be able to cope with being dunked in water up to 3ft / 1m for up to 30 minutes, which means it’ll shrug off splashes with the enthusiasm of a golden retriever. But, beyond this, it’s probably not as hardy as some of its rivals: it’s not been tested for dust and grit ingress, and I’d argue its relatively dainty build won’t handle accidental drops quite as well as more robust portable speakers on the market.

And that last point really makes me question one design choice. The XSound Plus 2 comes with a lanyard on one end that allows you to wrap it around a wrist or attach it to a backpack, but it feels pretty flimsy, especially given the speaker’s 1.76lbs / 0.8kg weight – leaving it dangling and pirouetting around at the end of this string felt like I was hanging a $70 speaker from a 50¢ cord. Fortunately, it’s easy enough to hold in a single hand or stick in a pocket that I never really needed to trust the Tribit to this tenuous lifeline.

Design score: 4/5

Removable tab on reverse side of the Tribit XSound Plus 2 open to reveal an AUX and USB-C port — (Image credit: Future)

Tribit XSound Plus 2 review: Value

Produces sound almost as good as speakers twice its price
Offers a broader range of features than many budget rivals
IPX7 weatherproofing make it a wise purchase for outdoor use

With the Tribit XSound Plus 2, you’re getting a lot of speaker for not very much money. The features it offers exceed what I’d expect for a speaker at this price. Sure, you’re not getting cutting-edge features like lossless audio or Dolby Atmos, but its EQ settings are super-customizable, and the ability to network multiple speakers together should give you a much more impressive soundstage than you’d get from one single $140 / £130 / AU$200 speaker.

And design-wise, its utilitarian looks are still pleasing enough, while that IPX7 rating will shrug off most of what the great outdoors can throw at it, making it a wise purchase for anyone looking for a cheap, durable speaker to take trekking or camping.

Admittedly, it’s hardly the most neutral listen, and this does cause some inconsistencies, depending on what you’re listening to. In comparison, the similarly sized JBL Flip 6 offers superior sound – but it also costs more than double the price. So in terms of bang for your buck, you’re getting a pretty sweet deal here.

Value score: 4.5/5

Should you buy the Tribit XSound Plus 2?

Buy it if…

Don't buy it if…

Tribit Xsound Plus 2 review: Also consider

How I tested the Tribit Xsound Plus 2

I tested for two weeks, and I tested it against the JBL Charge 5
I used it in the office and at home
listened to Spotify, Apple Music and Pocket Casts on an iPhone 13 Pro and a MacBook Pro 16-inch (2019)

I tested the Tribit XSound Plus 2 over the course of two weeks. Not only did I listen to a wide range of different genres and styles on it, but I also tested it using TechRadar’s reference playlist, which helped me assess the speaker’s full range and how it handled specific frequencies.

As well as connecting the XSound Plus 2 to multiple devices, including my iPhone 13 Pro and my MacBook Pro, I also directly compared how it performed relative to the JBL Charge 5, testing each speaker side by side. To test the speaker’s battery life, I set it to play continuously at 60% volume, and measured the battery drop over time.

I’ve been reviewing gadgets and technology for nearly 10 years, particularly headphones, speakers, and music hardware. I also regularly produce audio and music in my spare time, giving me a strong understanding of sound dynamics and frequencies.

Sennheiser IE 600 review

The Sennheiser IE 600 are a pair of in-ear monitors that paint the most delicate details onto a canvas. They excel in tying several sonic elements together into a beautiful work of art, with exceptionally clear and beautifully balanced audio, plus strong separation, too. Of course, such qualities come at a steep price (around $800 / £700 / AU$1,200), but there’s no denying that the Sennheiser IE 600 offer excellent quality on a number of levels.

First of all, the Sennheiser IE 600 are particularly skilled in supplying defined audio – in part because of their dual two-chamber absorbers. These essentially capture and attenuate multiple sounds occupying the same frequency range, according to Sennheiser, meaning that you can enjoy textured audio and pick out the finer details. As a result, it never feels like you have to go on a mission to discover intricate audio attributes – the Sennheiser IE 600 does all the necessary heavy lifting to ensure that each unique sonic element is unearthed.

The IE 600 perform fantastically across all frequencies – perhaps unsurprising given that they’re the higher-priced sibling of the Sennheiser IE 300, which proudly sit on our list of the best wired headphones. When listening to Rains again by Solji, the rain coming down throughout the introduction is utteraly natural and convincing, with each drop defined. In addition to that, the earphones perfectly captured the delicate nature of the track’s high-pitched vocals and finer details, such as the click of the singer's tongue on the palate. Vocals in the mid-range also pop really well on the IE 600, and often sound slightly forward, but never in a way that disrupts overall balance.

Sennheiser claims that the IE 600 deliver “fast, accurate bass”, and it isn’t wrong. When tuning into Black Eye by Allie X, I was wowed by the rapid pumping of the drum machine as the bassline dipped to impressive depths; it bounced up in a very controlled manner. The depth of the bass was certainly imposing, so if you’re the kind of person who wants to experience meaty low-frequency sounds, these IEMs won’t disappoint.

The authoritative nature of the bass ties into a wider theme with the IE 600; they excel in serving up powerful, full-bodied audio. When switching between the far cheaper, but still fantastic, Sennheiser IE 200 and the IE 600, I certainly felt that the latter offered a more all-encompassing listening experience, mainly due to their ability to show off subtle sonic details. For instance, I used the IE 600 to test out I Want You by Moloko and felt genuinely energized by the almost cinematic reproduction of the tune. The IE 600 faithfully captured the track’s complexity, including the intro’s breathy vocals, natural-sounding keys, and the several instruments that enter the fray later in the track to form a dense, layered mix.

Of course, you understand why they're so difference when you compare the IE 200's price of $149.95 / £129.99 / AU$239.95 to the IE 600 at 4-5 times that. No wonder the IE 600 are a cut above for sound, and will impress hardcore audiophiles.

Now that’s out of the way, let’s talk design. The IE 600 are beautifully manufactured, and their 3D-printed metal casing rocks a textured, classy look. Fun fact: the metal used to build the IE 600 – ZR01 amorphous zirconium – is the same type used for the drilling head of NASA's Mars Rover. Now, that’s pretty sturdy. The earphones are still small and relatively lightweight, though. Coming in at 0.21oz / 6g (per bud), they bring elegance alongside durability. They also fit really well, and it took me no time at all to find the right feel. The earphones are attached to a bendy cable, which makes it easy to adjust the fit around your ear and achieve maximum comfort. Speaking of which, I never felt any irritation while wearing the IE 600, even when keeping them in for full work days. Thankfully, I was subjected to very limited cable noise, something that can be a real mood-killer with a lot of wired in-ear headphones.

My personal feeling is that the IE 600’s gray cable is a bit of a downgrade on the plaited silver one included with the IE 200. Although the IE 600’s wire has a smooth, clean aesthetic, I found myself more attached to the feeling and chain-like appearance of the cheaper model. Like the IE 200, it’s a shame that the included cable here doesn’t include an in-line controller or mic, which makes the IE 600 a little inconvenient if you’re on the go and have to adjust volume via the source device. There’s a way around this – but it involves spending an additional £59.99 (about $75 / AU$115) on an alternative Sennheiser cable with built-in controller.

The default wire for the IE 600 has a 3.5mm connector, but the box also includes one with a 4.4mm connector that you can attach the earphones to instead. There are other extras bundled in too, including a hard carry case, a cleaning tool, a clip that you can attach to the IE 600’s cable, and a collection of different-sized foam and gel ear tips. I found that the foam tips were the most comfortable, and they assist in enabling pretty solid noise isolation. If you want near-silence, though, you'll get a greater effect from the best noise cancelling earbuds.

Overall, the Sennheiser IE 600 are a brilliant pair of IEMs that I thoroughly enjoyed using. If you’re looking to invest in some top-quality wired in-ear headphones, these will almost certainly sound the part – and last you for many years to come. As a result, I can definitely recommend the Sennheiser IE 600 – especially because you shouldn't need to pay list price (which is a touch high in my opinion), but should be able to pay more like $500 / £500 / AU$1,000.

Sennheiser IE 600 next to gray/black carry case — (Image credit: Future)

Sennheiser IE 600 review: Price and release date

$799 / £699 / AU$1,199
Launched in March 2022

There’s no denying it, the Sennheiser IE 600 are pretty expensive. With a list price of $799 / £699 / AU$1,199, they’re truly in the high-end category compared to the likes of the Sennheiser IE 200 – although they’re capable of fuller, more detailed sound. On the flip side, the IE 600 are considerably cheaper than their even more premium sibling, the Sennheiser IE 900, which have a list price of $1,499 / £1,299 / AU$2,399.

A crucial factor here is that it’s pretty unlikely you’ll have to fork out the list price to get your hands on the Sennheiser IE 600. I spotted them for as little as $469.95, £499.99, and AU$972 (in the latter’s case via Sennheiser’s own online store), so be a savvy shopper.

Sennheiser IE 600 review: Specs

'Sennheiser IE 600' is engraved on the reverse side of one of the Sennheiser IE 600 earphones — (Image credit: Future)

Should you buy the Sennheiser IE 600?

Buy them if...

Don't buy them if...

Sennheiser IE 600 review: Also consider

How I tested the Sennheiser IE 600

Sennheiser IE 600 plugged into FiiO M11S music player — (Image credit: Future)

Tested across the course of two weeks
Used in the office and on walks
Predominantly tested using Tidal on the FiiO M11S music player

I put the Sennheiser IE 600 to the test over two weeks. I predominantly used the IEMs while seated in the office, but I also used them while on walks and at home. Most of the time, I used the IE 600 with the FiiO M11S hi-res music player, listening to tunes on Tidal.

When playing music, I started by tuning into the TechRadar testing playlist, which contains tracks from a wide variety of genres. I also used the IE 600 with my Windows laptop when watching YouTube videos or playing games, to ensure quality was high across multiple devices and media. I also used the Sennheiser IE 200 and Shure Aonic 3 to directly compare audio quality, comfort levels, and design features, when appropriate.

Monitor Audio Studio 89: Two minute review

Back in the day, ‘Studio’ was Monitor Audio’s most expensive, most aspirational range of loudspeakers. And now the name is back, with an ‘89’ attached for good measure, in a loudspeaker the company reckons is more ‘Formula 1’ than ‘sports car’.

It’s a distinctive looker, that’s for sure – whether or not you find the proportions attractive is one thing, but there’s no denying the gloss-black cabinet with its vertical, copper-colored driver array is dramatic. Bolt the speakers to the matching stands (if you don’t mind the extra outlay) and the look is coherent and, to me at least, striking.

Using driver and crossover technology originally developed for a loudspeaker that costs $92K / £70K per pair is pretty promising, too – and the way it’s been deployed shows similarly little inclination to compromise. Heck, even the speaker terminals on the rear of the cabinets are rhodium-plated and quite extravagantly shaped.

How does this more affordable option stack up against the best stereo speakers on the market? Well, the star-rating above is a good start isn't it? But let's delve into the nuts and bolts of the thing – and also, of course, the sound.

Monitor Audio Studio 89 in a hi-fi listening room — (Image credit: Future)

Monitor Audio Studio 89 review: Price and release date

Released July 1, 2024
$2,500 / £2,000 / AU$4,000

The Monitor Audio Studio 89 are available now, and in the United Kingdom they’re yours for £2,000 a pair. In the United States they go for $2,500, while in Australia the asking price is AU$4,000.

When you consider that Monitor Audio is perhaps most-noted of late for releasing a $92K Hyphn proposition (once called the Concept 50, initially unveiled at High End Munich 2022), it's affordable territory.

That’s just for the speakers though, you understand – if you fancy the bespoke stands too (and they have a lot to recommend them beyond a harmonious aesthetic) you’re looking at an additional $625 / £500 / AU$1,000.

The majority of this test is conducted with the Studio 89 bolted to their matching stands – but not entirely. I also positioned the speakers on my reference Atacama Moseco 6 stands, where they are perfectly happy (although don’t look quite as swish). This review, then, is purely an appraisal of the loudspeakers and the loudspeakers only.

Monitor Audio Studio 89 review: Features

MPD III tweeter; 2 x 108mm RDT III mid/bass driver
Rear-facing bass reflex slots
48Hz - 60kHz frequency response

These are passive loudspeakers, of course, and consequently ‘features’ are fairly thin on the ground. What features the Studio 89 have, though, are thoroughly researched and thoughtfully applied.

The front baffle of the speaker, for instance, is a slice of aluminium that’s isolated from the main body of the cabinet by a dense layer of foam. The baffle and the drive units it houses are then secured using ‘through-both’ technology running from the rear of the drivers to the rear of the cabinet. The intention is to create a very rigid cabinet structure in which the drive units can operate in isolation – and consequently offer cleaner and less coloured sound. The fact that this methodology means there are no visible fixings or screw-heads doesn’t do the look of the Studio 89 any harm, either.

The drive units themselves are arranged vertically – a couple of 108mm RDT III mid/bass drivers are positioned with an MPD III tweeter between them. This ‘MTM’ (mid/tweeter/mid) arrangement, says Monitor Audio, offers the advantage of large sound dispersion thanks to its ‘vertical symmetry’.

The RDT III mid/bass drivers are the latest refinement of the ‘C-CAM’ technology Monitor Audio has been enamoured of for years now. A combination of three very thin layers of ceramic-coated aluminium/magnesium, carbon weave and Nomex honeycomb core combine to produce a light, responsive driver that’s positioned ahead of a powerful motor system that uses a magnet that’s larger than the cone itself.

The MPD III tweeter, meanwhile, uses its low-mass diaphragm pleats a bit like an accordion for smooth and rapid high-frequency response. Its square radiating area is designed for equal directivity both horizontally and vertically. Its carefully designed waveguide contributes to its directivity and soundstaging abilities, too – and the fact that it looks quite dramatic doesn’t do any harm, either.

Underpinning this driver array, sonically speaking, are a couple of narrow velocity ports positioned at the top and the bottom of the rear of each cabinet. The relatively large port area keeps both internal pressure and airflow within the cabinet balanced, and reduces turbulences – with the result, says Monitor Audio, that airflow is smooth and bass response is significant.

Elsewhere, the crossover that delivers the electrical signals to the drivers is a careful new design that uses polypropylene and polyester capacitors. Along with air-core and low-loss laminated steel-core inductors, the design is intended for optimal signal transfer and minimal distortion. Chunky rhodium-plated, precision-machined speaker terminals complete the impression of some thoroughly uncompromised engineering.

Features score: 5/5

Monitor Audio Studio 89 review: Sound quality

Poised and informative sound
Detail and dynamism in equal measure
Express rhythms expertly

There are plenty of loudspeakers that can peer deep into a mix and return with every scrap of information that’s in there. There are plenty of loudspeakers that can entertain with the vigorous nature of their presentation. Loudspeaker that can do both, though, are in rather more short supply. So it’s nice to be able to add the Studio 89 to the list.

What’s perhaps most immediately enjoyable about the way the Monitor Audio sound is how much they seem to be enjoying themselves. When playing an uncomplicatedly good-time recording like You! Me! Dancing! By Los Campesinos! there’s proper energy and vitality to the presentation, a sense of engagement that’s by no means a given no matter how much you spend on your speakers.

But this is not at the expense of insight. The Studio 89 create a large, well-organised soundstage that allows even a rather compressed and hazy mix like this one to stretch out and give each individual element a bt of space in which to operate. Detail levels are high at every turn, and the Monitor Audio manage to put even the most fleeting, transient occurrences into convincing context. Without making any part of the recording sound remote or estranged, the Studio 89 makes it easy to identify individual stands - yet the unity and togetherness of its presentation gives a genuine sensation of ‘performance’.

Something a bit less headrush-y and a bit more considered – Bad Kingdom by Moderat, say – allows the Studio 89 to demonstrate a nicely neutral tonal balance and extremely smooth integration of the frequency range. The handover between drivers is imperceptible, and no part of the frequency range is unduly underplayed or overstated. Low frequencies are deep, properly varied and textured, and controlled to the extent that rhythmic expression is never in doubt and momentum levels are always high. The opposite end of the scale is bright and substantial, so treble sounds shine without veering anywhere near hardness. And in between, the midrange is open and eloquent to the point that vocalists of all types, all techniques, all characters and all emotional states, are able to communicate fully.

Dynamic headroom is considerable, so big shifts in volume and/or intensity are tracked faithfully. And the less obvious, but no less crucial, dynamics of harmonic variation are given just the right amount of emphasis too. No matter how spare or how complex a recording, the Monitor Audio exercise authority over it.

About the only area in which the Syudio 89 might conceivably be described as ‘deficient’ is where simple attack is concerned. There’s nothing matter-of-fact about the way these speakers deliver a recording, you understand – but there are some alternative designs that have greater bite and assertiveness. But the more I think about it, the more I’d describe this as a ‘trait’ rather than a ‘deficiency’. If you’re one of those listeners who likes maximum drive and attack, you may find the judicious and balanced nature of the presentation here to be just slightly on the tentative side. The rest of us, though, will just admire what a thoroughly convincing sound is available.

Sound quality score: 5/5

Monitor Audio Studio 89 review: Design

Gloss black finish
340 x 157 x 361mm (HxWxD)
7.6kg (each)

There’s a disproportionately tall, thin elephant in the room where the design of the Monitor Audio Studio 89 is concerned – so I may as well get right to it. At 340 x 157 x 361mm (HxWxD) these are, without doubt, quite strangely proportioned loudspeakers. Seen from dead ahead they look quite tall and thin, because they are. But move around them and you realise they’re even deeper than they are tall. It’s an unusual effect, and it makes the bespoke stands Monitor Audio has developed for use with these speakers seem more like an essential than an option.

Rather gawky proportions aside, though, these are beautifully finished and quite good-looking speakers. The driver arrangement in the aluminium front baffle somehow makes them look rather startled, but the gloss black finish (your only option) is lustrous and deep – and it contrasts nicely with the copper/bronze color of the mid/bass drivers. The little badges that wrap around the bottom of each speaker, with their none-more-80s Ford Sierra typeface, are nicely judged too.

Design score: 4.5/5

Monitor Audio Studio 89 review: Value

The usual caveats apply here, of course – you should really only consider the Studio 89 if you’re going to use them in a similarly expensive and capable system, and you are almost certain to have to find the money for the matching stands. But as long as you can live with these Ts & Cs, there’s no denying the value for money these speakers represent both as objects and, most importantly, where the sound they make is concerned.

Value score: 5/5

Monitor Audio Studio 89 review: Should you buy them?

Buy them if...

Don't buy them if...

You like a sound with its eyes out on stalks
They’re an assertive listen without doubt, but it’s equally true to say that some alternative designs will attack a recording even more readily.

Monitor Audio Studio 89 review: Also consider

You have a lot of choice, from a lot of very well-regarded manufacturers, if you have this sort of money to spend on a pair of compact passive loudspeakers.

The R3 Meta by KEF, for instance, are maybe $120 cheaper than the Studio 89 – and while they don’t look as dramatic, they certainly have plenty to recommend them where sound quality is concerned.

Or you may decide to chuck even more money at it and check out the 705 S3 by Bowers & Wilkins – there’s nothing retro about they way they look, and the stands will cost you even more money than the Monitor Audio equivalent – but if you’ve the readies, these speakers are among the most rewarding around.

(And if you've not? It's perhaps worth giving the B&W 600 Series a look).

Monitor Audio Studio 89 review: How I tested

Using the extra-cost stands – and using my stands
Connected to a Naim Uniti Nova, listening to Qobuz and Tidal tracks
Also hooked up a Rega Apollo for CDs; Cambridge Audio/Clearaudio for vinyl

My time listening to the Monitor Audio Studio 89 was split pretty much 50/50 between their being bolted to their bespoke, quite expensive, stands and sitting on more affordable (but eminently capable) Atacama Moseco 6 alternatives.

They were powered by a Naim Uniti Nova streamer/amplifier capable of twisting out 70 watts of power per channel. As it’s a streamer as well as an amplifier, I used the Naim for listening to Qobuz and TIDAL.

I used a Rega Apollo for listening to compact discs, and both Cambridge Audio Alva TT v2 and Clearaudio Concept turntables for vinyl listening.

The speakers stayed in my listening space for the entirety of the test – the space is nothing esoteric, it’s fairly ordinary (although not especially reflective) room that works very well for my purposes. And I listened to a great many different recordings via these different sources, of a great many genres and from a wide range of eras.

First reviewed July 2024
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Astell & Kern HC4 review: a petite but powerful DAC that sometimes oversteps the mark

1:00 pm | June 30, 2024

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

Astell & Kern HC4: Two-minute review

Astell & Kern is no stranger to digital audio in all shapes and sizes, and the A&K HC4 is its latest attempt to coax worthwhile sound quality from your smartphone or laptop – and for good measure, it’s got strong gaming credentials too.

It’s a thoroughly specified little device, from its high-end AKM AK4493S DAC chipset via its balanced and unbalanced headphone outputs to its support for UAC 1.0 as well as UAC 2.0 to ensure compatibility with as many gaming devices as possible. Its aluminium construction looks and feels smart, too – so while there’s not much of it, the AK HC4 nevertheless appears to offer decent value for money.

And when it comes to its single function – taking the digital audio information from your source device and converting it to the analogue equivalent – there’s plenty to admire here. The HC4 sounds big and organised, and extracts a lot of detail from a recording – it’s a peppy and informative listen. It overplays its hand somewhat where the highest frequencies are concerned, though, giving treble sounds a rather insubstantial and unyielding edge that is at odds with the rest of the work it’s doing. In a competitive and saturated market, then, does the A&K's plucky performance still make it one the best portable DACs going for the money? Let's see.

Astell & Kern HC4 review: Price and release date

Astell & Kern HC4 on a wooden table — (Image credit: Future)

Released in November 2023
Priced at $220 / £219 / AUS399

The A&K HC4 portable headphone amp/DAC is available now for $220 in the United States, £219 in the United Kingdom and in Australia, it'll cost you AU$399 or somewhere closely in that region.

The world is hardly short of portable USB headphone amp/DACs, though, and while the A&K refreshingly undercuts the $499 / £449 / AU$769 iFi GO Bar Kensei, it's still dearer than the five-star iFi hip-dac 3 (which can be yours for $199 / £199 / AU$349).

So, competition is fierce at the level, and missteps will likely have repercussions.

Astell & Kern HC4 review: Features

AKM AK4493S DAC chipset
3.5mm and 4.4mm outputs
‘Digital Audio Remaster’ technology

When it comes to features, you don’t have to read all that far down the HC4’s spec-sheet to realise that Astell & Kern is deadly serious. By prevailing standards, the feature-set here is formidable.

The main business is taken care of by an AKM AK4493S DAC chipset that’s more commonly found doing its thing in (among many other devices) Astell & Kern’s well-regarded and witheringly expensive digital audio players. It’s compatible with every worthwhile digital audio file type, and is capable of dealing with content of up to 32bit/384kHz and DSD256 resolution.

Getting the information into the HC4 in the first place happens via the USB-C slot on the bottom of the device - Astell & Kern provides both USB-C / USB-C and USB-C / Lightning cables to get the job done. Getting it out again happens using either the unbalanced 3.5mm socket or the balanced 4.4mm equivalent on the top – it’s worth noting the 4.4mm output only supports five-pole jacks.

Another feature Astell & Kern has incorporated from its pricey digital audio players is ‘digital audio remaster’ technology – it is designed to upsample the native sample rate of the source material to go beyond the limits of the source format. Sounds like quite a trick, doesn’t it? Astell & Kern reckons it delivers – and I quote – “more refined playback and… a delicate, analogue-like sound”.

And by way of an encore, Astell & Kern has ensured the AK HC4 is compatible with as wide a selection of devices as possible by making the device’s USB-C input supports UAC 1.0 as well as UAC 2.0. Almost every smartphone, laptop and tablet supports UAC 2.0, but there are plenty of gaming devices that are still UAC 1.0 – but if you want a low-latency connection to your Playstation, Switch or what-have-you, the HC4 has you covered.

Features score: 5 / 5

Astell & Kern HC4 review: Sound quality

Detailed, informative sound
Open and well-defined presentation
Slightly skewed towards the top end

The AK HC4 is an admirably consistent device. During the course of this test I listened to 16bit/44.1kHz and 24bit/96kHz FLAC files via the Tidal app, loaded onto both iOS and Android smartphones, as well as some DSD128 stuff stored on the internal memory of a MacBook Pro. And while there are, of course, advantages to the higher-resolution stuff, the Astell & Kern doesn’t really alter its overall stance no matter what standard of content you’re listening to or the type of music you enjoy. Its fundamental attitude is always the same.

And in broad terms, it’s a revealing and explicit attitude. No matter if it’s the voice-and-guitar intimacy of Lua by Bright Eyes or the rather more complex Dirty Paws by Of Monsters and Men, the HC4 is able to see to the bottom of the mix and return with all sorts of information regarding tone and texture you may not previously have been aware of – certainly not if you’ve been listening directly from a smartphone to some wired or wireless headphones before now.

Throughout the frequency range, detail levels are sky-high – and rather than draw attention to how clever and insightful it is, the HC4 puts everything into the correct context in order to poverty serve the recording. It’s dynamic both in the sense of ‘quiet/LOUD’ and where harmonic variations in a strummed guitar are concerned. And it creates a big, well-defined and easy-to-follow soundstage, and lays out a recording explicitly – but it doesn’t make any part of a recording sound remote from any other. There’s a singularity and idea of ‘performance’ to the sound of the HC4 that’s as enjoyable as it is impressive.

Low frequencies are substantial and properly controlled, so there’s never an issue where rhythms or tempos are concerned. The midrange is perhaps the greatest beneficiary of the A&K’s powers of analysis – there’s a stack of information about a vocalist available, and it makes for an immediate and positive description of a singer’s abilities and motivations.

It’s only at the top of the frequency range that things are anything less than fully impressive. There’s a glassiness and a rather relentless edge to the way the HC4 serves up treble information that a) puts it at odds with the rest of the frequency range where tonal balance is concerned, and b) discourages the listener from increasing volume levels much beyond ‘moderate’. The relative hardness and lack of substance to the top end makes those recordings with a high-frequency emphasis sound edgy – and overall it doesn’t make for all that relaxing an experience.

Sound quality: 4 / 5

Astell & Kern HC4 review: Design

65 x 30 x 15mm (HxWxD)
31g
Aluminium construction

There’s usually not a lot of scope for ‘design’ to happen when a product ideally needs to be as light and compact as possible. But this is Astell & Kern we’re dealing with here – you won’t be surprised to learn that the company has given it a good go where ‘design’ of the AK HC4 is concerned.

The all-aluminium construction keeps the weight of the device down to a trifling 31g. It also allows for a hint of the trademark Astell & Kern angularity on the top surface, and for the sides to be mildly curved in order to make the HC4 easily graspable.

One of the curved sides features a shallow rocker switch and a DAR on/off slider. At one end of the chassis there’s the USB-C input, and at the other end the balanced 4.4mm and unbalanced 3.5mm outputs. Apart from a tiny LED (which lights up in white to indicate standby, red for PCM and blue for DSD audio files), that’s your lot. And frankly, I am tempted to ask what else you might reasonably be expecting?

Design score: 5 / 5

Astell & Kern HC4 review: Value

Priced in line with rivals
Not a nailed-on winner

Just as you can’t judge a book by its cover, you can’t judge the effectiveness of a piece of consumer electronics simply by how big and/or heavy it is. The AK HC4 may not look like much, but the effect it can have on your listening experience can’t be denied – so in this respect, it represents decent value.

When you compare it to the best of its rivals, though, it ceases to be a nailed-on favourite and becomes more of an interesting option… which probably undermines its value-for-money credentials somewhat.

Value score: 3.5 / 5

Should I buy the Astell & Kern HC4 review:?

Buy it if...

Don't buy it if...

Astell & Kern HC4 review: Also consider

iFi hip-dac 3
Now, you do get the looks; it's even styled like a hip-flask. This likeable, cheaper DAC won't fit in your pocket quite as easily as the A&K HC4 but it's nothing if not a conversation starter – and a talented one soncially at that.
Read our in-depth, five-star iFi hip-dac 3 review.

How I tested the Astell & Kern HC4

Used for over a week (after a thorough running in)
Tidal and Qobuz were go-tos, using various headphones/IEMs

I spent over a week listening to the Astell & Kern HC4, using Apple iPhone 14 Pro and Samsung Galaxy S23 smartphones. I connected it to Sennheiser IE900 in-ear monitors via its 4.4mm balanced output and to a pair of Grado SR80x using its 3.5mm connection.

I used it at home, navigating traffic, and on the train. I listened to music almost exclusively from Tidal and Qobuz (since these streaming services are full of high-resolution content and 24bit/192kHz standard), and I made sure to check for connectivity and cable noise as I did so (you're fine there).

First reviewed: June 2024
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JBL Live Beam 3 review: a strong case for stellar earbuds that easily outlast the rest

7:30 pm | June 29, 2024

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

JBL Live Beam 3: Two-minute review

There are lots of great options on our guide to the best noise-cancelling earbuds, but there's one feature that none of those excellent buds offer: a screen on the case. And the screen on the JBL Live Beam 3 is so much more fun than the display of its predecessor, because now you can select a lock-screen wallpaper from any of the photos stored on your paired smartphone, and the image will even flip so it stays the right way up (so all your friends can see it) when you snap open the case.

I still wouldn't describe it as a must-have – it still feels as if JBL could deliver greater more through this touchscreen, since it still doesn't present functionality that your smartwatch can, for example – but given the fact that to tweak the volume by tapping the buds results in the loss of either playback control or ANC profile-scrolling (you don't have to sacrifice anything using the box), it's certainly useful. In addition, the lock-screen wallpaper personalization feature is a nice touch.

However, the real improvements here aren't to do with the screen. No, the real star here is the improved audio quality. It's typically Harman curve-esque and meaty – but in the best way. There's an expansive soundstage; there's dynamic agility; there's cohesion across the frequencies this time around.

Plus, battery life is excellent at up to 12 hours from the earbuds alone, minus noise cancellation, or 10 hours with it engaged (and nearer nine with adaptive ANC on –more on the efficacy of this later). The case, too, delivers three further charges, taking your total audio playback time up to a class-leading 48 hours. For clarity, Apple's priciest Pro-suffixed AirPods only deliver 5.5 hours with its top-tier Spatial Audio deployed, or a maximum of 30 hours including the case.

The JBL Live Beam 3 also boast a very well-rounded feature set, including auto-off when you remove one bud, a fit test, multipoint connectivity, plus a few novel bits and pieces – including "Personi-Fi", where a detailed hearing test of each ear enables you to better tailor the sound to your liking.

I wasn't convinced by the spatial audio profiles, which is a shame, since JBL has offered a total of three immersive soundscapes for music, movies and games. If you're expecting sonic articles in a three-dimensional space here, you'll be disappointed – and although the ANC is fine, it isn't about to challenge Sony or Bose in the supreme bubble-of-silence stakes. Yes, low-level constants are massaged (my microwave humming away didn't filter through, for example), but the sound of cars outside simply floating away wasn't quite there.

One truly valuable addition few competitors offer is something JBL is calling Smart Talk. It lowers the volume of your music and activates JBL's TalkThru mode as soon as you speak, then resumes to normal service either five, 15 or 20 seconds after you've stopped. It's a great little feature because you don't have to touch the buds to engage it – for example, when someone in the office wants to know where that report is. And, of course, if you don't like it, it's easy enough to toggle it off in the JBL Headphones app.

The fit is great, the battery is seemingly never-ending and, honestly, the JBL Beam 3 quickly became my go-to earbuds for confident, banging, thumping bass – and given my qualms over the audio in previous stablemates, it's a big leap forward for JBL, for which I commend the company.

For the price, JBL offers a very reasonable sound-per-pound proposition here. Having said that, the price in the UK is currently £179.99 – not the initially reported £149.99. Nevertheless, the JBL Beam 3 still represent value for money, particularly if stamina is a priority in noise-cancelling earbuds.

JBL LIve Beam 3 on starry blanket — (Image credit: Future)

JBL Live Beam 3 review: Price & release date

Unveiled January 2024 (but only available to buy from June 3, 2024)
Priced $199.95 / £179.99 / AU$249

The keen-eyed will note that the prices above mean the JBL Live Beam 3 (thus called because of the "beams", or stems attached) retail for $50, £50 or AU$100 cheaper than the screen-on-case-enhanced earbuds they effectively replace, the JBL Tour Pro 2.

The Live Beam 3 are actually one of three earbuds propositions with cases that JBL unveiled simultaneously in January 2024. The Live 3 range comprises the Buds, Flex and Beam, the latter of which we're reviewing here. The Buds 3 look most like standard earbuds; the Flex 3 are akin to the shape of regular Apple AirPods, with a stick design but no silicone tip that sits in the ear canal; and the Beam 3 are similar to Apple's AirPods Pro, with a stick design plus an in-ear fit and ear tips.

All three options boast JBL's smart screen case, True Adaptive Noise Cancelling, Bluetooth 5.3 with LE Audio, JBL Spatial Sound, LDAC Hi-Res Audio for compatible phones, multi-point connectivity, wireless charging, and six external mics to facilitate noise cancellation and to help with calls. Also, all are similarly priced.

There are a few differences to quickly scoot through: Buds and Beam are certified IP55 for water-resistance, while the Flex are IP54; the Buds and Beam have 10mm dynamic drivers compared to 12mm for the Flex; and the quoted battery life is up to 40 hours on the Buds, 48 on the Beam, and 50 on the Flex (for the buds and case combined).

A picture of a seal on the JBL Live Beam 3's lock-screen — Want a photo of a judgemental seal on your case? Have it… (Image credit: Future)

JBL Live Beam 3 review: Specs

Becky Scarrott dancing, in a lock-screen on the JBL Live Beam 3 — Or how about a dramatic dance shot by Peter Mares? (Image credit: Peter Mares (Avid Images))

JBL Live Beam 3 review: Features

Excellent call quality features
Personal amplification and Personi-Fi add value
The case – you can't ignore it

JBL has thrown everything it has at these earbuds – and that's putting the charging case to one side for a moment, concentrating on the various audio augmentations and fixes instead.

Call-handling is ace, thanks in no small part to the numerous options you have available to enhance the experience, including Sound Level Optimiser, which balances the volume of the voice on the other end of the line; Sound Setting, with which you can increase the bass or treble of that voice, or keep things "natural"; Voice Setting, which is the same thing, but for your own voice; VoiceAware, which is a slider to control how much of your own voice you'd like to hear during calls; and Private Call Mode, which actually lets you remove one bud and use it as a mic, so you might lower your voice a little and keep the convo private. During tests, the majority of folk on the other end said that I sounded as if I was just talking on the phone – which certainly can't be said of every set of earphones I've ever tested.

This level of attention to detail continues across the board. You have six EQ presets or the option to create your own, plus Adaptive EQ for real-time adjustments, with the option of toggling on "Low Volume EQ" to boost highs and lows, even if you're listening at low volumes. There's even "Leakage Compensation", to sort the sonics if the tips you've fitted don't offer an optimal seal.

The ANC has similar scope. Deploy ANC (over Ambient Aware, TalkThru or off all together) and you can customize functionality by toggling Adaptive ANC – which adjusts the level of cancellation based on your surroundings – and Auto Compensation, which adjusts things based on your ear canal and wearing status once more.

But we're not done: if you switch Adaptive ANC off, you're presented with a slider that offers seven increments of noise-nixing, irrespective of your location. On paper, it sounds exceptional – and in reality it's good. The seventh level nixes most low-level thrums happily; it certainly doesn't color or negatively impact the presentation. Nevertheless, I think Adaptive is the way to go, because I felt it did a fair job of making adjustments when I was at the beach, on the street, and at home. Does it lower the noise floor in your noggin as deftly as the Bose QuietComfort Ultra Earbuds or the AirPods Pro 2 can? Not quite. And that goes for the JBL Beam 3's spatial audio profiles (movies, music or gaming have been supplied), too. Things feel a little warmer, more bass-centric and cosier for sure; but it isn't the eyebrow-raising, bullets-over-my-head performance I might have dreamt of.

That's the reason I knocked half a star off the score for this section, but I maintain that there's still so much here to love – and I haven't even spoken about Personi-Fi yet! This involves a lengthy hearing test of ever-quieter tones at various frequencies dealt to each ear (after an initial fit test). But it's worth it.

After the tests, you're presented with a written report, which offers a mini verdict on the compensation required for each ear and the option to "have a try" by toggling it on and off. Suffice to say, it's not just parlour tricks or fun graphics (although there is one); it does genuinely make the music ever-so-slightly more detailed, the leading edges of notes more impactful, and the overall presentation is layered with greater precision – to my ears, at any rate. I tended to deploy this, but leave spatial audio to one side when wearing the JBL Live Beam 3.

Lastly, to the case. I used it much more than I did when testing the JBL Tour Pro 2. It's responsive and far easier to navigate than the previous iteration, plus you can hide features you won't use in the app – the flashlight feature is fun, but it essentially just turns the screen a bright white; my iPhone's torch feature is better. I also really liked the lock-screen wallpaper. Yes, it might be the high-tech equivalent of a Polaroid sticker on your earbuds case; but so what? We're allowed to want that.

Features score: 4.5/5

JBL Live Beam 3's JBL Headphones app, three screen-grabs showing smart charging case settings — (Image credit: JBL )

JBL Live Beam 3 review: Sound quality

LDAC tracks are beautifully relayed
Bass is resolute; treble well handled
Greatly improved audio

No matter what you listen to, the JBL Live Beam 3 will sound rather good, but it seems a shame to listen to lowly compressed Spotify streams when Sony's LDAC (from a compatible device – a Sony Xperia smartphone, for instance) is on the menu with these JBLs. Apple Music tracks are handled with zeal and flair, as are my trusted Qobuz tracks.

Melissa Etheridge's' I'm the Only One is a bass-walking, axe-talking country romp. Etheridge's textured vocal is central and emotive in a mix that shines a light on each solo, riff or musical passage; it will have you dancing wherever you listen to it.

Baby Lasagna's Rim Tim Tagi Dim is a tough ask for the driver-snap, dynamic nuance and musical cohesion in any set of earbuds, but the JBL Live Beam 3 don't shy away from it. This is techno, and it can easily be muddied in lesser earbuds. Here, though, I felt every cymbal as it darted from my left to right ear, but never at the expense of the vocal.

The JBL Live Beam 3 are able to unearth an extra ounce of detail through the strummed guitars and vocal in Noah Kahan's acoustic Stick Season, too, and the fact that I was tapping my foot along is proof that the timing here and agility through the low end is greatly improved over the JBL Tour Pro 2, which I felt were a tad treble-centric, even tinny on occasion.

The sound is typically JBL at its best again, and you love to see it – sonically, they're a big hit. Want big, exuberant sound that knows when to deliver large, but also when to pull back just a little, allowing the detail to shine through? That's the sonic recipe the JBL Beam 3 present – and I like it for the money.

Sound quality score: 5/5

JBL Live Beam 3, showing an incoming call, case held in a hand with red fingernails — The multi-function button on the WF-C700N beats any capacitive touch option I've tried. (Image credit: Future)

JBL Live Beam 3 review: Design

Earpieces fit snugly and securely
On-ear functions require compromise
The case is very likeable

I found these earbuds easy to wear – despite my small ears. However, it's worth noting that the Live Beam 3's earpiece design does sit rather far into your ear canals. Those who find this type of fit claustrophobic – think AirPods Pro 2 – may want to look at JBL's other designs, although I can't vouch for those. Again, it won't be an issue for most, just worth noting.

The on-ear touch functions respond well and can be customised, but this does lead me to a minor negative: you need to ditch a set of functions. To explain, your command options are Playback Control, Ambient Sound Control, and Volume Control, but you have only two ears – and only two earbuds to assign jobs to. I often criticize earbuds that don't offer a way to tweak the volume of music without having to dig out a phone (or ask Siri); while the JBL Beam 3 do offer volume control, assigning that to the left earbud and Playback Control to the right meant I had to forego on-ear ANC. Yes, the touchscreen enabled me to quickly access the ANC, Ambient or TalkThru modes (although not the extra adaptive toggles), but at this level I don't think it's churlish to expect your earbuds to be able to handle all three – because other options, such as the Cambridge Audio Melomania M100, do.

However, that's where the criticism ends; because the case is very fun. Where the JBL Tour Pro 2 felt like a prototype, the JBL Beam 3 feel every millimeter a second-gen upgrade. They've been refined, made more sleek – and more svelte, too. Yes, the case is still deeper than your average case at 3.25cm (or just over one-and-a-quarter inches) thick, but the little lanyard spot on the top right (as you look at the screen) is quite delightful – because you've now got lock-screen wallpaper to show off.

The build quality of this case feels resoundingly expensive – and I maintain that Apple is watching from afar, to implement in future AirPods designs. And while the screen isn't an essential yet for functionality, the resolution, responsiveness and brightness – which can be adjusted; you get three levels – is spot on.

Design score: 4/5

JBL Live Beam 3 review: Value

Exceptional battery life; great sound
The classy finish feels expensive
Spatial audio performance is the only issue

The JBL Live Beam 3's battery life, sound quality (with its smorgasbord of customisations), build and finish are more than worthy of the money here. And the noise cancellation will please all but the most picky of noise-nixers. Oh, and you also get a screen – which in no way affects the stellar stamina.

My only real gripes are the compromises relating to on-ear functionality, plus the somewhat disappointing spatial audio trio JBL offers here. If you're after buds that are great for movies, for example, I'd point you to the (much more expensive) Sonos Ace headphones, or the Bose QuietComfort Ultra Earbuds.

But given the competitive asking price of the JBL Live Beam 3 (the Bose alternative listed above cost $299 / £299 / AU$449, which is $100 / £120 or AU$200 more than the JBLs), there's so, so much still to enjoy for the money.

Value score: 5/5

Should I buy the JBL Live Beam 3?

Buy them if...

Don't buy them if...

JBL Live Beam 3 review: Also consider

Cambridge Audio Melomania M100
Another pricier option (although not as pricy as the Bose), but the ANC here is very good indeed – as is the sound quality. And to top it all off, you also get the option of Matt Berry on voice prompts (his "Waiting to pair!" is the best you've ever heard). No screen on the case, mind, and the overall aesthetic is far more shy and retiring.
Make your choice by reading our Cambridge Audio Melomania M100 review

How I tested the JBL Live Beam 3

JBL Live Beam 3 held in a hand with red fingernails — (Image credit: Future)

Tested for two weeks; listened against the Cambridge Audio Melomania M100, AirPods Pro 2 and Bose QuietComfort Ultra
Used at work (in the office, walking through London, on a train), at home and on the beach
Listened to Tidal Masters, Apple Music Lossless tracks and Spotify on an iPhone 13 Pro, a Sony Xperia 1 V and a MacBook Pro

The JBL Live Beam became my musical companions for two weeks – after a thorough 48-hour run-in period (during which I loaded many lock-screen wallpaper options to the case).

They accompanied me to work on weekdays (walking brusquely to the station; on the London Underground network; at the office), and throughout a week in Dorset, with regular trips along the promenade and to the beach at low tide – which is a great way to test any wind-interference from mics during calls.

To better test the comfort levels and security of the JBL Live Beam 3, I wore them to the gym – and they certainly did not budge during training.

To check the audio quality across the frequencies, I listened to various playlists (spanning everything from classical to crunk) on Apple Music, Qobuz and Tidal, but also to podcasts and albums on Spotify – and YouTube tutorials (mostly about soldering sterling silver bezels to make jewelry from the sea glass collected at the beach, if you're curious) on my MacBook Pro.

I’ve been testing audio products for over five years now. As a dancer, aerialist and musical theater performer in another life, sound quality, fit and the user experience have always taken priority for me – but having heard how wonderful ANC can be when done well, I know what to look for.

Edifier QR65: Two-minute review

It's easy to assume that your desktop computer just needs cheap and cheery monitor speakers so you can hear your email chimes or the sound of the YouTube videos you watch when you're pretending to work, but the Edifier QR65 make a good case as to why you should stretch upwards into the realm of the best stereo speakers.

The QR65 are the newest speakers from Chinese audio company Edifier, which sells plenty of other desktop and monitor speakers for gaming, studios or just general computer use. These new models are classed as part of its 'Wireless Speakers' line-up but it also calls them 'Desktop Active Monitors' so they're clearly designed for desktop use.

I wouldn't recommend buying them solely for desktop use, though, because the Edifier QR65 function much better as multi-media speakers.

The Edifier QR65 are mid-range speakers and the sound fits; it's pretty good, with thumping bass and clear treble, even if the maximum volume won't exactly rock the house (unless you have a small house).

There are a fair few connection options too, as you can connect via USB (that's for the desktop connection) as well as wired and Bluetooth audio, so the speakers really do work for multi-media enjoyment.

And while I'm listing positives, I want to touch on the look of the speakers: they're fashionable and good-looking, even though they have LED lights which will raise red flags for audiophiles (and red LEDs for everyone else).

Then onto the... not 'bad', per se, just 'annoying' bits. While the QR65 have an app for control on your phone, they don't on PC, which feels like an odd omission given that these are meant to be desktop speakers. They also don't turn off or on with your computer, so you have to keep manually turning them on and off when you want to use them or contend with their LEDs lighting up your room all day and night.

Because of these two hurdles I ended up preferring to stream music over Bluetooth during the testing period, rather than testing them alongside my Windows PC.

Edifier QR65 review: Price and release date

The Edifier QR65 on a white background. — (Image credit: Future)

Announced in April 2024
Mid-range at $369.99 / £329.99 / AU$449

Edifier announced the QR65 in April 2024, to join its busy range of audio products.

The Edifier QR65 cost $369.99 / £329.99 / AU$449, and they’re generally considered to be towards the low end when it comes to desktop speakers. Sure, you can find Amazon cheapie options for a tenth of the price, but you can also find many options for ten times that cost (or more, see the KEF LS50 Wireless II). They’re also snugly in the middle of the options on our list of the best computer speakers.

Another thing this price puts the Edifier QR65 roughly in the middle of? Edifier’s range of speakers – Edifier has a lot of speakers in many categories such as bookshelf, computer or studio speakers, and the QR65 are actually part of its wireless speaker range, despite being designed to work with desktops.

If you want to see what else is at this price range, specifically when it comes to dual-speaker desktop set-ups, then the Kanto Ora4, FiiO SP3 and Audioengine HD3 all hover roughly at this price point.

Edifier QR65 review: Specs

Edifier QR65 review: Features

Phone app, but no PC one
LED lights with customizable effects
Audio cable, USB and Bluetooth connections

If you’re connecting the QR65 to your smartphone, you’ll need to download the Edifier ConneX app to control them. Not Edifier Connect, nor Edifier Home, nor Edifier Enhance, and I had to deploy the trial and error approach when working out which app to use, which was an annoying waste of 10 minutes. Sure, Edifier isn’t the only tech company which refuses to consolidate its apps, but that doesn’t excuse it.

ConneX lets you change the EQ of music, customize the light effects and change the audio codec of streamed music, amongst a few select extras. You can certainly use the QR65 without it, but there’s no harm in exploring these extra features.

So what about if you’re using these desktop speakers while paired to a desktop PC or Mac? Well then you’re out of luck, because there’s no app support when you’ve got the QR65 hooked up to your computer by Bluetooth. You can use the dial to change the light effects a little but there are no EQ options, and if you want to turn up the volume, you’ll have to reach over to the speaker and turn up the dial manually (if you’re already at 100% PC volume, that is).

That’s why I said in the introduction that these speakers fare better as general multimedia speakers than desktop-exclusive ones; if you only use these connected to a computer, you’re going to miss a few features. The exception is if you connect the speakers to your computer and your phone, which lets you use the latter to equalize and change light effects, but that’s a lot of faff.

One other thing to bear in mind when using the Edifiers as your desktop speakers is that they don’t turn off or on with your computer – you’ll need to remember to separately turn them off or on, which is something I was constantly forgetting.

The other form of connectivity is via audio cable, with RCA plugging into the speakers and a 3.5mm jack to connect to your phone, MP3 player or other device. Pretty straightforward. Talking of connectivity, there’s actually a Sub Out port in one of the speakers that you could use to connect to an external subwoofer if you want more bass than the Xtreme Bass Series. I don’t see most people needing this, but it’s a nice optional extra.

Features score: 3.5/5

Edifier QR65 review: Design

Two good-looking rectangles
Stands included in box
Dials and ports in one speaker

The Edifier QR65 consists of two fairly large speakers, with one measuring 13 x 21.3 x 21.2 cm and the other a touch bigger due to it having extra dials and ports. This latter is the ‘active speaker’ which you use to control the music and connect to power and inputs/outputs, while the former is the ‘passive speaker’ which only has a port to connect it to the active speaker. Yes, they're actually 'powered' speakers even if they're listed as 'active', since the amplification is squirrelled into one of the boxes.

Setting up the Edifier is a little bit of a faff but once you’ve connected the active speaker to power, the passive speaker and your PC (via USB-A cables), Bluetooth device (via Bluetooth, obviously) or other audio device (via ports in the back and an included cable), and also directed the speakers towards you (using included stands, which sit at a 10-degree angle) you’re ready to go.

As well as the aforementioned ports, there are three charging ports which you can use to power up other devices (one USB-A and two USB-C) which is a handy extra feature.

On the right side of the active speaker is a button and two dials. The button is to switch between inputs (each press toggles you between Bluetooth, USB and Line In) and to turn off the speakers by pressing and holding. I ended up leaving them on though, to save myself the journey of going into my computer settings to change the active output.

Then onto the two dials: the first is for volume which is pretty self explanatory, though pressing it also pauses or plays music. The lower dial is for changing the light patterns of the speakers: turning it increases or lowers the brightness, and pressing it toggles between various patterns for the lights to display.

Oh, did I not mention the lights around the front of each speaker? That’s because of the (earned) stigma around LED lights in speakers, with many audiophiles assuming that they incur noise and indicate a probably bad-sounding product. That’s not a wrong assumption, but it’s not applicable in this situation, as the sound quality section describes. Saying that, I’m not sure the LED lights add much to the QR65, beyond the novelty factor.

I’m a big fan of the white version of the speakers I tested (there’s also a black version but it’s a little more bland, in my opinion). The clean-looking shell contrasts with the silver dials and the black front in what is a fairly minimalist boxy look (apart from the LEDs). If you’re a Mac user who insists on having a fashionable svelte desktop, these could well fit into your set-up better than most rival options.

Design score: 4/5

Edifier QR65 review: Sound quality

Full sound with lots of bass
Lots of codecs and Hi-Res certifications
Max volume could be louder for certain use cases

Each unit of the Edifier QR65 consists of a 1.25-inch dome tweeter and a 2.75-inch mid-low driver, and together they provide a nice warm sound.

When listening to music, you’re getting a sound that’s nice and bassy, though that’s not to say you’ll struggle to hear treble sounds. That’s not quite true of the mids, which do fall through the cracks a little bit, as does sub-bass. But that’s why you can plug a subwoofer into the speakers!

Playing games, the full-bodied sound works well for creating a layered soundstage – I could hear the background hum of cities and the echo of damp dungeons all around me.

The bassy emphasis was more noticeably when watching TV or movies, as it meant voices occasionally sounded a little low and muffled – they’d often blend into the rest of the mix a little, and I lost a few lines of dialogue in shows as a result.

If you’re using the Edifier QR65 as your PC speakers, you’ll find the 70W power output more than adequate. I played PC games with them and even at medium volumes, I was surrounded by sound – the shriek of an enemy behind me in Lords of the Fallen nearly gave me a heart attack when I thought it was something behind me in real life!

That’s not quite the case if you’re using these as general media speakers, as even at their maximum volume the QR65’s sound didn’t fill my living room – I wouldn’t recommend buying these in lieu of a TV soundbar or a set of tower speakers for your hi-fi system.

Depending on your audio input, you can enjoy listening with LDAC codecs, Hi-Res Audio or Hi-Res Audio Wireless certification, and that all means that you can enjoy great-sounding music whether you’re using Bluetooth 5.3 to connect your smartphone, are plugging in an aux-cord or have plugged the Edifiers into your computer.

Sound quality: 4/5

Edifier QR65 review: Value

Good value for money as a multimedia option
… but they definitely aren't for everyone

You're emphatically getting your money's worth with these Edifiers. They look good, provide decent music quality, all things considered, and do work well as jack-of-all-trades options for desktop, Bluetooth and wired audio.

However, if you just want any old speakers for your desktop, these are overkill. For workplace computers or on devices you won't use for multimedia entertainment, you don't need speakers that cost this much. If that's all you need, you might try looking for inexpensive speakers that cost a third (or less).

Value: 3.5/5

Should I buy the Edifier QR65?

Buy them if…

Don’t buy them if…

Edifier QR65 review: Also consider

How I tested the Edifier QR65

Tested for over two weeks
Tested at home connected to phone and computer

The testing process of the Edifier QR65 was just over two weeks.

About half of the testing process was done with the speakers connected to my Android phone via wired and Bluetooth audio, for music streaming. I streamed from Spotify, YouTube and briefly from Netflix during this time.

For the other half I connected the speakers to my custom-built Windows PC using the USB port, and used it for watching movies and TV shows and playing video games on my computer.

I've been reviewing devices for TechRadar for over five years now, a time which has seen my test speakers, headphones, earbuds and gaming peripherals, including a previous gadget from Edifier.

First reviewed in June 2024

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SoundMagic E80D review: sleek, sonically pleasing USB-C wired earbuds at a bargain price

4:00 pm | June 23, 2024

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

SoundMagic E80D: Review

With the SoundMagic E80D, the headphone manufacturer has released yet another budget pair of earbuds capable of serving up hi-res audio. That’s partly because the new E80D come with a built-in digital-to-analogue converter (DAC) – a common inclusion for SoundMagic products, and something that sets its products apart from a lot of other budget wired earbud creators. So, just how good do the E80D buds sound, and are they worth their asking price? Let’s find out…

The E80D’s built-in DAC is capable of handling audio up to 24bit / 96kHz, and was a key difference-maker on quality when I compared them to the DAC-less (and admittedly cheaper) Skullcandy Set USB-C. Added quality was apparent when listening to Adagio Per Archi E Organo In Sol Minore by the London Philharmonic Orchestra; the track’s organ and string elements were easily distinguishable, something that other budget buds can struggle with. When I listened to the same track on the Set USB-C, they melded the instruments together more, restricting the expressive nature of the composition.

Similarly, when I listened to Diamonds On the Soles of Her Shoes by Paul Simon, vocals in the mid-range felt more natural on the E80D to me. Percussion also felt a bit more weighty and impactful in the transition out from the intro than it did with the Skullcandy model.

SoundMagic claims that the E80D have a “defined bass” – and I’d agree. With Black Eye by Allie X, I was pleased by the level of depth the E80D could achieve. And although the kicks didn’t have the same sharpness that you’d expect from a more premium pair of wired headphones, they still packed a punch.

The biggest drawback when it comes to sound is the fact that the E80D just don’t get loud enough. At first, I wondered if all the years of high-volume listening were catching up on me, but after checking my experience against that of others online, I realized I wasn’t alone here. I checked loudness across a Windows laptop, Samsung Galaxy Z Flip 4 and Fiio M11S music player, but couldn’t always quite get the power I craved. I found myself typically playing songs at the 80-90% volume mark, which is significantly higher than when using the SoundMagic E11D, for instance.

Still, most people will likely be satisfied with the E80D’s sound levels if they keep them cranked high enough – it might just take a bit of getting used to. All in all, this is a bit of a shame though, given one of the reasons that their sibling, the SoundMagic E11C, got onto our list of the best wired headphones, was due to their impressive power.

Beyond sound, the E80D listening experience is relatively free of discomfort thanks to a comfortable fit – I gladly kept these in for hours across multiple days in the office and when walking home. They’re also pretty lightweight at 0.56oz / 16g, which adds a touch of elegance.

Additionally, they offer passive noise isolation, which helps to reduce the rumble of passing traffic, surrounding chatter and similar. In all honesty, I was surprised at how good the E80D’s noise isolation was given their price tag of $44 / £39.98 / AU$66. When I was playing music in the office, I could barely make out the sound of typing or colleagues speaking. Of course, you’re not going to get the near-silence that you may get from active noise canceling, but for what they set out to do in the isolation department, the E80D deliver.

One area of minor frustration during listening sessions was with cable noise, which, although not severe, is still a slight distraction. This was more prominent when I was on the move, although this is pretty common for earbuds that hang down, rather than wrap around the ear. If you want to tune in to music or podcasts while on the go and you’re not hellbent on purchasing wired buds specifically, it might be a better move to select a pair of the best wireless earbuds instead.

If you need to find the perfect fit or get the most out of the E80D’s noise isolation, you’ll be pleased to hear that there are additional ear gels included in small and large sizes, as well as a double-layered option (the default ear tips are standard, medium-sized gels). On the topic of extras, the E80D also come with a hard carry case for transporting your buds around.

The SoundMagic E80D look pretty similar to their predecessor, the SoundMagic E11D. They aren’t particularly stunning, although their silver-colored wire has a twisted look, which I’m a fan of. However, it’s worth noting that I also tested an older version of the E11D in Black, which had a much chunkier USB-C connector and didn’t have the coiled visual effect of the Silver model, so the E80D make for a significant improvement over this variant appearance-wise. My largest gripe with the E80D’s build is that the remote – which includes controls for volume and play/pause – is similar to that of the E11D, and still has buttons that are too small and close together. However, the controller’s inbuilt mic performs well, and recorded relatively clear audio when I created a voice recording – though I could make out a little static in the background.

Overall, you get a lot for your money with the SoundMagic E80D without having to sacrifice on quality across audio, design, or comfort – as a result, I would recommend these.

SoundMagic E80D and carry case resting on top of orange-colored amp — (Image credit: Future)

SoundMagic E80D review: Price and release date

$44 / £39.98 / AU$66
Launched on April 17, 2024

The SoundMagic E80D are still quite fresh, having only been released in April 2024, around six years after the E11D. One of the most attractive aspects of the E80D is their affordability, with the model holding a list price of $44 / £39.98 / AU$66.

If you’re working with a slightly smaller budget though, you can still find quality options, such as the stylish Skullcandy Set USB-C, which come in at $31.99 / £29.99 (about AU$50). You will, however, miss out on the inbuilt DAC, with the Skullcandy supplying decent audio, but not to the same standard you get with the E80D.

SoundMagic E80D review: Specs

Person holding SoundMagic E80D's controller — (Image credit: Future)

Should you buy the SoundMagic E80D?

Buy them if…

Don't buy them if...

SoundMagic E80D: Also consider

SoundMagic E80D review: How I tested

SoundMagic E80D resting on top of orange-colored amp — (Image credit: Future)

Tested across the span of multiple weeks
Used in the office and whilst on walks
Predominantly tested using Tidal on FiiO M11S music player

When judging the SoundMagic E80D’s audio quality, I usually connected them to the FiiO M11S hi-res music player and listened to music via Tidal. However, I also tried tuning into some tracks on Spotify using my Samsung Galaxy Z Flip 4 and watched some YouTube videos with them on my Windows laptop.

As always, I selected tunes from the TechRadar testing playlist when conducting this review, which includes records from a whole host of different genres. I used the E80D in the office, on walks, and at home over the course of multiple weeks.

Creative Aurvana Ace 2: Two-minute review

The Creative Aurvana Ace 2 got audiophiles excited in a way few things ever could when news of the xMEMS-driver-toting earbuds were first announced. So, do they deliver on their undoubted potential? Well... yes and no.

The headline feature of the Creative Aurvana Ace 2 – at least according to these pumped up audiophiles – is the use of solid-state drivers created by tech manufacturers xMEMS. To boil down a PowerPoint presentation's worth of tech jargon, these audio drivers are created using the same processes as chips (computer ones, not the fried foodstuff) to improve phase consistency and maintain dynamic audio while keeping earbuds small. And if you want us to skip any form of buzzword, then the point is this: the drivers are meant to revolutionize audio in earbuds.

And, frankly, it works: the Creative Aurvana Ace 2 sound great. They provide a lovely neutral sound with fantastic detail across the board and a dramatic sound stage. They’re some of the best noise-cancelling earbuds I’ve used at this price... if all you care about is sound. Perhaps the color design, too, which is also worthy of praise as I'm loving the Creative Aurvana Ace 2's black-and-copper aesthetic.

Unfortunately, while sound is (obviously) quite important for earbuds, it’s not the only factor to consider, and Creative flubs the landing in a few other key areas.

The battery life isn’t great. The noise cancellation is fine at best and bonkers at worst. The Creative app doesn’t have enough features to justify itself. The equalizer doesn't seem to work. The touch controls are basically impossible to reliably use. And, worst of all, there’s the screaming, which you can read more about in the design section.

If every rose has its thorn, then, this one is attached to an entire, overgrown bush.

Some have been calling the Creative Aurvana Ace 2 the first earbuds to use this xMEMS tech but, as you may have discerned from the use of the number ‘2’ in the name, they’re not alone. They were released alongside the ‘standard’ Aurvana Ace which also features this technology.

What upgrades does the Creative Aurvana Ace 2 have over its near-namesake, then? The higher-end buds cost a touch more, introduce adaptive ANC, add support for the AptX Lossless codec, and are decked out in that smoldering copper finish. And that's, er, it.

In short, you might find the ‘cheaper’ Creative Aurvana Ace versions provide better value for money.

Creative Aurvana Ace 2 review: Price and release date

Announced January 2024
Cost $149.99 / £164.99 / AU$229.95

The Creative Aurvana Ace 2 were announced at the beginning of 2024, alongside the more affordable Creative Aurvana Ace – both sets of earbuds marked the first use of the xMEMS drivers, though at the time of writing they’re not the only ones.

The buds will set you back $149.99 / £164.99 / AU$229.95, so they’re pretty much mid-range earbuds, though that market segment is very large and the Ace 2 sit toward the low end of it. For some context the Aurvana Ace cost $129.99 / £134.99 / AU$169.95, and in both the US and Australia I’ve already seen small discounts on both products.

There’s not actually that much competition in the low-triple-digit price band, and you’ll be able to see a few select competitors below, but perhaps the closest contemporary rival is the new Nothing Ear which came out around the same time, for the same price, and which I reviewed immediately prior to the Ace 2.

Creative Aurvana Ace 2 review: Specs

Creative Aurvana Ace 2 review: Features

4-hour buds battery, 16-hour with case
App doesn't really add anything
Buds keep screaming at me

In the introduction to this review, I ominously mentioned the screaming, and your mind might now be picturing some atmospheric horror film. You’d be better off thinking of that mandrake scene from the movie Harry Potter and the Chamber of Secrets. When noise cancellation is turned on, and the buds are totally enclosed (ie, clenched in your hand) they sometimes make a weird, high-pitched screaming sound.

Why would you grip the buds in your hand like that? Well, that’s not the only reason you’d have them enclosed – the noise sometimes happened when I was trying to use the buds' touch controls, when they were sandwiched between my hands and my face. Having a high-pitch squealing beamed straight into your shell-like isn’t nice.

I can’t say for sure what causes this noise, but my guess is that the noise cancellation creates a feedback issue into the buds when they’re in a small space. I also heard the buds pumping out an odd sound when I was in enclosed spaces such as an elevator or small connecting rooms in gyms or theaters. Whatever the reason, the screaming and the strange helicopter-blade-sounding ANC sound were both disconcerting and annoying.

Although it's possible I have a faulty review sample, I still feel compelled to write this review honestly, and (while we're happy to test another set in future) this was a genuine issue and one that surprised the TechRadar team.

These issues didn’t occur when ANC was deactivated, and they’re not the only reason that I’d advise you not to turn the Aurvana Ace 2’s noise cancellation on – the main one is that it simply isn’t very good. It takes the edge off background sound but struggles to eliminates louder noises, as well as low-level wind or louder talking.

That's not to mention the transparency mode, which ostensibly beams in background noise so you can still hear what's going on around you. Most buds have this feature, but the Aurvana Ace 2's was unique in that it seemed to amplify these sounds buzzed in. Passing busses, nearby weights dropped in gyms, me coughing, all were blared into my ear like a klaxon from hell. Too loud!

ANC can be toggled using Creative’s smartphone app, creatively called… Creative. This has a few features like ANC control, button customization and an equalizer (which I’ll get into in the Sound quality section, given this one increasingly resembles War and Peace) but as far as headphone tie-in apps go, it’s a little sparse.

Creative’s official estimate for the Ace 2’s battery life is four hours, and in testing I’d roughly concur – if you follow my advice and turn ANC off, that goes up to six hours. The case battery bumps that up to 16 hours of listening, or 24 without ANC.

I don't think I've ever tested a pair of earbuds with a battery life this short: even the worst rivals sit around six hours. I’m writing this journey on a coach journey that’ll last longer than four hours – life (general) necessitates extended listening periods!

Features score: 2/5

Creative Aurvana Ace 2 review: Design

Small, comfortable earbuds
Alluring black-and-tan look
IPX5 certification

The Creative Aurvana Ace 2 come in a pretty appealing hue. They're black with a bronze trim, and both the case and the buds take this theme. It’s pretty zingy, I like it.

The buds weigh 4.7 each, and I have no complaints about the fit – they felt snug in the ear and only once or twice did they become a little loose. I used them at the gym a few times, too, so that's not unheard of by any means!

They’re lightweight so I never felt earache from wearing them, and the IPX5 protection meant I felt safe using them in drizzle. I couldn't find an IP rating for the case, so leave that poolside when you're going for a dip.

Apparently the buds have touch controls but I think you need magical powers to use them, because I could never work out how to toggle the haptic button. Not even the app tells you how. Only once did I use it successfully, and that was when I didn’t even mean to – I somehow turned the volume up to full when putting the buds in my ear. Helpful.

Then there’s the case, which looks pretty standard as wireless earbuds go: a small pebble, which weighs 46.6g. That’s nice and light, and the Aurvana Ace 2’s case (the cAse 2?) often disappeared into my pockets.

The case has a USB-C port for charging and also supports wireless charging, and its only other feature of note is a small intent loop through which you could put a lanyard or wrist mount string. You don’t see these often enough in earbuds.

Design score: 3.5/5

Creative Aurvana Ace 2 review: Sound quality

xMEMS drivers really bring it
Equalizer doesn't bring anything
Lots of supported audio codecs

I can finally say some good things about the Aurvana Ace 2! They sound pretty great compared with same-price rivals. I’ve just come off of testing some similarly priced earbuds and the Ace 2 sound better.

The sound is totally, white-flag-waving neutral, which is something you don’t see enough of in the warm world of mid-range earbuds. This means that the sound doesn’t lean by default too far towards the higher or lower pitches.

Something I loved about the buds is the palpable sound stage, more so than on any buds I’ve tested in ages – you can really sense the different instruments around you, helping you to enjoy your songs on a different level.

These boons are all, presumably, thanks to the use of the xMEMS driver, as well as an extra 10mm dynamic driver on each bud. Perhaps the xMEMS revolution really is here, though I don't see the Aurvana Ace 2 being the product to deliver it.

The buds also support a nice big range of audio codecs, for people who know what that means. Enjoy high-fidelity audio from AptX standard as well as Adaptive and Lossless as well as AAC, LC3 and SBC. Good luck finding LC3 files to listen if you're not an avid audio fan though.

By default the sound is a little too low, and there’s no way in the app to turn it up. That's apart from the aforementioned accident of turning up the volume on the bud’s stem, which unlocked never-before-heard levels.

Since every positive comment I make about the Ace 2 comes with a qualifier, here's your sound quality caveat – the equalizer. I used it when listening to the buds. I used it quite thoroughly. I slid the various dials up and down. And the differences in sound were so minute that I'm not convinced I wasn't imagining them, like some audio placebo. If you want to add some extra treble to your music, or pull out the bass, these aren't the buds you're looking for.

Sound quality: 4/5

Creative Aurvana Ace 2 review: Value

Audio quality is better than most same-price rivals...
...but most other features are worse

If you'd let me test the Creative Aurvana Ace 2 without revealing the price, I’d probably be able to tell you exactly how much they cost to the penny – they’re basically bang average for earbuds in this bracket. But that’s a game of averages.

In terms of audio quality, the Ace 2 punch above their weight – you could pay a fair bit more and expect sound quality like this.

However that’s balanced out by a dearth of features, and some major issues that display the trappings of cheaper buds than the Ace 2. These are corners cut to keep the price considerate.

Value: 3.5/5

Should I buy the Creative Aurvana Ace 2?

Buy it if…

Don’t buy it if…

Creative Aurvana Ace 2 review: Also consider

How I tested the Creative Aurvana Ace 2

Tested for 10 days
Tested at home, in the office and on walks

I used the Creative Aurvana Ace 2 for just over two weeks prior to writing this review, and used them paired alongside both my Android phone, Windows computer and briefly my Apple iPad.

The testing time co-incided with a trip I took so the Ace 2 got tested to the max in terms of environments: I listened to music, conducted calls and watched Netflix in cafes, on buses, in a hotel room, in busy streets, in the rain and shine and even in packed pubs (it was only a trip to Sheffield, England, so I wasn't missing anything).

I have over five years' experience testing tech gadgets for TechRadar, which includes loads of earbuds, especially at this lower- and mid-range price levels. Seriously, the Ace 2 weren't the only pair of earbuds I was using during the testing, so I can accurately compare them to rivals.

First reviewed in June 2024

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SoundMagic E11D review: impressive hi-res USB-C wired earbuds that won’t break the bank

1:00 pm |

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

SoundMagic E11D: Review

SoundMagic makes some bold claims about the SoundMagic E11D, stating that they deliver “superior sound”, “enhanced accuracy and detail”, and are made from “high-quality aluminum components” – but how good are they really? Pretty good, actually.

Let’s start with what matters the most – audio quality. I was very pleased with the clarity offered by these buds, and when listening to Diamonds on the Soles of Her Shoes by Paul Simon, they skilfully weighted the various instrumental elements – from the groovy bassline to the recurring guitar riff and layered vocals. However, I did find that clarity was hampered somewhat at louder volumes. On that point, these buds can get very loud if you want them to; there’s no way that you’ll be left wanting more on the amplification front.

When tuning into Black Eye by Allie X, I was impressed by the E11D’s ability to supply controlled bass. The deepest tones weren’t astonishingly impactful, but they certainly demonstrated a bit more depth than the Skullcandy Set USB-C buds on comparing the two. Similarly, Rains Again by Solji was delivered clearly and without any tinniness at 50% volume. However, high-pitched vocals fell short of being perfectly crisp. All in all, though, audio will satisfy the vast majority of listeners – something that also rings true of the E11D’s sibling, the SoundMagic E11C, which appear on our list of the best wired headphones.

The E11D’s effectiveness in the sound department is, in part, thanks to their built-in digital-to-analogue converter (DAC), which can handle up to 24bit/96kHz audio. This alone earns the E11D kudos, especially given that even some of the best wired earbuds still require one of the best portable DACs to truly showcase their skills. That’s not to say that you’ll transcend to a new plane of consciousness by using the E11D, but for the very decent list price of $44 / £39.99 / AU$65, you’ll most certainly get your money’s worth.

On the topic of cost, it’s important to consider that the E11D arrive with a few extras to sweeten the deal. Alongside some silicone ear tips, in small, medium, and large sizes, you also get a sturdy black and gray carry case, which is a decent-looking, convenient addition to the mix.

Another area in which the E11D score positively is comfort. I kept them in my ears for multiple full work days and while on walks, and they never once fell out of my ears or felt irritating after longer listening periods. In addition, the E11D enable you to enjoy music, podcasts or videos without being overly distracted by external noise, thanks to their noise isolation.

Imagine this: you’re sitting in the office with colleagues around you typing away. A plethora of sounds surround you, whether it's occasional chatter or the roar of an engine as a car zooms past – but even that’s overridden by an electric guitar blaring from the next room over. Well, let’s just say I didn’t have to do much imagining last Thursday – but, thanks to the E11D, all of this wasn’t too much of a distraction. Noise isolation here is pretty good, and although some sounds will still creep through, these buds do a nice job of keeping you zoned into whatever you’re listening to – especially considering they don’t come with specialized foam ear tips.

One more factor that can disrupt a wired listening experience is the sound of wires moving during use. SoundMagic has done a decent job of keeping cable noise relatively dulled compared to other more budget models. You can still hear these sounds if you touch the wires, for instance, but the noise is far less imposing than I’ve heard with the Skullcandy Set USB-Cs, for example.

So far you might be thinking that me and the E11D have an unbreakable bond that could last a lifetime. Unfortunately, I’m going to have to burst that bubble. You see, these earbuds may offer solid sound and considerable comfort, but they don’t hit all the right notes, especially on the design front.

First, the E11D’s controller is pretty disappointing. While equipped with the classic volume up, down, and play/pause buttons (the latter can also be used to take or hang up calls and skip songs), the buttons themselves are so small and positioned so close together, that they can prove a challenge to use. Even my colleague with fingers smaller than mine struggled with the button controls. This is pretty frustrating if you’re trying to adjust the volume while on the go, for instance. When it comes to the E11D’s built-in mic, though, I’m pleased to report that it works very well, and I could hear myself clearly – with only a little background static – when listening back to a voice recording.

Looks-wise, the E11D aren’t stone cold stunners, but they’re also far from ugly. The rounded appearance of the actual buds lacks the sharpness of models such as the Skullcandy Set USB-C, for instance, but they're still classy in their way. Available in either black or silver, I did test a seemingly older variant of the E11D in black, which had a larger connector, plus they did have some issues working with my Samsung Galaxy Z Flip 4. However, when using the newer, silver version of the E11D, I experienced no such issues, and in fact I’d argue that their cable’s twisted design makes them the better choice.

Overall, the E11D deliver plenty of bang for their buck. The combination of hi-res audio and impressive noise isolation means that you’ll almost definitely be satisfied with what they offer.

SoundMagic E11D earbuds and gray carry case on top of orange amp — (Image credit: Future)

SoundMagic E11D review: Price and release date

$44 / £39.99 / AU$65
Launched in November 2018

SoundMagic’s E11D earbuds are available for $44 / £39.99 / AU$65 and first launched in November 2018.

These are a budget option, but there are USB-C earbuds on the market that are cheaper still, such as the aforementioned Skullcandy Set buds, which come in at just $31.99 / £29.99 (about AU$50), but also Apple’s USB-C EarPods (list price currently $19 / £19 / AU$29). More on the Skullcandy alternative later – but be warned that in our opinion, Apple’s USB-C EarPods don’t deliver particularly great sound quality. If you want access to a higher caliber of audio, shelling out a little more on the E11D could be well worth it.

SoundMagic E11D review: Specs

SoundMagic E11D controller against orange background — (Image credit: Future)

Should you buy the SoundMagic E11D?

Buy them if...

Don't buy them if...

SoundMagic E11D review: Also consider

SoundMagic E11D review: How I tested

SoundMagic E11D hanging down against orange background — (Image credit: Future)

Tested across two weeks
Used in the office, at home, and while walking
Predominantly tested using Tidal on FiiO M11S hi-res music player

I tested the SoundMagic E11D earbuds in a range of environments, including the office, at home, and while out and about. When listening to music, I played tracks from the TechRadar testing playlist, which contains tracks from a vast variety of genres, in order to measure sound quality.

I also listened to hours of songs via Tidal on the FiiO M11S hi-res music player, and watched YouTube videos on my windows laptop. When appropriate, I used the Skullcandy Set USB-C buds to compare the E11D on audio quality, comfort, and ease of use.

Astell & Kern A&ultima SP3000T: One-minute review

The Astell & Kern A&ultima SP3000T is just the latest demonstration of the South Korean manufacturer's best-in-class philosophy in action. Astell & Kern makes no apologies where the pricing of its digital audio players is concerned and, more often than not, its products turn out to be well worth their considerable asking price.

Fortunately, the Astell & Kern A&ultima SP3000T looks and feels like a premium product should and it’s specified to do the audio business in style, too. There are numerous technical highlights to its extremely thorough specification, but the real stand-out is Astell & Kern’s use of your actual, genuine vacuum tubes in the amplification stage. Thought valve amplification was just for massive, and massively expensive, old-school hi-fi separates? Think again.

On top of its technical credentials, the Astell & Kern A&ultima SP3000T is a lovely item in a fairly substantial way. It’s made from silver-plated stainless steel, for instance. Its controls are beautifully implemented. And its operating system is as stable and logical as they come.

But the best thing about the Astell & Kern A&ultima SP3000T is the sound it makes. Truly, it is one of the best MP3 players around and then some. Listening to hi-res audio through decent headphones and it just sings – it expertly handles every technical aspect of music reproduction, but without losing sight of the fact that it’s supposed to be entertaining. So it’s a delight in pretty much every respect.

Astell & Kern A&ultima SP3000T review: Price and release date

Astell & Kern A&ultima SP3000T portable music player on a white surface — (Image credit: Future / Simon Lucas)

Priced at $2,999 / £3,199 / AU$5,299

The Astell & Kern A&ultima SP3000T is on sale now, and in the United Kingdom it will set you back £3,199. In America it goes for a marginally more reasonable $2,999, while in Australia it will cost you AU$5,299.

That’s a lot, isn’t it, for something that (on the face of it) doesn’t do anything your smartphone can’t do?

Astell & Kern A&ultima SP3000T review: Features

The Astell & Kern A&ultima SP3000T portable music player displaying left input stage — (Image credit: Future / Simon Lucas)

Bluetooth 5.0; SBC, AAC, aptX HD and LDAC codec compatibility
32bit/768kHz and DSD512
Vacuum tube amplifications

Well, it doesn’t take long to show that ‘it doesn’t do anything your smartphone can’t do’ nonsense for what it is, does it? Yes, this is a digital audio player and so is your smartphone – but by this rationale a rowing-boat is the same as a yacht.

Perhaps the obvious sign that this is a device specified without compromise to make your portable music experience as enjoyable as possible is the Astell & Kern's three-mode amplification. The A&ultima SP3000T uses a pair of Raytheon JAN6418 miniature vacuum tubes – actually military-valves – in its amplification stage. Each pair is carefully matched, and then equally carefully suspended in a full-on silicone PCB arrangement to guard against noise derived from vibration or minor shocks to the player's chassis. And then you can select ‘Tube Amp’ mode to enjoy what Astell & Kern calls ‘the natural warmth of a vacuum tube amplifier’. Of course, you could go with the more usual ‘OP Amp’ mode (for ‘expansive soundstage and crystal-clear resolution’) or a mix of the two with ‘Hybrid Amp’ mode (‘the richness of analogue blended with high-resolution clarity’).

Obviously, you’ll investigate the sonic characteristics of each of these options, but it’s worth pointing out here that if you select ‘Tube’ or ‘Hybrid’ mode, the vacuum tubes themselves glow redly through a little window on the rear of the player. Which is disproportionately satisfying.

The Astell & Kern A&ultima SP3000T portable music player in hybrid mode, with red glowing vacuum tubes — (Image credit: Future / Simon Lucas)

Elsewhere, Astell & Kern has been just as thorough. The audio circuit configuration, for example, calls for two AKM 4191EQ DACs to act as digital delta-sigma modulators to reduce noise from the input stage on the left and right channels independently before a couple of AKM AK4499EX DAC chipsets process the analogue signals. After all this complicated work has been done, the SP3000T offers a choice of six DAC filters to further finesse the eventual sound.

A Snapdragon 6125 octa-core processor with 8GB of DDR4 memory takes care of user interaction. It promises fast system operation and a stable, smooth user interface and the CPU, memory and wireless communication components are all grouped as a single system-on-chip for optimum efficiency as well as minimal heat and digital noise.

The SP3000T uses Bluetooth 5.0 for wireless connectivity and is compatible with SBC, AAC, aptX HD and LDAC codecs. Dual-band Wi-Fi means the player can be Roon Ready (and also means it’s simplicity itself to install your favourite music streaming service apps). It can support digital audio files of every type, and is compatible with file sizes of up to 32bit/768kHz and DSD512. By using Astell & Kern’s DAR (digital audio remaster) technology, sample rates can be increased in an effort to maximise sound quality – 44.1kHz content, for instance, can be upscaled to 352.8kHz and anything below 96kHz can be converted to DSD128.

The 5050mAh battery is good for around 10 hours of playback - although it’s worth bearing in mind that that figure applies to 16bit/44.1kHz content heard at moderate volume. The figure when listening to properly high-resolution stuff at bigger levels is considerably less. Charging the SP3000T from ‘flat’ to ‘full’ takes a leisurely 3.5 hours or thereabouts.

Internal memory is a useful-but-hardly-spectacular 256GB. Happily, there’s a microSD card slot on the bottom of the player that can accept cards of up to 1TB.

Features score: 5 / 5

Astell & Kern A&ultima SP3000T review: Sound quality

Astell & Kern A&ultima SP3000T portable music player playing Chick Corea's Return to Forever FLAC file — (Image credit: Future / Simon Lucas)

Spacious and well-defined sound
Detailed and dynamic in equal measure
End-user options don’t impact performance all that radically

It almost goes without saying that the bigger the digital audio file you listen to the better, and the more accomplished the headphones you use the better, too. But unlike quite a few digital audio players at quite a few price-points, the Astell & Kern A&ultima SP3000T doesn’t hold you to ransom. It just makes the best of the situation in which it finds itself.

And what’s equally noteworthy is just how consistent the SP3000T sounds, no matter how you might try to influence it with your amplification and/or DAC filter choices. There are differences to be heard, of course, but they’re far from fundamental. At its heart, and in pretty much every circumstance, the Astell & Kern is an eloquent, entertaining and absolutely wide-open performer.

A listen to a 24bit/96kHz file of Chick Corea’s Return to Forever using ‘Hybrid’ amplification and ‘short delay slow roll-off’ DAC filtering allows the SP3000T to really show what it’s made of. It’s a spacious, rigorously defined listen, with a huge amount of dynamic headroom available in order to track the numerous changes in volume and intensity the recording indulges in. It allows even the most complex recordings the space in which to operate and manages to tie every individual element of a recording together in order to present it as a whole.

Astell & Kern A&ultima SP3000T portable music player displaying adjustable volume levels — (Image credit: Future / Simon Lucas)

The tonal balance – naturalistic and convincing, whether you’re listening to processed, electronic music or analogue recordings of analogue instruments – is beautifully judged, too. Low frequency information is deep and textured, straight-edged at the moment of attack and rhythmically positive as a result. The midrange is similarly detailed, which allows vocalists of all kinds the opportunity to describe their character and attitude as well as their technique. The top of the frequency range has shine and substance in more-or-less equal measure and, just as with every other area of the frequency range, is absolutely loaded with detail. It seems unlikely in the extreme that the Astell & Kern is overlooking any information in your favourite recordings, no matter how fleeting or minor – and it puts them into appropriate context with real positivity, too.

Some alternative players that get all this sort of technical stuff right can overlook the simple fact that music = entertainment, though, and indulge in the sort of analysis that makes them sound more like lab equipment. The SP3000T is having none of that. It’s an energetic, entertaining listen that prioritizes the enjoyment of music over the minutiae of how it’s been recorded. Which is why you’ll find yourself listening for longer than you expected, time after time.

Sound quality score: 5 / 5

Astell & Kern A&ultima SP3000T review: Design

Astell & Kern A&ultima SP3000T portable music player showing a knurled volume control with light behind the knob — (Image credit: Future / Simon Lucas)

Silver-plated stainless steel
142 x 85 x 18mm (HxWxD)
483g

As is standard Astell & Kern operating practice, the A&ultima SP3000T is pointily angular, and is the sort of weight (483g) and size (142 x 85 x 18mm, HxWxD) that manages to feel expensive without ruining its portability. As long as you’ve a nice strong pocket to put it in, anyway.

The frame of the player is made from 316L stainless steel, plated with 99.9 per cent pure silver, which looks and feels about as luxe as you might imagine. The bottom edge features a USB-C socket alongside that microSD card slot, and the left side has four little playback control buttons. The right side, meanwhile, features the company’s trademark knurled volume control in a deep, interestingly shaped recess. There’s a light behind the control – its colour depends on the type and size of the digital audio file that’s playing.

On the player’s top edge there’s a power on/off button and all the outputs. There are 2.5mm and 4.4mm balanced headphone sockets and a 3.5mm unbalanced alternative which also doubles as a digital optical output.

The front of the machine is almost entirely touchscreen. It’s a big (5.5in) number of 1080 x 1920 resolution, it’s bright and crisp, and it’s responsive, too. Navigating menus, investigation playback options, loading apps and what-have-you can all be done easily and quickly.

It's also worth nothing that – for reasons best left to Astell & Kern itself – the case is made from calfskin. Vegans, and anyone opposed to using animal products in general, should look away now.

Design score: 5 / 5

Astell & Kern A&ultima SP3000T review: Value

Top of an Astell & Kern A&ultima SP3000T portable music player, showing microSD port — (Image credit: Future / Simon Lucas)

Obviously this is a madly expensive device by prevailing standards ($2,999 / £3,199 / AU$5,299). And obviously it’s not easy to make a product that is, by necessity, small enough to be realistically portable. But the SP3000T is beautifully made, from premium materials, is specified like there’s no tomorrow and is able to deal with each and every file type and size you might consider listening to.

And, most significantly of all, it’s an uncomplicatedly delightful listen. Does it represent ‘value’? To those who want the best around and are able to pay for it, the answer has to be ‘yes’.

Should I buy the Astell & Kern A&ultima SP3000T?

Astell & Kern A&ultima SP3000T portable music player aux out ports — (Image credit: Future / Simon Lucas)

Buy it if...

Don't buy it if...

Astell & Kern A&ultima SP3000T review: Also consider

How I tested the Astell & Kern A&ultima SP3000T

Astell & Kern A&ultima SP3000T portable music player side view controls — (Image credit: Future / Simon Lucas)

Tested for over a week
Tested with streamed and downloaded content
Tested with wired and wireless headphones

I installed my Qobuz and TIDAL accounts and I loaded the player with a lot of high-resolution content, too, from 24bit/96kHz stuff up to DSD128. I used expensive over-ear and in-ear headphones via the 4.4mm and 2.5mm outputs, as well as considerably less expensive true wireless earbuds connected via Bluetooth.

I investigated amplification, DAC filter and EQ options. And then I listened to a variety of music, for several hours a day for well over a week. And then, rather tragically, I had to return the SP3000T to its owners…

First reviewed in June 2024

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