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Dyson OnTrac review: a valiant second attempt that’s blown away by the competition
8:54 am | September 2, 2024
Author: admin | Category: Audio Computers Gadgets Headphones | Comments: Off

Dyson OnTrac: Two-minute review

Well, the Dyson Zone wasn’t an April Fool’s joke and the company best known for its vacuums was indeed dead serious about entering the audio market – because, lo and behold, we now have Dyson’s second pair of headphones. This time around, they go without the Bane-like air purification mask and, instead, focus solely on what’s important to a pair of headphones: sound quality. It also introduces a more accessible aesthetic in the process. 

Called the OnTrac, Dyson is now unequivocally aiming for a share of a crowded market currently occupied by some of the best headphones and best noise-cancelling headphones from more well-established brands.

The OnTrac’s spec sheet certainly implies Dyson is in with a fair shout. Music is delivered via custom 40mm neodymium drivers that are tilted 13˚ towards the ear, which allows your ear canal to suck up the waves as confidently as the maker’s iconic vacuums. ANC is onboard, which utlizes a custom algorithm to cancel up to 40dB worth of unwanted ambient noise and, in practice, it works very well indeed, with office chatter all but silenced and screaming babies on trains dulled to a whisper. It doesn’t quite reach the lofty heights of the best-in-class sets (Bose, I’m looking at you), but you can also do an awful lot worse.

Comfort is subjective. I have to agree that, despite the size and 451g weight of the OnTrac, it doesn’t feel like it when worn, thanks in no small part to Dyson’s rather clever move of attaching two small battery units to the headband (rather than the ear cups) for more even weight distribution. But the weight does become a little uncomfortable over prolonged periods (something I don’t experience with my daily pair of Sonos Ace cans). I do appreciate the fact that the OnTrac can be customized to a great degree thanks to interchangeable ear cushions and ear cups, plus the headband is available in four color finishes. It makes an already unique-looking set of headphones even more so.

On the sound quality front, the Dyson OnTrac delivers an overall presentation that is cleaner than I was initially expecting. Vocals, in particular are handled with poise and there is a discernible soundstage within which instruments are placed. While detail is also good, the OnTrac lacks dynamic punch and music can sound a little flat. It’s not an offensive or ‘bad’ listen by any means, but when competitors do sound better and for less money, it becomes tricky to recommend.

How much is the Dyson OnTrac I hear you ask? At $499 / £449.99 / AU$799, the OnTrac enters right near the top of the premium headphone market, and immediately gains the Apple AirPods Max and Bose QuietComfort Ultra as natural competitors. Sony’s WH-1000XM5 also gets a deserving mention here. These three pairs all represent some of the best wireless headphones currently available and all come from established brands. In the OnTrac, Dyson has to be rather optimistic, expecting potential customers to part with a big chunk of cash despite not having a lot of audio experience.

If you value having the option to customize your headphones, though, and you want something that is genuinely unique, the OnTrac should be at the top of your wishlist. And if Dyson can release a future firmware update that allows for greater customization of the EQ, it could be onto a genuine winner.

Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)

Dyson OnTrac review: Price and release date

  • Announced July 18, 2024
  • List price of $499 / £449.99 / AU$799
  • Additional cost for customizing ear cushions and ear cups

The Dyson OnTrac headphones were announced on July 18, 2024 and are now available to purchase outright directly from Dyson and select authorized retailers for $499 / £449.99 / AU$799. At this price, they sit at the upper end of the premium headphones market. The Apple AirPods Max are officially priced higher at $549 / £499/ AU$899 but can be picked up at a discounted price during big sale events, while the Bose QuietComfort Ultra – comfortably the best noise-cancelling headphones available right now – retail for $429 / £449 / AU$649 and, again, are often discounted.

If you want to customize your OnTrac headphones, ear cushions and outer caps are available for $49.99 / £49.99 / AU$79.99 a pair, although, at the time of writing, these are only available directly from Dyson.

For anyone else wanting to personalize their headphones, adding one pair of each soon adds up, so you’ll need deep pockets if you want to unleash the full potential of Dyson’s latest headphone effort.

Pricing the OnTrac so high definitely doesn’t work in its favor. It’s fair to say Dyson isn’t a ‘market leader’ when it comes to audio products, so to price its second pair of headphones much higher than five-star pairs from established audio brands is a bit delusional. Even if the OnTrac were brandished with a Sony or Bose logo, it would still be a tough sell. If the headphones were brought down to around the $400 / £400 / AU$600 mark, I think it would be a bit easier to be a little more positive about them.

Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)

Dyson OnTrac review: Specs

Dyson OnTrac review: Features

  • Up to 55 hours battery life
  • Good, not ‘best-in-class’, noise cancellation
  • No wired listening or hi-res audio

One of the headline features of the Dyson OnTrac is its 55-hour battery life. It’s quite exceptional and eclipses much of its closest competition. The Sennheiser Momentum 4 Wireless (60 hours) and Cambridge Audio Melomania P100 (60 hours ANC on / 100 hours off) are similarly-priced pairs that do better, but nothing from Sony or Bose comes even close. Dyson includes a 1.2m braided USB-C cable in the box for the moment you do eventually run out of juice.

Alongside the exceptional battery life, Dyson is also keen to emphasise the capabilities of its noise-cancellation system. Eight mics are deployed in total across both ear cups to constantly listen to the world around you – 384,000 times a second, Dyson stresses – and cancel out external sound up to 40dB. This isn’t an adaptive noise-cancellation system, meaning it’s either ‘on’ or ‘off’, although there is a Transparency mode that lets in ambient sounds. This can be activated with a strong double tap on either ear cup. If you want to turn it off entirely, you’ll need to use the MyDyson app.

In real-world testing, the noise cancellation works incredibly well. Office chatter was canceled out entirely and screaming babies on public transport were reduced to near-silence. It’s certainly one of the better iterations of noise cancellation I’ve personally come across, although I would say the Bose QC Ultras do still claim the title of truly best in class.

Alongside being able to adjust noise cancellation, the MyDyson app is where you can (sort of) tailor the sound. There are three EQ presets to choose from: Enhanced (on by default), Bass Boost and Neutral. It would have been nice to be given the opportunity to fully personalize the EQ settings in a similar vein to what Bowers & Wilkins or Bang & Olufsen offer through their respective apps.

Screenshots taken from the MyDyson app when connected to Dyson OnTrac headphones

(Image credit: Future / Max Langridge)

The MyDyson app also displays a live sound exposure graph that constantly monitors noise levels both inside and outside the ear cups, clearly showing you whenever the levels become potentially harmful. It turns out I prefer to listen at a volume level that borders on ‘not recommended’. It doesn’t send you notifications when the audio you’re listening to encroaches into harmful territory, but you can toggle a setting that will ensure the volume doesn’t go above 80dB.

The Dyson OnTrac also features wear detection, meaning they’ll automatically play and pause when you put them on or off respectively, and it works with pinpoint accuracy. The headphones will also turn themselves off after 30 minutes of inactivity.

Elsewhere in regard to the feature set, the OnTrac falls a little short in comparison to the best at this level. Firstly, the Bluetooth 5.0 standard is used which is pushing seven years old and now lags behind Bluetooth 5.3. We’re also starting to see Bluetooth 5.4 show up in equally premium models. While it still serves up a reliable connection to source devices – I did experience the very occasional issue where the app didn’t immediately recognize the headphones were connected – it means some important features are missing, including multipoint connectivity for simultaneously connecting to two devices.

As far as audio codec support goes, the list is pretty short with just the basic SBC and AAC codecs alongside the rather niche LHDC. It’s a bit disappointing that a pair of headphones that cost as much as the Dyson OnTrac doesn’t support aptX in one form or another, or true high-resolution audio. There’s also no support for spatial audio or wired listening.

  • Features score: 3.5/5

Dyson OnTrac review: Sound quality

  • Clean and detailed
  • Bass Boost increases the low end but delivers a pleasant soundstage
  • Not the most dynamically adept

Despite their rather ‘in ya face’ looks, the Dyson OnTrac is a lot more delicate in its audio presentation. To earn its pay, Dyson places emphasis on the OnTrac’s ability to cater to a broad frequency range of 6Hz to 21kHz. That’s much lower – and a bit higher – than the human ear can hear, but Dyson says it made the decision to ensure the OnTrac could comfortably handle all sounds within the ear’s range of detection and to minimize distortion at higher volumes.

With the Neutral EQ preset selected, Dua Lipa’s Training Season bops along nicely in its opening verse with a decent helping of bass, and her vocal comes through crisp and cleanly. There is a good sense of space, with instruments and various other aspects of a track being clearly placed. But when compared to other pairs such as the Sonos Ace or the Bose QuietComfort Ultra, the sound delivered by the OnTrac feels more constrained with less room to breathe. It’s feels more like how on-ear headphones sound rather than over-ears, which the OnTrac technically is in the way they fit (I discuss this in the design section below).

Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)

It certainly pays to play around with the EQ presets as I found what worked for one song didn’t necessarily work for the other. Training Season sounded fine on the Neutral preset, but Miley Cyrus’ Flowers was given an extra pop of energy when selecting Enhanced. On several occasions, Neutral flattens things to the point where it wasn’t all that engaging or fun.

And while the OnTrac could certainly keep up with the boogie rhythm of AC/DC’s Whole Lotta Rosie (I am reviewing these in Australia, after all), their lack of dynamic clout is exposed. It’s not to say there isn’t a change between the quieter intro vocal and louder burst of up tempo guitar, it just lacks a little bit of punch compared to some competitors. The Sennheiser Momentum 4 Wireless, for example, are just way more keen to rock out playing the same track. It’s as if they’re saying “alright, let’s do this!” compared to OnTrac's more reserved, “are you sure? You might damage your hearing” mentality.

It’s a similar story with Rammstein’s Los. Comparing the performance of the OnTrac against the Bose QuietComfort Ultra and there’s a noticeable difference in clarity. Till Lindeman’s vocal is far more pronounced when played through the Bose and, when the full band comes in at around 30 seconds, there’s greater depth. The OnTrac sounds more two dimensional in comparison. It’s good in the sense there’s decent drive behind the sound, but there are more competent performers that cost less money.

Bass heads will enjoy the Bass Boost EQ preset as it does certainly ramp up the low end, but it does muffle the overall sound somewhat. The pulsing bass rhythm throughout Planetary Assault System’s Desert Races benefitted far greater from the Enhanced preset instead.

Overall it’s not exactly a bad sound produced by the Dyson OnTrac. It’s clean and can unearth some detail, but their more neutral sound profile won’t be to everyone’s taste. An adjustable EQ could potentially help to some degree, and I hope this can be made available with a future firmware update, but with such a high-end price tag, it would be fair to expect a high-end sound straight out of the box.

  • Sound quality score: 3.5/5

Dyson OnTrac review: Design

  • Up to 2,000 color combinations
  • Large ear cushions for noise isolation
  • Can run hot

Dyson’s first foray into headphones was shockingly different to say the least, and while the OnTrac are far more headphone-y, they still deviate from the headphone norms of black, white and the occasional green or blue if a manufacturer is feeling adventurous.

The headband, which employs a modular-like design, is available in four different colors, and each comes with a default set of ear cushions and outer ear cups. Copper features navy-blue headband panels and copper ear cups; Black/Nickel has a black headband and shiny grey ear cups; Aluminum has a black headband, silver ear cups and yellow ear cushions; finally, Ceramic Cinnabar (the color of my review unit) features a coral-like orange headband and matching ear cups.

The headband colorway you choose is what you’ll live with, but the ear cushions and outer ear cups can be swapped out to any of seven choices for each, with a claimed total of 2,000 variations possible, paving the way for complete headphone personalization unlike anything I’ve seen before.

Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)

Changing the cushions and cups isn’t difficult, as both come off with a slight twist. When you take the removable ear cups off, Dyson has added a nice little touch on the main ear cup by showing where each component can be found by way of a blueprint-style design.

The ear cups, despite being physically large, are actually incredibly slim and don't protrude much from the head. I previously thought the Sonos Ace were among the more aesthetically pleasing pairs of headphones in this sense, and so I have to give Dyson credit here.

The ear cushions are made from a microfiber material as opposed to the often used memory foam with a PU leather coating. It’s soft to touch and, indeed, soft when they’re on your head. But they’re not exactly what you would call breathable. Dyson has opted for the large cups and cushions to aid with passive noise isolation if you switch noise cancellation off, but also to increase the effectiveness when it’s turned on. But the size of the cushions and the material, combined with the fact they clamp onto your head tightly (which I do ultimately like as it instills confidence they won’t slip off) means things can get real hot real quick. I carried out most of my testing with the season coming into Australian spring and, after wearing them for a couple of hours, my ears were sweating despite the milder temperatures.

I also found I needed to wiggle the OnTrac around more than normal to get a comfortable fit so that the cutouts fully enveloped my ears. By comparison, the Sonos Ace, which I wear on a daily basis, slides right into place with no adjustments needed, making me think I was wearing headphones that felt more like on-ears than over-ears.

The ear cups themselves rotate so that they can be slid into the case and, in theory, you can wear them around your neck. But because they’re so large, it’s incredibly uncomfortable to do the latter.

Image 1 of 3

Close up image of the physical buttons on the Dyson OnTrac headphones

(Image credit: Future / Max Langridge)
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The Dyson OnTrac headphones viewed when worn on the head, from the front and side

(Image credit: Future / Max Langridge)
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The Dyson OnTrac headphones viewed when worn on the head, from the front and side

(Image credit: Future / Max Langridge)

There are two physical buttons on the OnTrac – one button for power and initiating Bluetooth pairing mode on the left ear cup and a small joystick on the right ear cup is used to adjust volume, skip tracks and play/pause. During my testing I found the joystick was responsive for the most part, although I occasionally had issues with adjusting the volume – it didn’t register me thumbing it up or down and I found you may have to give it a really good push. As mentioned earlier, a solid double tap on either ear cup will switch between noise cancellation and transparency modes and you'll get an audible feedback letting you know your command has been received.

The Dyson OnTrac comes supplied with a case (expectedly so, given the price) that has seemingly been inspired by the minimalist slip-case aesthetic employed for the AirPods Max, but offers a little bit more protection than Apple does. Think of a conventional headphone travel case, but remove the zipper sides so you’re left with just the front and back pieces. That’s what Dyson has done here, and attached them with a piece of elastic so when the OnTrac is out of its case it compresses down flat. 

The headphones slip back in without any trouble, but they’re exposed at both the top and the bottom, meaning they’re susceptible to dust ingress at the very least and the headband is left exposed for keys to scratch up against it when the case is in your bag. I love the intention of the fold-flat case, but the execution doesn’t quite nail it, and when you’re spending this much on a set of cans, you’re going to want to protect them as much as you can.

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Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)
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Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)
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Dyson OnTrac headphones in Ceramic Cinnabar colour

(Image credit: Future / Max Langridge)
  • Design score: 3/5

Dyson OnTrac review: Value

  • Cheaper competitors offer better sound and more features
  • Customization can get expensive

As I’ve already mentioned, the Dyson OnTrac costs an eye-watering $499 / £449.99 / AU$799. While that seems on brand for Dyson (everything the company makes is expensive), it would be easier to recommend the headphones if they cost a little less. After all, competing pairs of premium headphones have to be considered and, ultimately, the OnTrac falls short of what is now expected in this space. Battery life is fantastic and is a big gold star for Dyson, and the sound is certainly passable, but the fact is you can find greater sonic insight from others.

Hi-res audio support, or at the very least support for wired listening would have been nice to see, too. And, while I do think the ability to customize the headphones is an interesting and unique one, the added cost makes it much less of an impulse decision and I feel Dyson should throw in a bonus set of cushions and/or ear cups with the purchase of a pair of OnTrac headphones to justify the high price tag.

  • Value score: 2/5

Should I buy the Dyson OnTrac?

Buy it if...

You want a unique-looking pair of headphones

The ability to personalize the OnTrac headphones is a unique proposition and there’s no denying that they’re solidly built.

You need long battery life

While it’s not quite the class leader, the OnTrac’s 55 hours of battery life trumps much of the competition.

Don't buy it if...

You want best-in-class ANC

Noise cancellation is really very good, but if you want to block out everything from the world around you, Bose is still the option to go for.

You want an in-depth app

There’s no ability to fully adjust the EQ settings, and you’re instead given just three fixed presets. Some people may also miss the option to tailor the level of noise cancellation.

You listen in spatial audio

It might not be a dealbreaker for everyone, but given many other pairs in this space support some form of spatial audio, its omittance here is more noticeable.

Dyson OnTrac review: Also consider

Bose QuietComfort Ultra Headphones

It's going to take a lot to topple Bose from the top of the noise-cancellation headphone pack, although the Dyson OnTrac does come agonisingly close. These also add spatial audio and a more engaging sound, although the 24-hour battery life falls well short of Dyson's effort.

Read our full Bose QuietComfort Ultra Headphones review

Cambridge Audio Melomania P100

Class-leading 100 hours of battery life make Cambridge Audio's first pair of headphones the ones to get for frequent flyers. They deliver a glorious sound, too.

Read our in-depth Cambridge Audio Melomania P100 review

Sennheiser Momentum 4 Wireless

A more lively and detailed sound is what you'll get from these Sennheisers, along with slightly better battery life, improved connectivity and a more impressive feature set.

Read our full Sennheiser Momentum 4 Wireless review

How I tested the Dyson OnTrac

  • Using iOS and Mac devices
  • Using a variety of music genres
  • In a variety of real-world scenarios

I used the Dyson OnTrac for a couple of weeks, listening to them at home, in the office and when commuting to work on loud, busy trains. I connected them to an iPhone 15 Pro and a MacBook Pro, and listened to a variety of music genres to determine if and how the EQ presets would affect them. During my two-week listening period, I never had to reach for the charging cable, owing to the OnTrac's incredible battery life.

Read more about how we test

[First reviewed September 2024]

Tannoy Autograph Mini review: bijou bookshelf speakers that are genuinely fun, beautiful, and sound far bigger than they are
12:30 pm | September 1, 2024
Author: admin | Category: Audio Computers Gadgets | Comments: Off

Tannoy Autograph Mini: Two-minute review

Take a quick look at the Tannoy Autograph Miniature and it’s easy to find yourself asking some brief but pointed questions such as “what is that?” and “why does it look like an antique?” The Tannoy doesn’t look like most other speakers because Tannoy has been making speakers for a very long time and when it has a product range called ‘Heritage,’ you’d better believe that there is a considerable amount of heritage involved – some of these products can trace their lineage back over fifty years. 

The catch is that some of them are also on the large side. They can clock in at the best part of a metre wide, which means you’ll need a fair amount of room to accommodate them. The Autograph Mini is designed to embody the styling and engineering of these larger speakers but at a size that allows them to fit in smaller rooms without overwhelming them. While each Autograph Mini speaker is a great deal more manageable than its bigger brothers, the engineering and technology (yes, despite the looks, there is technology in there) is exactly the same. Tannoy feels that certain aspects of how a speaker behaves and interacts with a room require very specific engineering solutions which shape the design of the speaker. 

The result looks and feels like nothing else on the market. But does that result in a set of the best stereo speakers – ie. is this a speaker proposition you actually want to own? $2,200 buys some extremely talented offerings, so is this timewarp Tannoy good enough to vie for your attention? 

Tannoy Autograph Mini review: Price and release date

The Tannoy Autograph Mini pictured in a room next to a wooden sideboard and a record player

(Image credit: Future)
  • Released in 2020 
  • £2,200 / $2,200 / AU$3,599

The current version of the Autograph Mini has been on sale for a few years now (TechRadar's audio editor actually held it in on her knee at High End Munich 2023) and it replaced a very similar version that debuted in 2008. If this sounds like it has been on sale for a while and might be in danger of replacement, you need to start thinking more in terms of ‘Tannoy time.’ The full size Autograph on which this speaker is based first went on sale in 1954 and recently had a 70th Anniversary edition launch. If it ain’t broke, Tannoy will not be rushing to fix it. 

In the UK, a pair of Autograph Minis will set you back £2,200 for a pair. In the US, this seems to be a dollar equivalent $2,200 and in Australia they cost AU$3,599. This can feel a little on the steep side for a speaker as dinky as this one but it reflects that some of the techniques required to build it are rather labour intensive and the materials used are not cheap either. 

This price does not include stands of any description (and neither is one offered as an accessory) and the Tannoy is a passive speaker that will need amplification and source equipment to work. I used a study but… functional… looking pair of Custom Design stands for testing but the following comments should be applicable to any respectably solid pair of stands that are 50-60cm tall. 

Tannoy Autograph Mini review: Specs

Tannoy Autograph Mini review: Features

The Tannoy Autograph Mini pictured in a room next to a wooden sideboard and a record player

(Image credit: Future)
  • 120mm Dual Concentric driver
  • Bespoke Crossover in a ply cabinet 
  • 60Hz- 20kHz frequency response

As the Tannoy is a passive set of stereo speakers, it isn’t overburdened with functionality but some of the reasons it looks the way it does are down to the hardware it uses. The full size Heritage models use drivers that vary between 8 inches (203mm) and 15 inches (380mm) in size. The Autograph Mini uses a rather smaller 4inch (120mm) driver, but the principles on which it works are the same as the larger models. 

Where you see a single driver on the front of the Tannoy, there are in fact two. A four-inch midbass driver is made of treated paper (and a friendly reminder that however unsophisticated it sounds, paper is a brilliant material for speaker drivers) and attached to a rolled rubber surround. In the centre of driver, where you would usually find a dust cap or phase plug is the tweeter. This is a 25mm unit made of titanium. It is sunk inside a cylindrical housing that improves its sensitivity and there is an assembly that Tannoy calls a ‘Tulip’ waveguide that helps to radiate the energy from the tweeter out in a manner that works with the mid bass.

Tannoy calls this arrangement 'Dual Concentric' and it’s been an element of the company's speakers for decades. This latest iteration includes a system that Tannoy calls Omnimagnet. This manages to place the drive magnets for the mid bass driver and the tweeter in the same place without them interfering with one another, which further improves their relationship. The internal wiring is all silver and the crossover makes use of proprietary Tannoy capacitors and low loss laminated core inductors in the pursuit of the best possible performance. Connection to an amplifier is via a single set of binding posts. 

We’ll cover the Tannoy’s looks in a little while, but it’s important to stress that the means by which it is built is genuinely different to most rivals. Where most speakers at the price are made a variation of MDF, the Autograph Mini is made from sections of ply that use actual carpentry to fit together. Rather than making this as thick and inert as they can, Tannoy uses internal sections that are designed to act as resonance and damping control by being less inert than the main sections of the cabinets and bleeding energy off.  

Just above the speaker terminals on the rear of the cabinet you’ll find a small bass port to help the mid bass driver in its excursions. Even with this present, any purchasing decision regarding the Tannoy needs to be made in the knowledge this is not a bass monster. A small driver in a small cabinet (not only is the Mini only 35cm tall, its sharply tapered sides mean that its internal volume is limited) is not a recipe for seismic bass and Tannoy quotes a lower roll off of 60Hz but at a whopping -10dB (or only in a very limited sense for those of you not too invested in numbers).  On the plus side though, sensitivity is very good at a consistent 8 ohms. 

  • Features score: 4/5

Tannoy Autograph Mini review: Sound quality

The Tannoy Autograph Mini pictured in a room next to a wooden sideboard and a record player

(Image credit: Future)
  • Exceptional three dimensionality and imaging
  • Superb tonality with good recordings
  • Limited bass… but more grunt than you might expect 

It is hard not to judge how the Tannoy is going to sound based on those vintage looks but it’s very important that you do because some aspects of the Tannoy’s performance are beyond more modern looking rivals. Tannoy hasn’t been diligently working away at dual concentric drivers for decades for the hell of it. The two drivers have a relationship that is so seamless that there isn’t the first clue where they are handing over information to one another. The effect is incredibly cohesive.

The attention that has gone into making the drivers radiate energy in a consistent way also means that the Tannoy produces a beautiful stereo image. Paint the Roses, a live concert recording of Larkin Poe and the Nu Deco Ensemble, is recreated in a manner that really gives you a sense of the venue and the performers relative to the audience. Having created this effect, if you close your eyes, it’s incredibly hard to actually place where the Tannoy’s cabinets really are. It’s an extremely impressive disappearing act. 

What’s more, voices and instruments are recreated in a way that is astonishingly convincing. An aged but lovely vinyl pressing of Joan Armatrading’s Me, Myself I, is packed full of guitars both electric and acoustic, bass, piano and strings, all supporting Armatrading’s sublime vocals. The manner in which the Tannoy gets stuck into All the way from America is more than a simple reproduction. It’s a performance that encourages to you stop fussing with phones (or indeed trying to write a review) and give it your full and undivided attention. 

The caveat to this positivity is that the recordings mentioned so far are very good ones. The Tannoy is not a truly merciless speaker; you can put something like To Lose My Life by White Lies on and not start grimacing, but the Autograph Mini will tell you what the limitations of this recording actually are. This is not a set of speakers that will take a music collection and gloss over the rough edges – and the Autograph Mini will also show up limitations in your partnering equipment while it does so. Even though each Tannoy isn’t hard to drive, I still found these speakers did their best work on the end of a potent Naim Audio integrated amplifier. This isn’t a cheap speaker pair, and it can’t really be driven on the cheap either. 

Where the Tannoy springs more of a surprise is the bass extension. So there is no confusion at this point, if your musical leanings tend towards dub and drum and bass, this is realistically not the speaker for you – but there is a lot more actual grunt on offer here than you might expect. The manner in which the Tannoy makes its limited reserves of low end available does an impressive amount to convince your brain that there is enough bass. It blasts its way though the ‘not quite jazz, not quite electronica’ of Kessencoda’s Outerstate in a way that never feels thin or light. There is a speed and cohesion to the Tannoy that the Antiques Roadshow aesthetic never really hints at. 

  • Sound quality score: 5/5

Tannoy Autograph Mini review: Design

The Tannoy Autograph Mini pictured in a room next to a wooden sideboard and a record player

(Image credit: Future)
  • Oiled Walnut finish
  • Oatmeal cloth grilles 
  • 209 x 356 x 155 mm and 4.4kg each 

In some ways, it doesn’t really matter what I type here or what my thoughts on the Autograph Mini’s styling are because I’m pretty sure most people reading this made up their mind shortly after they started reading. Let’s put something in context though, because I do think it matters. The Tannoy looks the way it does mostly for the engineering reasons already mentioned. It’s not a mock-Tudor speaker but instead the logical result of decades of engineering work. 

This doesn’t mean that the Autograph Mini isn’t going to look a bit odd in some situations. If your living space is sleek, modern and minimalist, the Tannoy is going to sit in that space in a way that is largely at odds with it. Don’t go thinking that fitting the grilles will make much of a difference ether. There are grilles, and they have nice magnetic trim tabs too, but they use the classic ‘oatmeal’ cloth the company has used for decades which means that the Autograph Mini speakers look just as determinedly old fashioned with them on as they do off. 

The thing is though… if you have a space that’s remotely sympathetic to how the Tannoy is styled, it’s hard not to fall for just how exquisite an object it is. In a world where even speakers that cost quite a bit more than this still feel like tools, the Tannoy sits at the intersection of art and furniture in a way that will win many people over to their charms. This is helped by the standard of build being immaculate, even judged at the price.

  • Design score: 4/5

Tannoy Autograph Mini review: Value

This is not a cheap speaker and it is unlikely you’ll save any money choosing suitable equipment for them. You can see where the money has gone though. The standard of build and finish is truly excellent, even judged at $2,200 / £2,200 and you are also paying for a level of engineering knowhow and pedigree that makes most other speaker brands look like the young upstarts that they are. Then, when it’s actually time to listen to them, used within their surprisingly wide performance envelope, they can delight. 

  • Value score: 4/5

Should you buy the Tannoy Autograph Mini?

Buy it if...

You live for tonal detail and realism 

From 100Hz and up, there are very few speakers at the price that can live with how vivid and real the Tannoy sounds. They do an incredible job of bringing music to life 

You like a bit of history 

The Autograph mini is a reflection of seventy years of ongoing development and the result has attributes that simply don’t appear in much of the competition. Tannoy knows what it wants and delivers it perfectly. 

You live in a listed building 

If your furniture is old and you appreciate a bit of vintage, there are few speakers that carry off retro as well as this one does. 

Don't buy it if...

You need serious bass

It hits harder than you might expect but the Tannoy is not a bass monster and seriously weighty tracks will sound a bit lacking 

Your music library is compressed or lacking in quality 

This is not a speaker that ignores limitations in quality and mastering. Poor quality material simply isn’t going to sound great on them.

You want something modern looking 

It goes without saying really that if you want cutting edge material science and clean cut modern styling, you have come to the wrong place. 

Tannoy Autograph Mini: Also consider

The Monitor Audio Studio 89 is a different sort of nostalgia and is modern in ways that the Tannoy will never be and delivers bass it has no answer to. Bowers & Wilkins’ talented 705 S3 is a formidable all rounder with a different (but in some ways, no less lovely) take on a wood finish too. Finally, a more niche but fascinating device is the Neat Petite Classic. This is another compact retro speaker offering, but while it’s nowhere near as pretty as the Tannoy, it combines plenty of low end clout and an impressively forgiving nature to make it a formidable all rounder. 

How I tested the Tannoy Autograph Mini

The Tannoy Autograph Mini pictured in a room next to a wooden sideboard and a record player

(Image credit: Future)

I used the Tannoy with a combination of Chord Electronics Qutest DAC taking a USB feed from a Roon Nucleus and a Naim Supernait 3 integrated amplifier; a brilliant sounding device that seems to coax good results out of most speakers but that will also highlight what they are doing wrong. A Rega Planar 10 turntable using the new Nd7 moving magnet cartridge was connected to the Naim’s phono stage to allow for a bit of vinyl testing too. 

Testing was carried out in my relatively normal living room which I use as a listening space. As well as the listed recordings, a host of other material was streamed from my local music library and Qobuz and interspersed with vinyl as well.

CMF Buds Pro 2 review: super-cheap earbuds with a literal twist
4:30 pm | August 28, 2024
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

CMF Buds Pro 2: Two-minute review

British tech brand Nothing has, in just a few short years, become a popular name for tech fans with its smartphones and earbuds proving you don’t need to spend a lot to get decent quality. It’s recent CMF by Nothing sub-brand pushes that idea to its extreme, but it doesn’t always work.

The CMF Buds Pro 2 are a good example of that: if you’re used to getting a lot more than you pay for with Nothing products, you’ll be surprised to find that these CMF earbuds give you exactly what you pay for. Nothing more, nothing less.

These are really budget earbuds too; you won’t find worthwhile products for less, and they’re among the cream of the bargain bin… if not the crop. At $59 / £59 / AU$99, your wallet will thank you.

Your ears might thank you too, because the CMF Buds Pro 2 sound good compared to same-price rivals, likely thanks to the union of a bass driver and a tweeter. Bass is the focus of music for sure but treble isn't lost, and the equaliser gives you some customization over your sound. I've certainly tested worse earbuds, including some that cost more.

The noise cancellation is a feature that doesn’t really impress, sadly. I found that it didn’t really compare to most of the CMF Buds’ rivals, even similarly-priced ones, and the Transparency mode was particularly poor. Still, any level of ANC is nothing to get snobby about, given that many rivals in this super-affordable category lack it.

What could have been the redeeming feature of the Buds Pro 2 is a returning feature from other CMF earbuds: the case has a swivel dial which you can use to control your music, rotating it to alter volume or pressing it for play/pause, and this partly replaces on-bud controls that most headphones have. 

In practice, though, the implementation of this feature is poor. The dial is prone to accidental turns or presses in your pocket, the notification sound to tell you that a function has been triggered is startlingly loud, and there’s a significant delay between using the dial and hearing its result. 

Lots of these issues can be overlooked if you consider the low price, but I’d recommend putting a little extra aside beyond the Buds 2 Pro’s asking price: the in-box ear tips are made from a material that isn’t very grippy, and they didn’t reliably stick in my ears. I’d recommend you look to third-party ear tips if you’re considering the CMFs.

There are some parts of the CMF Buds that I liked. The case-buds combo comes in four colors, including a distinctive orange (pictured) and a suave navy blue, so you have more options than for many other buds you may be considering. Plus a few Nothing-exclusive features like its bass boost mode and ChatGPT integration (as long as you’re using a Nothing phone) return, even if the overall feature set is nothing impressive.

It’s easy to look at any super-cheap earbuds and hand-wave any issues as being a symptom of the price, and that’s true with the CMF Buds Pro 2 as well – they’re basically what you’d expect for buds costing this much. However the budget bud market is competitive and a few rivals get you better value for money – more on them in the 'Also consider' section below.

CMF Buds Pro 2 review: Price and release date

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)
  • Unveiled in July 2024
  • Costs you $59 / £59 / AU$99

The CMF Buds Pro 2 were but on sale in July 2024, just a short time after two other pairs of earbuds from Nothing: the Nothing Ear and Nothing Ear (a). This won’t be the last time you hear about these rivals in this review.

You can pick up the Buds Pro 2 for $59 / £59 / AU$99, so they’re not just cheap earbuds, but they’re cheap earbuds. That’s a $10 / £10 / AU$10 price increase over the original Buds Pro, and I can’t compare the price to a non-Pro CMF Buds 2 because, at the time of writing, no such model exists.

This area of the market is incredibly competitive, with Nothing itself offering some tempting entries into the sub-$100 / £100 / AU$200 price bracket, and so a low price alone isn’t enough for the CMFs to get winning grades.

CMF Buds Pro 2 review: Specs

CMF Buds Pro 2 review: Features

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)
  • 11-hour buds battery, 43-hour with case
  • Limited features in app, including spatial audio
  • Mediocre ANC

The CMF Buds Pro 2 uses Nothing’s smartphone tie-in app, called Nothing X, and as a result it borrows a few Nothing features.

Using Nothing X you can fiddle with an equalizer, change the case control scheme, toggle Spatial Audio, change between a few ANC modes and turn on ‘Ultra Bass’ which does what it says on the tin. Hidden in a menu are toggles for wear detection, high-latency mode, a default to LDAC audio, a find-my-buds feature, and an ear tip fit test. Good for the money, eh? Well, on paper, yes. 

I'm going to get into the equaliser in the sound section, so stay tuned for that. The noise cancellation in the app is similar, in theory, to other Nothing earbuds: you can change between it being off, in Transparency mode (which belts surrounding sounds into your ears so loud that you can barely hear your music) and between four ANC intensities: low, mid, high and adaptive. 

I’d recommend sticking with high ANC mode; the Buds Pro 2’s noise cancellation isn’t very strong, and you’ll want to make the most of it when you can. In testing it struggled to do anything about surrounding chatter, air conditioning unit hums, microwaves and other similar noises. Saying that, ANC is far from a given in buds this cheap and so knocking what there is here, rudimentary though it is, feels a little churlish.

Features like Spatial Audio, in-ear detection and an ear tip fit test are useful, but there are a few far more basic features lacking, that many of similar-priced rivals have. The lack of touch controls is something I’ve mentioned before, but many rivals have a full equalizer experience, not truncated ones like this. I also miss Nothing’s much more effective custom listening profile detector from the Nothing Ear.

In terms of battery life, the CMF Buds Pro 2 hit that ‘bang-average’ button: the buds will get you roughly six and a half hours of listening if you’ve got ANC turned on, and 11 if you’ve got it turned off. Those figures are pretty standard for wireless earbuds.

By using the case you can dial those figures up to 26 or 43 hours respectively, the latter of which is actually rather respectable, but remember, the ANC isn't amazing. 

  • Features score: 3/5

CMF Buds Pro 2 review: Design

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)
  • Novel dial-toting case has issues
  • Earbuds don't stick in ear well
  • Buds and case are light and protected

Perhaps the most unique part of the CMF Buds Pro 2 is the case design. 

It starts with the color: no boring black or white here but dark gray, light gray (okay, those two are a bit boring), navy blue and bright orange. You can tell which one I tested – ‘bright’ is an understatement – and it’s nice to see earbuds with a range of colors.

The next special feature is the dial, which can be turned left or right or pressed in. This lets you change the volume or pause/play songs easily. 

In theory this is a novel concept, and I did find it really easy to pause music when the case was within reach, but changing volume definitely wasn’t as convenient as bud touch controls tend to be, and I found a range of inconveniences with the buds over the testing period. In fact, I ended up turning off the controls by the latter half of my testing time.

Firstly, rotating the dial resulted in a deafening beep to indicate that the volume was changing. I can see what Nothing was going for here, but the beep didn’t correspond with the new volume; the noise could be painfully loud at times. That became especially annoying bearing in mind that the dial didn’t adjust music much, and I’d need to turn it through endless resolutions to get the same effect as one simple press on my phone’s volume rocker. Oh, and there was a delay between using the dial and seeing an effect which effectively ruled out swiveling the dial loads to bump up the sound, as I’d only find out too late if I’d turned it far too loud.

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)

However, the most annoying aspect for me was that the dial could be quite sensitive in my pocket; I was subjected to endless accidental presses. On one journey in a closely-packed bus, people walking past me would nudge the case in my jacket pocket, pausing my music. When I wore certain pairs of trousers, the constricting and flexing of my pockets when I walked would sometimes press the pause button. And sometimes when I put the case loose in my bad, its companion items would jostle against it and press the button. In the end these everyday annoyances pushed me to turn off the controls, despite my best attempts to like the controls.

Looking at the case itself, it measures 53.4 x 53.4 x 23mm and weighs 46g (not including the buds). Beyond the dial it only has a small button to enable pairing, and a USB-C port for charging.

The earbuds themselves match whichever color of case you opt for. They’re lightweight stem-toting buds weighing 4.9g each. Despite what you'd think given the presence of the dial, the buds also do have touch controls, but I found them quite sensitive and would often accidentally press them when trying to re-align the buds in my ear every time they slipped (for reasons you'll learn in just a moment). As a result I turned them off pretty quickly.

The buds have an IP55 rating against dust ingress and showers of water, though the case has no official rating.

While these buds are light enough to sit comfortably in your ear, they’re also light enough that you might not notice if they fall out of your ear (well, other than your music stopping). And fall they will: Nothing has seemingly opted to use soap for its ear tip material given how slippery they are, and during testing they just wouldn’t stay in my ears reliably, even when I tried different tip sizes. I put this down to the material, which doesn’t seem to have as much friction as the usual silicon tips you see in earbuds. 

It’s fairly easy to remove the Buds 2 Pro ear tips and I’d recommend you try out some third-party ones if you can, because the in-box ones just weren’t reliable for me. Worst of all, they kept sliding just far enough out of my ear for wear detection to think I wasn’t wearing them any more, so it kept pausing my music, and as a result I had to turn that feature off too.

Side-note: if you turn off wear detection, the buds don't even pause your music when you return them to the case, unlike basically every other earbud I've tested. Remember to turn your tunes off yourself!

  • Design score: 2.5/5

CMF Buds Pro 2 review: Sound quality

  • Heavy bass focus, but treble isn't lost
  • Limited sound stage
  • Equaliser brings some benefits

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)

As in many other Nothing-built earbuds, bass is the focus of the CMF Buds Pro 2. Whatever genre of music I listened to, the bass was the most palpable part of any song.  

That might put some people off, but it's a staple feature of cheap and cheery earbuds like this. Treble and especially upper mids do suffer a little, but much less than in some other buds I've tested at this price.

That's possibly thanks to the fact that the 11mm bass driver is joined by a 6mm tweeter to carry the flag for higher-pitched lines.

I did miss the sense of soundstage that some other buds offer: the CMF seem to present all elements of a song in one solid block rather than spread out, and it meant that some instruments disappeared behind the omnipresent bass.

The Nothing X app offers the ability to add even more bass to its buds, and I've enjoyed this feature in other propositions from the company. However I couldn't hear much of a bass boost in the CMF Buds Pro 2, even when ratcheting it up to full power.

The equalizer in the app also lets you tweak your music, to a degree. For those of you who’ve cut your teeth on earbud app equalizers, this isn’t quite as in-depth; you can change the prominence of bass, mid and treble, to +/- 6 points. There are also six presets: pop, rock, classic, electronic, vocal enhancement or something called Dirac Opteo which apparently changes the EQ based on your music, but to my ears had little effect.

This EQ isn't hugely powerful, but it's a lot simpler to use than some others, and I did manage to rescue the treble somewhat from songs.

  • Sound quality: 4/5

CMF Buds Pro 2 review: Value

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)
  • The incredibly low price means they offer value for money
  • Definitely consider buying extra eartips though

I've been quite critical of the CMF Buds Pro 2 throughout this review, and that's because the design and feature set don't quite work for me. That said, the price makes the setbacks all-too-easy to overlook.

For just $59 / £59 / AU$99, these are some of the cheapest buds you can find from a reputable company, and while it's a very low benchmark, these buds do offer you reasonable value for money.

That's because you can de-activate the annoying features, leaving a case with an ornamental wheel, earbuds that sound decent for your price, and maybe a slight extra bill for when you buy third-party ear tips.

  • Value: 3.5/5

Should I buy the CMF Buds Pro 2?

Buy it if…

You're on a budget
It's easy to overlook many issues when buds are so gentle on the bank account, and so if you want super-cheap buds the CMF could be a safe bet.

Don’t buy it if…

CMF Buds Pro 2 review: Also consider

How I tested the CMF Buds Pro 2

The CMF Buds Pro 2 on a white-and-orange background.

(Image credit: Future)
  • Tested for 3 weeks
  • Tested at home, in the office and on walks

I tested the CMF Buds Pro 2 for over three weeks, and that review time saw them paired with both my Android smartphone and Windows laptop. I didn't test them alongside a Nothing phone.

To test the buds I listened to music on Spotify, watched TV shows on Netflix and Prime Video, partook in voice and video calls and played games on my phone. Most of this was done at home or in the office but I used the buds on several long journeys on trains and buses.

I've been testing gadgets for TechRadar for over five years, and in that time I've reviewed many budget headphones, as well as phones, tablets, watches and electric scooters.

  • First reviewed in August 2024
Victrola Hi-Res Onyx turntable review: a slick-sounding, slender-looking player with a sweet streaming spin
4:00 pm | August 26, 2024
Author: admin | Category: Audio Computers Gadgets | Comments: Off

Victrola Hi-Res Onyx: Two-minute review

The Victrola Hi-Res Onyx is a welcome surprise in this touch-above-entry-level bracket, offering customary entry-level versatility coupled with the form and features of quality manual turntables twice the price. It helps, too, that it looks a bit swankier than most of its competitors.

The Hi-Res Onyx is a highly capable turntable with a built-in Bluetooth encoder, that enables you to cast your vinyl audio out to any Bluetooth device of your choosing. Its Qualcomm aptX Adaptive capabilities up the fidelity factor (hence the ‘Hi-Res’) – making for the slickest wireless audio you’ll have heard in a while. 

The Hi-Res Onyx performs admirably as a straight-up turntable too, with a decent Audio-Technica cartridge and a fine-enough phono preamp built in for ease of use; a toggleable auto-stop protects the condition of your stylus, while counterweight and anti-skate mechanisms let you dial your turntable in perfectly for the protection of your records.

There are some points of friction, from the imprecise counterweight set-up to an ineffectual dust cover, but these are trifles against the greater successes of the Hi-Res Onyx. It’s not quite for everyone, but it does a fantastic job for most – and particularly so for its price. One of the best turntables to have graced our testing process in some time then? You betcha. 

Victrola Hi-Res Onyx review: Price and release date

The Victrola hi-res onyx turntables on a wooden surface.

(Image credit: Future)
  • $399 / £399 / AUS$625
  • Launched on Sept 7, 2023

Victrola has made a point of graduating from the entry level in recent years, with a slew of turntable designs that reach beyond the bedroom bookshelf towards a fertile market of accessible hi-fi record players. This, the Hi-Res Onyx, is a further graduation from a stand-out model with limited reach: the Sonos-compatible Victrola Stream Onyx. 

These stream-y record players join a plurality of designs from manufacturers old and new, all vying for the same hot property in a still-emerging space for the turntable market. The union of analogue and digital is by no means new, but the valuable integration of Bluetooth technology into something like a turntable has proven difficult for many – until, perhaps, now.

Victrola Hi-Res Onyx review: Specs

Victrola Hi-Res Onyx review: Features

A close-up of the arm of the Victrola Hi-Res Onyx record player

(Image credit: Future)
  • Manual turntable with auto-stop and built-in phono stage
  • Bluetooth streaming
  • Counterweight and anti-skate

In a welcome break from the vast majority of other Bluetooth-enabled turntables, the Hi-Res Onyx is a calibrate-able two-speed manual turntable, with an adjustable counterweight and an anti-skate mechanism to ensure both pristine playback and the safety of your records. 

This commitment to playability follows in the Hi-Res Onyx’s choice of cartridge, again a step or two above those commonly found on cheaper players. The Onyx comes with an Audio-Technica AT-VM95E moving-magnet cartridge, a budget cartridge on Audio-Technica’s roster but one which delivers excellent sound for its price and against competition. A toggleable auto-stop function further protects your recs, and protects the stylus too.

A lot of manual turntables below £400 would stop here, but the Hi-Res Onyx is made of… more… stuff. There’s a switchable phono preamp built in, allowing you to plug the Onyx into most anything; Victrola are kind enough to supply a high-quality RCA cable with a ground lug, too. The rub of the unit, though, lies in its wireless attributes.

The Hi-Res Onyx is so named for its Bluetooth transmitter, which supports the high-fidelity Qualcomm aptX Adaptive and HD codecs as well as Bluetooth 5.4 and LE Audio. With this mode, you can stream your vinyl audio out to any Bluetooth receiver, be they headphones or speakers in rooms afield. The mode is pretty seamless, in pretty much every sense, being accessed by a single press of the Hi-Res Onyx’s single front-facing button. It’ll pair with your receiver of choice instantly, and automatically re-pair with the same next time you switch modes.

I would switch to Bluetooth for kitchen listening, then switch back to the wired connection on returning to the living-room; the switch-back is immediate and immaculate, with no pops, clicks or abrupt pauses – a genuine and welcome surprise that dramatically improves its practicality.

  • Features score: 4.5/5

Victrola Hi-Res Onyx review: Sound quality

A close-up of the Victrola Hi-Res Onyx record player.

(Image credit: Future)
  • Impressive fidelity
  • Rich, fulsome bass
  • Occasionally obvious wowing

At this price (and with the right initial set-up), the Hi-Res Onyx is hugely impressive. The relative fullness of the built-in phono pre-amp, the relative quietude of the motor, the relative smoothness of record playback… Relative to players from premium brands, there’s always going to be room for improvement, but relative to other mainstream entrants at this price or even slightly above, ‘impressive’ is the word (and ‘relative’ the second word).

Wye Oak’s Civilian + Cut All The Wires: 2009-2011 double-album is a fave go-to review album, mostly because it’s great but also because there’s a great degree of dynamic shift from song to song. No Words is a plaintive, near-fragile track with lonely electric guitars and a leaping vocal, handled with care by the Hi-Res Onyx; the guitars chime, there’s silk in Jenn Wasner’s voice, and the sparse kit cuts through without pulling focus. 

Electricity, on the other hand, is a rich and boomy hit of maximalist folk-noise – and does a better job of showing the Hi-Res Onyx’s relative(!) shortcomings. Mid frequencies get a little lost in that prominent, fulsome low end, while some treble elements are unwarrantedly boosted; a missing guitar moment here, an over-prominent hi-hat there.

A more ostentatious record, in CANT’s Dreams Come True, speaks more to the Hi-Res Onyx’s strengths. Too late, too far’s booming kicks, searing synths and mounting voices fill the field, well-separated and delightfully wide, while BANG’s stacked line-up of deep subs, shimmering leads and drowned vocals are distinct, legible yet cohesive. However, the quieter last tracks of Side A and B respectively reveal some unfortunate speed dysregulation, as the pianos and broken vocals of (brokencollar) and Bericht warp a little too far for comfort.

The Bluetooth streaming mode, which describes the ‘Hi-Res’ bit of the Hi-Res Onyx (on account of its aptX Adaptive Bluetooth codec support), is innervatingly good. I am usually something of a Bluetooth curmudgeon, but a combination low-difficulty pairing and strikingly detailed sound has won me round. Wye Oak’s Holy Holy is a gratifyingly full-spectrum listen, and there’s nothing missing from the heft Queens of the Stone Age’s Songs For The Deaf – …Millionaire and First It Giveth sounding as bombastic as they always should.

  • Sound quality score: 4/5

Victrola Hi-Res Onyx review: Design

The Victrola Hi-Res Onyx record player on a wooden surface.

(Image credit: Future)
  • Smart, understated monochrome aesthetics
  • Smooth and ergonomic interactivity 
  • Cool design forfeits ease of calibration

With regard to setting-up, the Hi-Res Onyx is a relative cinch. Far from the plug-and-play practicality of cheaper units, there is some assembly required – but this is no bad thing. One such assembly step, though, reveals a small sting in the turntable-design tail.

Before we get to that, I’d like to acknowledge the fun of the Hi-Res Onyx’s aesthetic design. Aesthetically speaking, the Hi-Res Onyx is a demure thing. It’s an obelisk of sorts, wedded to matte black and almost impressively so at that. Were it not for the white hairs of the household cat, the Onyx would be a Clarke-ean monolith amidst a sea of kooky mid-century hi-fi furnishings. It’s hard not to use the word ‘sleek’ to death when it comes to designs like this – though I suppose I have now, so there. 

This commitment to ineffable quasi-minimalism leads to some neat flourishes. The tonearm cradle, for instance, is of uniform material, and holds the tonearm in place with a concealed magnet as opposed to a plastic clip. This is swanky – and kinder on the tonearm if you forget to unlatch it before you use the tonearm lift.

Another flourish brings with it a frustrating moment, though. The counterweight is a pleasing object, fastened smartly in place on the tonearm’s rear by a small, knurled grub screw. Indentations on the tonearm’s rear indicate where to affix the counterweight, but they don’t quite corroborate with the recommended tracking force for the cartridge; I had to use a digital tracking force scale to ensure it was set correctly. Pleasing as this counterweight is to handle and place, conventional screw-back counterweight designs (with the numbered calibrator wheel) aren’t as fiddly.

Not to ‘and another thing’ this section, but another, separate, gripe emerges with respect to the dust cover Victrola provides. It’s a smartly-designed, single plastic sheet, moulded to arch over the resting tonearm and conforming with the contour of the platter. However, it only protects the tonearm and platter when the turntable isn’t in use. It’d be nice to have a more conventional kind of lid, particularly for this writer – whose cats pose an eternal and existential risk to the preservation of beloved records in-play. 

The Hi-Res Onyx is smart-lookin’ and smart to use. Where it wins many points for being smooth in style and ergonomics, it unfortunately drops one for occasional impractical awkwardness.

  • Design score: 4/5

Victrola Hi-Res Onyx review: Value

A close-up of the Victrola Hi-Res Onyx record player

(Image credit: Future)
  • Practical and versatile for its price bracket
  • A quietly-featureful bargain

At a shade under $400 / £400, the Victrola Hi-Res Onyx pitches itself a tad above the entry level, putting itself in ‘somewhat serious investment’ territory for the average household. That money, though, is buying you a discrete and practical unit that outplays most in its range.

It’s rare to find such a fully-featured turntable with this kind of tweakability at this price point. The result is something that can work to most hi-fi briefs – a quietly versatile machine that excels in its class. 

Really, this turntable is a bit of a bargain – and straight-up convenient, at least for those who haven’t already poured money into a comprehensive hi-fi system. If you own a phono preamp, you probably don’t need any of this turntable’s flashier attributes, at which point you should be looking elsewhere in the market anyway. For most, then, this is a valuable advancement on the tried-and-tested entry-level formula.

  • Value score: 4.5/5

Should you buy the Victrola Hi-Res Onyx?

Buy it if...

You’re a techy minimalist
The Hi-Res Onyx is an unimposingly smart machine, in looks and in-side. Though low-profile, it makes just enough of a statement to be an asset to your living space.

You’re a household headphone-wearer
The Hi-Res Onyx’s high-quality Bluetooth connectivity is a real gift, even if only for making it possible to blast your faves while doing the dishes.

Don't buy it if...

You already have an extensive hi-fi setup
Those with an existing hi-fi setup might not necessarily benefit from the Bluetooth-streaming function – and might not need the built-in preamp either.

You want a long-term hi-fi mainstay
Brilliant as the Hi-Res Onyx is in its space and for its price, there are equivalently priced, no-nonsense manual turntables elsewhere that may better suit the long term – whether from minor improvements in design or from general upgradeability.

Victrola Hi-Res Onyx: Also consider

Cambridge Audio Alva TT V2
Cambridge Audio was first to market with an aptX HD-compliant Bluetooth turntable, and it’s a doozy. The Alva TT V2 is pricey, but the price buys you a stable direct-drive record player that looks, sounds and feels a million.
See our full Cambridge Audio Alva TT V2 review

Audio-Technica AT-LP120XBT-USB
Audio-Technica’s AT-LP120XBT-USB is a polymath turntable, with aptX Bluetooth transmission, a USB output for digitising records and a plethora of DJ-adjacent tools.
See our full Audio-Technica AT-LP120XBT-USB review

How I tested the Victrola Hi-Res Onyx

The Victrola hi-res onyx turntables on a wooden surface.

(Image credit: Future)
  • Tested for 3 weeks
  • Used as primary turntable in living-room hi-fi system
  • Predominantly tested through Cambridge AV amplifier and Celestion speakers, as well as a Soundcore Bluetooth speaker

The Victrola Hi-Res Onyx became my primary living-room turntable for a month. The RCA outputs fed my dependable Cambridge Audio Azur 540R amplifier and Celestion F1 bookshelf speakers; for Bluetooth, I connected to my Soundcore Motion 300 speaker. I used personal favourite records with which I am intimately familiar, and with which I was able to get a feel for the Hi-Res Onyx’s character both wired and wirelessly.

First reviewed: August 2024

Victrola Eastwood II turntable review: bi-functional Bluetooth in a budget-friendly box
12:00 pm | August 25, 2024
Author: admin | Category: Audio Computers Gadgets | Comments: Off

Victrola Eastwood II: Two-minute review

The Victrola Eastwood II is, in many ways, the ideal first turntable. It is an eminently attractive, well-featured all-in-one hi-fi solution that beats plenty of its competitors on a number of metrics. But is it one of the best turntables for the money? Well, bi-directional Bluetooth connectivity, a mini-but-mighty built-in amp and a truly plug-and-play setup routine together make the Eastwood II a formidable entrant to the entry level sector, at least… 

That Bluetooth connectivity is the main draw here, as the Eastwood II is capable of both receiving and sending audio via its respective Bluetooth and Vinyl Stream modes – as well as acting as a conventional player with RCA and headphone aux outputs on the rear. Using each mode is easy to the point foolproof-i-ness, and switching between them as simple as clicking the Eastwood’s single rotary encoder/button.

An Audio-Technica cartridge furnishes this starter turntable with surprising fidelity, too - but, despite these worthy merits, the Eastwood II has its fair share of disappointments. Cheap materials and a flimsy-feeling tonearm system with no counterweight inspire less confidence in the Eastwood II’s handling of your records, and the motor serving the turntable’s plastic platter is prone to instability – with often-audible impacts on the turntable’s sound performance.

Functional elements of the Eastwood II leave you wanting, too, from a dust cover that catches your records to a fundamental missed opportunity with the Bluetooth setting. While a versatile first turntable, this won’t be the one for everyone – particularly not record owners looking to upgrade an existing hi-fi system. 

In spite of these gripes, the Eastwood II is a great choice for the teenage or student bedroom – and a smart aesthetic addition to most any space too. At a shade over £100/under $100, it’s also hard to beat budget-wise! 

Victrola Eastwood II review: Price and release date

  • $99.99 / £119 / €129.99 (around AU$146) 
  • Launched on July 31, 2024

As intimated by its title, the Eastwood II is a successor model to Victrola’s Eastwood hybrid turntable. The design principles and core functionality remain the same, but material improvements and a sleeker aesthetic set the Eastwood II apart from its predecessor. There are two styles of Eastwood II available as of August 2024 – a striking Black, and a cool mid-century-ish Walnut – the latter of which is the unit reviewed here. 

Both colourways sell at $99/£119/€129.99, which is around AU$146, give or take, or a pleasingly cheap price for its build and capabilities. The price goes some way to describing some of the material decisions made here, but equivalently-priced turntables with better tonearms and platters do not have any of the bells and whistles offered by this highly-accessible hi-fi alternative.

Victrola Eastwood II review: Specs

Victrola Eastwood II turntable review: Features

The Victrola Eastwood II turntable on a wooden surface.

(Image credit: Future)
  • Three-speed playback
  • Near-comprehensive Bluetooth connectivity
  • Not as versatile as it could be

Let’s start with the basics: the Eastwood II is a semi-automatic, belt-drive turntable capable of playing 33 1/3, 45 and 78rpm records. The turntable part of it is simple as can be, comprising two selectors for record speed and toggling an auto-stop function (which stops the motor when the tonearm reaches the end of the record), and a lever for the tonearm lift. All these controls are embedded by the tonearm pivot, leaving the record’s base clear and clutter-free – save for a single rotary encoder knob.

This simplicity belies the Eastwood II’s selling point – its near-comprehensive connectivity. Three modes afford you a great deal of versatility for a relatively inexpensive all-in-one unit. Vinyl mode lets you listen to records via its built-in speakers, on headphones via an aux output or on your hi-fi via RCA outputs; Bluetooth mode lets you stream music from your phone or laptop to the turntable; Vinyl Stream mode lets you stream a record from the turntable to a Bluetooth receiver of your choice. 

The single rotary encoder knob controls most everything mode-related, and is foolproof in its function; pressing and holding turns the unit on, clicking cycles through the unit’s three modes, and turning the knob controls the volume of the onboard amplifier. Not only is it foolproof, but it’s very satisfying to use indeed. In amongst this connectivity, though, there’s a gap which makes the Eastwood II feel less capable than it is. 

The Bluetooth mode of the turntable does not work with its RCA outputs, presumably due to the RCA outs being fed by an always-on phono pre-amp for the record player – meaning you cannot use your wired hi-fi system when streaming audio. The ability to do this might only be meaningful to a select few owners, but to this reviewer, its lack feels almost arbitrary – particularly as enabling the Bluetooth mode to kill the preamp would be a trivial thing to engineer. A little more thought into this Bluetooth mode might have made this a much more seamless hi-fi companion, as well as a self-contained unit.

Of course, this is a self-contained unit, and most will be buying this as a one-and-done solution for playing records. Good, then, that a built-in amplifier and speaker system is plenty loud! For Bluetooth audio, the Eastwood II uses the default A2DP standard; while audiophiles might balk at the lack of aptX utilisation, there are few situations where that additional fidelity would really achieve anything. As such, the Eastwood II is (almost) everything it needs to be.

  • Features score: 4/5

Victrola Eastwood II turntable review: Sound quality

The Victrola Eastwood II turntable on a wooden surface

(Image credit: Future)
  • Great-sounding entry-level cartridge
  • Rich mid-range and crisp highs
  • Powerful, somewhat boxy internal amp/speakers

In a vacuum, the vinyl-playing bit of the Eastwood II is great for the price. The Audio-Technica AT-3600LA cartridge with which it ships is a cut above those often found on other budget turntables. The difference is best illustrated through a dedicated hi-fi system, via the RCA port on the back – which was my first experience of the Eastwood II, and a joyfully positive one at that.

Wye Oak’s Civilian + Cut All The Wires: 2009-2011 double LP was well-represented, with touching, even tactile softness in the quieter moments of We Were Wealth, and a full-throated bombast to the explosive end of Electricity and the drums-and-thrum of Black Is The Color. There’s middy richness and a crisp treble, and even some solid low-end representation (even if a tad indistinct in places). This representation is hampered somewhat, though, by the sometimes-unstable performance of the turntables motor, which caused some obvious wowing or warbling in places. 

Lighter-weight records, like my pressing of Andy Shauf’s The Party, seemed to fare worse, wearing said warble a little more prominently on their respective sleeves. Opening track The Magician, full of enigmatic piano chords and drawn-out clarinets, would sound great if not for seemingly-random dips in playback speed that tugged on those legato notes; closer to the spindle, album closer Martha Sways suffered from a warbly near-vibrato that similarly killed my immersion. In short, this probably isn’t the turntable for active listeners.

As for the built-in amp and speakers, through which most users will do their listening, there is a lot to like. The amp is plenty powerful for filling a room, though there’s little headroom when the volume gets pushed. Nick Drake’s Pink Moon is clear and breathy, with some surprisingly sonorous guitar representation, but the overrepresented upper mids have a tendency to squash and crunch a bit when things get louder. The speakers sound a tad boxy (perhaps an unavoidable characteristic for smaller all-in-ones of the Eastwood II’s ilk), but a snappy high end and bloomy low end create a surprisingly fulsome version of this boxiness.

As for headphone listening, there’s a real sense of clarity in the reproduction – albeit at the expense of some bassy heft, which is found wanting when I revisit Wye Oak’s Black Is The Color. All round, the Eastwood II is clearly a capable budget unit, with some pleasant surprises that are unfortunately caveated by some not-so-pleasant limitations.

  • Sound quality score: 3/5

Victrola Eastwood II turntable review: Design

The Victrola Eastwood II turntable on a wooden surface

(Image credit: Future)
  • Swanky mid-century-ish looks
  • Smart dust lid, imperfectly executed
  • Brittle-feeling in places

Eschewing the all-too-common faux-leather-and-shiny-bits design of throwback suitcase record players, the Eastwood II chooses modernity for its aesthetics – at least, a form of mid-century modernity, with a charming fabric front and some wood-effect side panels that together look effortless.

Functionally speaking, the Eastwood’s design is both smart and simple. There’s no convoluted setting-up, nor any real confusion as to how to get it working straight away; it’s the most plug-and-play it could possibly be, and great for it too. However, despite how easy it is to get installed and in use, the Eastwood is still hamstrung by some design oversights that make daily use less-than seamless. One major gripe relates to the turntable’s lid. 

The smart part is that, since 12” records extend beyond the smaller size of the unit’s base, the lid has cut-outs to accommodate these extraneous segments. This is, in principle, a nifty flourish that makes playing records with the lid closed feel sleek, even dynamic. But the rear cut-out isn’t deep enough, and catches the back of your 12”s whenever you try to place them; something nifty in principle becomes frustrating in practice. 

To Victrola’s credit, you can tell they’ve attempted to fix this already – the rear cut-out is deeper than the others, to create more room for placing records – but it sadly wasn’t quite enough. This is something of a theme with the Eastwood II, where great ideas and intentions are met with unfortunate execution.

Though the Eastwood II boasts upgraded materials from its predecessor model, there are still inexpensive plastics in use, which make for a brittle feel. This is most obvious when handling the tonearm, which is at once flimsily light in-hand and heavy-handed on-vinyl. A heavier, counterweighted tonearm would inspire more confidence, but seems a tall order at this price and with this many internal features.

  • Design score: 3.5/5

Victrola Eastwood II turntable review: Value

The Victrola Eastwood II turntable on a wooden surface

(Image credit: Future)
  • Beats many equivalent models for sound quality
  • Great jumping-on point for new vinyl owners
  • Tough to justify for certain consumers

The Victrola Eastwood II is on the cheaper side of the Bluetooth turntable spectrum, and cheap even against a majority of all-in-one turntable solutions on the market. For those that beat it on price, the Eastwood II beats them handily on sound, thanks to that Audio-Technica cartridge and capable internal amplifiers. It’s also extremely easy to use, and hence a great jumping-on point for those new to vinyl (or even just after a bedroom speaker system).

However, the three-figure price point might be a tad tough to justify for slightly more seasoned buyers. Little oversights in design and function add up, rendering this visibly-sleek tabletop hi-fi a little less sleek to use. Also, the tonearm’s cheap construction can be found in units half the Eastwood II’s price.

  • Value score: 3.5/5

Should you buy the Victrola Eastwood II?

Buy it if...

You’re looking for your first turntable
It’s the perfect introduction to playing records, being simple to use and great-sounding for its price – better, indeed, than similar players in its price bracket.

You don’t have a hifi system yet
Everything’s in-house here! No need for separate amps or speakers, and not even any need to cables to play music from your phone or computer.

Don't buy it if...

You’re an active listener
This player’s warble and wow are difficult to ignore, particularly on cheaper pressings.

You want an all-in-one addition to your hi-fi
If you’ve already got a hi-fi amp, you can get a better stand-alone record player at this price – besides which, a missed opportunity with the Bluetooth setting means this won’t act as a receiver for your hi-fi. 

Victrola Eastwood II turntable: Also consider

Lenco LS-410
Lenco’s LS-410 is a similar kind of all-in-one turntable, albeit lacking Victrola’s fun Vinyl Stream technology. For a little more money (and for sacrificing this essential aspect), you can have a Bluetooth-enabled turntable with a slightly more stable platter and a counterweighted tonearm. 
See our full Lenco LS-410 review

Pro-Ject Juke Box E1
While significantly pricier than the Eastwood II, the Pro-Ject is much closer to a bona fide home hi-fi – with a solid platter, stable belt-drive system, powerful built-in amplifiers and a Bluetooth receiver that doesn’t discriminate. 
Read our full Pro-Ject Juke Box E1 review

How I tested the Victrola Eastwood II turntable

  • Tested for 4 weeks, as primary turntable in living room
  • Tested with Cambridge Audio amp and Celestion speakers, Audio-Technica headphones and a Soundcore Bluetooth speaker

The Eastwood II was put through its paces via my tried-and-true Cambridge Audio Azur 540r amplifier, which feeds two Celestion F1 bookshelf speakers. For headphone listening, I trialled the unit with a wired pair of Audio-Technica ATH-M40xs, and for its Vinyl Stream connectivity I paired it with a Soundcore Motion 300.

The records I chose to listen with are records I know back-to-front, meaning I can fairly evaluate differences in sound and playback – both with respect to different turntable modes, and with respect to other turntables.

  • First reviewed: August 2024
Majority Moto 2.0 review: an astoundingly cheap Bluetooth record player with USB – but that comes with compromises
12:30 pm | August 24, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Tags: , , | Comments: Off

Majority Moto 2.0: two-minute review

The Majority Moto 2.0 is the first record player from the budget audio company: the number isn't a version number but a reference to the built-in 2.0-speaker setup. It is an entire music system in a single box: thanks to its built-in speakers and Bluetooth 5.3, you can stream audio from your phone or computer as well as play records, and even rip them to digital via your PC, thanks to its USB port. 

The Majority Moto 2.0 is clearly aimed at someone who doesn't have an existing sound system of any kind and it offers a lot of features for relatively little money. There are, of course, many compromises at its £79 price compared to the best turntables, but the Moto 2.0 is better than you might expect, due in part to the inclusion of a good-quality Audio-Technica cartridge. However, we did experience some quality issues with our review unit that suggest this is a record player that'll need careful handling.

The Moto 2.0 is clearly designed to be your first turntable that covers all the bases: Bluetooth streaming to headphones or speakers and from other devices, USB output for recording, even the ability to play ancient 78s as well as the much more common 45 and 33 and 1/3 speeds. 

But you shouldn't expect room-shaking volume from those integrated speakers: they don't go loud because if they did, their vibration would do a Taylor Swift to your tonearm and shake it off. The sub chassis is separate to isolate it from their vibrations and copes fine with the volume levels available, but if you've got a big space or like to listen loud you'll want to connect an amp, or wirelessly connect it to one of the best Bluetooth speakers that you place on a different surface, or to some of the best wireless headphones.

I would encourage people to step up to the similar-but-just-overall-better Audio-Technica AT-LP60XBT if you can, which also offers Bluetooth and USB, and is fully automatic, but offers no built-in speakers… however, it's around twice the price of the Majority, so if you want to keep it under £100, this is still a solid choice.

Majority Moto 2.0 speaker close-up

The integrated speakers are very small and fire upwards, so don't expect room-filling audio or earth-shaking bass. (Image credit: Future)

Majority Moto 2.0 review: Price and release date

  • Released in February 2024
  • Available in UK and Europe
  • £79.95 / €99.95

Despite a very low price, the Moto 2.0 is packed with features including one very significant one: it comes with an Audio-Technica AT3600L cartridge, which is definitely unusual at this end of the market. That cartridge alone typically retails for around £20, or one-quarter of this entire turntable's price. 

For comparison, consider than Pro-Ject's super-cheap (for Pro-Ject) entry-level turntable, the E1, is around £200, and doesn't have speakers, USB, a phono stage or Bluetooth (though more expensive versions do have those things). However, it does sound a lot better as a result, as our Pro-Ject E1 review will attest.

Majority Moto 2.0 USB port close-up

In addition to playing records you can rip them to computer or play from USB. (Image credit: Future)

Majority Moto 2.0 review: Features

  • Bluetooth and USB
  • Three turntable speeds
  • Integrated speakers and phono stage

You can't fault the feature list here: it does basically everything a turntable can do.

It has three playing speeds, and while it's not fully automatic, it does have auto-stop. There's an integrated phono stage if you want to connect it to an amp – though as mentioned before, it has its own speakers, so you don't technically need to.

It also has Bluetooth, and this goes in both directions: you can beam your records out to Bluetooth speakers, or you can send music over to the Moto 2.0 and listen over its built-in speakers. There's no aptX or anything else higher-res, though. It also has an aux-out if you prefer the best wired headphones to wireless ones.

And with a USB port on board, you can connect it to a computer and record your vinyl to a digital file – either because you want to preserve rare tracks that aren't available elsewhere, or just to capture the song complete with crackles.

Features score: 5 / 5

Majority Moto 2.0 phono out close-up

You don't have to use the integrated speakers: there are phono outs to connect an amp or powered speakers. (Image credit: Future)

Majority Moto 2.0 review: Sound quality

  • Better than you might expect
  • Built-in speakers aren't great
  • Speakers aren't built for bass

There's a limit to how much air two small speakers can push, but while the Moto isn't very loud the sound is pleasant enough on well-recorded records at reasonable levels; it's bass-light but does the job provided you don't turn the volume up too much. Do that and the sound starts to get harsh, the middle frequencies taking over as the speakers struggle.

One key thing the integrated speakers don't do is deliver a sweet spot, that perfect place where the soundstage is at its most immersive. To do that you need the sound waves to be coming towards you and the speakers some distance apart; these speakers are just an album's width apart and send their soundwaves towards the ceiling. 

Things improve considerably when you team up the turntable with external, forward facing speakers or a decent set of headphones, but the flaws are more apparent too: there's noticeable mechanical noise in the quieter bits. If you're listening to songs with a lot of sustained notes, such as U2's With Or Without You, you might also notice some slight speed variation. It's not apparent on faster, choppier songs, and vocal vibrato tends to hide it for singing. But it's audible on very clear, sustained tones such as Edge's trademark infinite guitar. 

No matter what you listen on, the sound is slightly boxy and cluttered in the way so many budget audio products are: everything's doing its best but the overall result lacks the spaciousness, separation and sparkle that you get with better-quality gear. 

A lot depends on what you're listening to: give it some yacht rock with some expensive-studio smoothness and it's really rather nice, although the lush arrangements of Fleetwood Mac's Rumours lose some of their sparkle here with an emphasis on the cookie-tin snare drums and rubber-band bass. 

More electronic pop such as Sigrid's second album is fun when it's well separated but feels claustrophobic in the busier tracks: there's a lack of air and low-end separation, with harshness creeping in as you turn the volume up. That harshness is particularly apparent with heavier genres of music, especially modern rock featuring brick-wall compression designed to make everything louder than everything else.

This isn't an audiophile product. But it's a fun one, especially if you skip the built-in speakers and hook up something more substantial either by Bluetooth or via an amp: connecting the turntable to an Ultimate Ears Wonderboom added some of the bass the built-in speakers lacked, and connecting the Moto to my Onkyo amp and Bowers & Wilkins bookshelf speakers was better still. Is it up there with turntables that cost four times the price or more? Absolutely not. But with decent speakers it doesn't sound like it cost £80 either.

Sound quality score: 3 / 5

Majority Moto 2.0 close-up of the Audio-Technica cartridge

Unusually for a turntable this affordable, you get a pretty decent Audio-Technica cartridge. (Image credit: Future)

Majority Moto 2.0 review: Design

  • Unusual platter placement
  • Integrated speakers and lots of connectivity
  • Feels a bit fragile

The Moto 2.0 comes in a dark wood effect with black hardware, with the wooden section overhanging the front and sides of the chassis. The two built-in speakers are behind circular black grilles facing directly upwards from the top front of the turntable and the controls are on the front and sides. On top of the dampened sprung platter there's a slipmat to keep your records in place.

The Moto 2.0 is smaller than many turntables, at just 38cm wide compared to the much more common 43cm. And the platter is smaller than usual too, at 20cm/8 inches. The speaker placement means the platter is oddly positioned: instead of sitting centrally it's off-centre, nearer the back than the front. That means if you're playing 12-inch records they will extend beyond the rear border of the turntable and through a space in the back of the dust cover. 

There are some issues, however. The plastics here are cheap-looking, especially at the speed switch, and the tonearm is very thin and feels eminently breakable. Between these and the upfiring speaker design that doesn't lend itself to ideal audio quality, there are definitely flaws to how this is put together.

Design score: 3 / 5

Majority Moto 2.0

The tonearm is very thin and doesn't have tracking force adjustment or anti-skid. (Image credit: Future)

Majority Moto 2.0 review: Usability and setup

  • All you need to do is plug it in
  • Switches and controls are around the edge
  • Doesn't get much easier

This turntable is all about simplicity, and because everything's in one unit all you need to do is remove the protective cover from the stylus and the plastic wire from the tonearm, plug the power supply into the wall and turn it on. So for a user-friendly beginner turntable, you can't get much better than that.

The two most important controls – the on/volume and the audio source – are both on the front along with the 3.5mm headphone socket. Other connection options are easily accessed along the edges, so no usability struggles there.

Frankly, it doesn't get any easier for your first turntable than this.

Usability and setup score: 5 / 5 

Majority Moto 2.0

The Moto 2.0 is really plug and play: select the source and turn the Moto on via the volume dial. (Image credit: Future)

Majority Moto 2.0 review: Value

  • You get a lot for your money...
  • ...but you're paying for features you might not use
  • Quality is limited, though

The sub-£100 turntable market should probably be labelled "here be monsters", but the Majority is not one of them: you'd be hard pushed to get a better value turntable at this price. It's less than half of the price we'd typically expect to pay for a decent budget turntable. 

However, the trade-off for that low price is audio quality, especially if you're going to be listening via the integrated speakers: they're okay but they're not great. If you're serious about sound quality you might want to save a little longer for something like the Pro-Ject E1 if you want to go the hi-fi route, or the Audio-Technica AT-LP60XBT if you want to stick with something with Bluetooth and USB. Or scour the second-hand market for a bargain.

Value score: 4 / 5 

Should you buy the Majority Moto 2.0?

Buy it if...

Don't buy it if...

Majority Moto 2.0 review: Also consider

How I tested the Majority Moto 2.0

  • Tested at home for two weeks with more than a dozen new and used records 
  • Tested solo, on headphones and through an external amp and speakers
  • Streamed Apple Music from iPhone 

I tested the Majority Moto 2.0 at home, focusing on its vinyl performance and listening intensely to records I know inside-out across a range of genres from the most polished productions to ragged punk rock. I also streamed Apple Music from my iPhone to test its streaming prowess.

When I connected the Moto 2.0 to other equipment I used Beyedynamic wired headphones, which are known for their relatively flat performance (so reveal the sound of the underlying player well), and an Onkyo amp with the direct setting engaged to bypass the bass and treble circuits. The amp was connected to a set of Bowers & Wilkins bookshelf speakers, giving the Moto access to some pretty sweet-sounding hardware in order to show what it's capable of.

JBL Go 4 review: a fun-size budget Bluetooth speaker, just don’t expect big things
7:30 pm | August 22, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: , , | Comments: Off

The compact and durable JBL Go 4 makes for a good poolside companion. It’s the latest, May 2024-issue model in the Go range, and is one of the first JBL speakers to feature Auracast, along with the Clip 5 and the Xtreme 4 – both of which are happy members of our best Bluetooth speakers buying guide. It's reasonably priced at $49.95 / £39.99 / $59.95 and is available to purchase in the US, UK, and Australia from the official JBL website, and from Amazon for $49.95 / £34.99 / AU$59.95 at the time of writing. 

The JBL Go 4 comes in Black, White, Red, Blue, Purple, Pink, or Squad (i.e. camo) in the US, UK, and Australia. Additional color variations are available in the US and Australia, including Sand, and Black and Orange – which also has a lot of light blue on it, as it happens. I was given a sample of the Red Go 4 to test out and one thing’s for certain: though it may be little, if you go for this or one of the other bolder colors you won’t lose sight of it easily. 

The front and back of the eye-catching little speaker are covered in woven fabric, with silicone panels on the top and sides in which the various buttons and the USB-C charging port are housed, and textured silicone areas on the back and bottom that provide stability whether the speaker is placed upright or on its back. The buttons in the top and left-hand panels include a play/pause button and volume controls, and the power, Bluetooth, and Auracast buttons. I have to give JBL some bonus points for taking a sustainable approach by using recycled fabric and plastic in parts of the speaker, and for using packaging that’s largely paper-based and printed using soy ink.

The corner loop of a red JBL Go 4 pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

There’s a small fabric and silicone loop fixed around the top-right corner of the speaker that did come in handy, although I needed to use a hook or separate carabiner to hang it from, which was not as helpful as the integrated carabiner on the JBL Clip 5 or the multiway strap on the Sony XB100.

At a dinky size of 3.7 x 3.0 x 1.7 inches / 94 x 78 x 42 mm and weighing just 11oz / 190g, this speaker would make a useful little music companion. Due to its IP67 rating, it’s safe to use at a pool party or at the beach – we can confirm that it continues to work after it’s submerged in water, as we gave it a good dunking in the TechRadar testing tank.

The JBL Portable app is intuitive, and its attractive design makes it satisfying to use and simple to navigate. The app can connect to any compatible JBL speaker, with each speaker displayed on the My Products page (provided they’re powered on). From this page, you can also skip over to the PartyTogether area to add other JBL speakers into the mix for amplified sound.

The side panel and control buttons of a red JBL Go 4 pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

Once I selected the Go 4 from the product page, I could see the battery level and enable PlaytimeBoost, which is designed to boost the volume of the music while consuming less battery by disabling the EQ. There’s also a Product Information section, Stereo Group mode for connecting two speakers together in stereo, and the four preset equalizer profiles: JBL Signature, Chill, Energetic, and Vocal, plus the Custom EQ profile.

The stated battery life of the Go 4 is seven hours. Now, I’m used to some speakers not quite going the distance, which is often covered by caveats on the brand's website; however, this speaker went above and beyond, lasting for nearly 10 hours of continuous music playing at 50% volume on the default JBL signature EQ preset.

At one point I experienced a small issue when the Go 4 wouldn’t play music from our FiiO M11S music player or a Samsung Galaxy Z Flip 4. Both devices could connect to the Go 4 and were shown as playing music, but no sound was coming out of the speaker. Taking a leaf out of the operations manual of IT help desks everywhere, I turned the speaker off and on again, and fortunately that fixed the issue straight away.

The back face of a red JBL Go 4 pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

The overall listening experience was fine; nothing groundbreaking, but perfectly adequate for the price. When music is played using the default JBL Signature EQ profile the depth and clarity are lacking somewhat, but I was able to make improvements by implementing the other EQ presets or by employing a custom EQ. If you’re used to higher-end speakers, you may find this lower-quality sound a chore to listen to, but for those who just want something compact that they can throw in a bag when they want to enjoy tunes on the go, it’s great.

This tiny speaker can reach a good level of volume for its size. At 50% it’s loud enough to dance around your kitchen to, but if you’re doing any noisy cooking you may need to bump it up a bit. The speaker’s orientation makes a noticeable difference to the sound quality, particularly for tracks with high levels of treble or bass. Most users would naturally want to stand it on its base as advertised, but I found that the best sound was achieved with the speaker lying on its back. This is also the best position if you’re listening with others, as the sound is firing upward rather than in one direction.

The play, pause, and volume buttons on the top of a red JBL Go 4 ,pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

When listening to Black Eye by Allie X, I found the bass wasn’t dynamic enough, and the beat fell flat so the track lost the powerful rhythm that’s usually present when listening through more bass-heavy alternatives such as the Tribit XSound Plus 2 speaker. The vocals also got a little lost amid the different elements as they all seemed to fight for center stage.

I tried the Vocal EQ to see if it would make an improvement, but I found it instead distorted all elements of the track, so it appears this setting wouldn’t be a great one to use when listening to music. There was a slightly noticeable increase in vocal clarity and prominence when enabled for podcasts and other vocal-focused content, however. Going back to Black Eye, the best EQ profile by far was Energetic – the vocal clarity was much improved, and the other elements sounded like they’d been pushed back in line.

The same was true when listening to St. Thomas by Sonny Rollins, and I Want You by Moloko. On the default JBL Signature EQ, everything felt flat, but the Energetic preset does exactly what it says on the label, giving everything a little boost where needed.

The USB C charging port on a red JBL Go 4 pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

The JBL Signature EQ was adequate for listening to slower and more relaxing tracks, and the output was softened further after switching to the Chill EQ preset, which pulls the highs down so you aren’t hit with any harsh notes when you’re trying to unwind. This EQ delivered a pleasant listening experience when playing Where’s My Love (Alternative Version) by SYML.

Overall, if you aren’t particularly fussed about sound quality and you’re just looking for a cheap and cheerful little speaker that’s durable enough to handle a rainy day or a beach party, the JBL Go 4 is a solid choice. There are a lot of good alternatives available though, so I’d recommend checking out our selection of the best waterproof speakers and best cheap Bluetooth speaker deals to see if anything else catches your eye.

A red JBL Go 4 is being held in the air from the corner loop in front of a pink background.

(Image credit: Future)

JBL Go 4 review: Price and availability

  • $49.95 / £39.99 / $59.95
  • Available now in the US, UK, and Australia

Released in May 2024, the JBL Go 4 is the latest model in the JBL Go range, following on from the Go 3. It’s available for purchase from the official JBL website for $49.95 / £39.99 / AU$59.95, and from Amazon for $49.95 / £34.99 / AU$59.95 at the time of writing.

As mentioned, it has plenty of competition in this price range – in particular, there’s the five-star rated Tribit Stormbox Micro 2 that massively impressed our reviewer considering the $59.99 / £59.99 price tag. However, if your budget maxes out at $50 / £40 and you just want something small, durable, and a bit jazzy, then the JBL Go 4 is a good choice.

JBL Go 4 review: Specs

Should I buy the JBL Go 4?

A red JBL Go 4 pictured against a pink background. It is sitting on a dark stone surface with puddles of water around it.

(Image credit: Future)

Buy it if...

Don't buy it if...

JBL Go 4 review: Also consider

How I tested the JBL Go 4

  • I tested the speaker over several months
  • I listened to a variety of music genres and podcasts
  • I played music continuously to test the battery life

I tested the JBL Go 4 over a few months. I listened to a variety of music genres, as well as the TechRadar testing playlist, which includes tracks that feature a range of musical styles and textures, including complex and layered instrumentals, deep bass, and delicate vocals, to enable me to determine the speaker's ability to handle different frequencies.

I played our TechRadar playlist on Tidal continuously at 50% volume using the default JBL signature EQ preset to test whether the battery could last up to the claimed seven hours.

I also used it to listen to music and podcasts in the TechRadar office, our music testing room, and at home, using Spotify and Tidal from an iPhone 12 Pro and a OnePlus Pad Go.

Bowers & Wilkins 607 S3 review
1:00 pm | August 18, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Comments: Off

Bowers & Wilkins 607 S3: Two-minute review

Time flies, doesn’t it? This is now the eighth generation of Bowers & Wilkins’ entry-level 600 Series of loudspeakers, and the 607 S3 is the smallest and most affordable member of the range. It’s also the most expensive cheap loudspeaker the company has ever made.

A glance at the specification (25mm double-dome tweeter, 130mm Continuum mid/bass driver, and a whole stack of upgrades both where crossover and cabinet construction are concerned) and at the standard of build and finish lets you know where that money has gone, though – and goes some of the way to explaining why they'll enter our best stereo speakers roundup very soon. 

It’s always been possible to buy less expensive loudspeakers than Bowers & Wilkins, but if you bite the bullet and spend the money, it won’t take long for your investment to seem very wise indeed.

By the standards of a compact standmounter, the 607 S3 produce a remarkably open and assertive sound. They have scale and rigorous soundstaging on their side, frankly unlikely dynamic headroom and an excellent facility for detail retrieval. They seem to like every single genre of music, too - and not just in an analytical, “here’s every shred of information” kind of way. They’re an energetic and entertaining listen that seem fully aware that the business of listening to music is meant to be as enjoyable and emotionally rewarding as possible.

So yes, you can spend your money on a bigger, louder loudspeaker than this - of course you can. But if you’re not trying to fill a great big space with sound, and if you want to put your foot on the ownership ladder of one of the biggest names in the business, the 607 S3 absolutely demand your attention.

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wilkins)

Bowers & Wilkins 607 S3 review: Price & release date

  • Released September 3, 2023
  • Priced $899 / £549 / AU$1,149 (approx)

The Bowers & Wilkins 607 S3 standmount speakers were unveiled in September 2023 alongside three other S3-suffixed 600-series models, and in the United Kingdom they’re routinely available at £549 per pair. In the United States they go for $899 tops, while in Australia they sell for AU$1149 or something very like it.

So while this is the most affordable way to acquire a new pair of Bowers & Wilkins passive stereo loudspeakers, you’ll never mistake the 607 S3 for being especially cheap – profoundly credible alternatives from profoundly credible brands like Dali (see the five-strong Dali Rubikore range), Monitor Audio (check out our Monitor Audio Studio 89 review) and Q Acoustics (see the M40 HD for starters) many of which can be had for less money than this. So what makes the 607 S3 so special?  

Bowers & Wilkins 607 S3 review: Features

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wlkins)
  • 25mm titanium double-dome tweeter
  • 130mm Continuum mid/bass driver
  • Rear-firing bass reflex port

Yes, the 607 S3 is the junior member of the most affordable Bowers & Wilkins passive loudspeaker line-up. But don’t imagine that status means that it’s had less attention paid to its features than all of its other, more expensive, siblings.

The tweeter arrangement, for example, is now built mostly from titanium (rather than of aluminium as it has been in previous 600-series models). It’s a 25mm decoupled double-dome design, using a thin (25µm) dome reinforced by a 30µm ring, and the switch to titanium allows (according to Bowers & Wilkins) for greater refinement and detail at the top of the frequency range. 

The tube-loading assembly in which the tweeter sits is longer than previously (in an effort to minimise the rearward standing waves that result from the twitter’s activity), and the tweeter itself is protected by a grille the design of which is derived from the company’s flagship 800 Signature series of speakers. This, too, is deployed in an effort to create greater space and refinement in the tweeter’s output.

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wilkins)

The tweeter sits closer to the mid/bass driver beneath it than previous – the 130mm Continuum assembly is mostly carried over from the previous 600 Signature series, but now it features a beefed up motor assembly derived from the 700 S3 range. And the eagle-eyed will notice it’s a little higher up in the cabinet and a little closer to the tweeter as a result - Bowers & Wilkins reckons it improves integration between the drivers and allows the mid/bass unit to generate a little more energy.

At the rear of the cabinet there’s a bass reflex port positioned above some newly upgraded speaker cable terminals (they’re intended to offer a cleaner signal path). And on the inside, the cabinet bracing is upgraded – so rigidity is improved. The crossover components have been upgraded too, in an effort to bring even greater transparency to the sound.  

  • Features score: 5/5

Bowers & Wilkins 607 S3 review: Sound quality

  • Refinement and entertainment in fairly equal measure
  • Dynamic and detailed in every circumstance
  • Careless system-matching will be exposed

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wlkins)

‘Zest’ is an underused word in hi-fi, I think, so let’s start there. No matter the sort of music you like to listen to, the Bowers & Wilkins 607 S3 deliver it with zest. Oh, they can do the ‘insight’ and ‘analysis’ things with the best of their price-comparable rivals, but what sets them apart from those alternative designs is the zest and enthusiasm of their delivery. There’s nothing feral about these loudspeakers, but there’s an energy and a desire to entertain that is a fair bit more difficult to come by.

So it doesn’t matter if you try out a nice big hi-res file of David Bowie’s Hallo Spaceboy or a CD-standard file of Anastasia Coope’s Woke Up and No Feet, the results are – broadly speaking – the same. Low-frequency activity is given decent depth and notable speed, along with plenty of variation; the 607 S3 have no difficulty expressing rhythms in a convincing manner. The midrange is open and eloquent, so these two profoundly idiosyncratic vocalists have their character and attitude made apparent. Midrange projection is good too, so there’s always a pocket of space for a singer to operate in – even though they’re always nicely integrated into the overall presentation, rather than sounding remote or removed.

There’s plenty of dynamic headroom available, so the Bowie tune gets its changes in attack and intensity described faithfully. Detail levels are very high in every respect, so the smaller harmonic variations and changes in emphasis in the recording are paid attention to as well. And thanks to a soundstage that’s bigger than the physical size of the speakers might seem capable of creating, it’s easy to follow these fluctuations no matter where they occur. 

They’re an upfront and fairly assertive listen, the 607 S3. And in almost every way, these are welcome and actually quite valuable traits – it generally translates into a vivacious, spirited and engaging presentation. But it also means that a moment’s care with system-matching is in order, because the Bowers & Wilkins have high-frequency characteristics that are not beyond provocation. 

The treble sound the 607 S3 produce is just as detailed, just as convincing and just as nicely tonally balanced as all of the information below it. But in a system with treble-forward amplification, being fed by a source player with similar characteristics, the result can easily become rather too much of a good thing. The Bowers & Wilkins are quite assertive enough at the top of the frequency range without being goaded.

But in every other respect, feel free to throw caution to the wind. The 607 S3 are musical and entertaining, poised and attentive, dynamic and detailed in equal measure, and seem to enjoy every single one of your favourite styles of music. They may not have the out-and-out scale of the bigger speakers this sort of money can buy – how could they? – but when it comes to musicality, energy and, yes, zest, it’s hard to know how your money could be any more wisely spent.        

  • Sound quality score: 5/5

Bowers & Wilkins 607 S3 review: Design

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wilkins)
  • 300 x 165 x 207mm (HxWxD)
  • Choice of three finishes
  • 4.65kg

You can’t really expect much by way of ‘design’ to happen where (relatively) affordable standmounting speakers are concerned – and, sure enough, not much has happened here. That’s not to say the 607 S3 aren’t harmonious lookers, or aren’t built and finished to a very high standard – they are. It’s just that they look exactly as you’d expect.

At 300 x 165 x 207mm (HxWxD) they’re the smallest stereo speakers in all of Bowers & Wilkins-land, and at 4.65kg they aren’t going to put any kind of pressure on your shelves or wall-brackets if that’s how you decide to position them.

Equally, a choice of black, white or light(ish) oak vinyl-wrap finishes isn’t going to startle anyone. The oak finish comes with a contrasting white front baffle, which is about as close to a design flourish as the 607 S3 get. 

  • Design score: 5/5

Bowers & Wilkins 607 S3 review: Value

You can buy bigger, more imposing loudspeakers for this sort of money – and I mean both physically and sonically. But if you’re in the market for a compact, high-achieving standmounter at this kind of price, it’s hard to know how to better spend your cash. Add in the excellent standard of build and finish, along with the ‘if you know, you know’ brand logo, and the 607 S3 represent very good value indeed.

Should I buy the Bowers & Wilkins 607 S3?

Bowers & Wilkins 607 S3 loudspeaker

(Image credit: Bowers & Wilkins)

Buy them if...

Space is at a premium
These speakers prove that small can sound beautiful

You enjoy an energetic and entertaining sound
There’s plenty of refinement here, but there’s even more brio

Space is at a premium
These speakers prove that small can sound beautiful.

Don't buy them if...

Your system is very treble-happy
It is possible to have too much of a good thing.

You’re expecting tactility
These speakers are very well made and very well finished - but ‘luxurious’ is not a word that applies.

You want to fill a big room with sound
There are plenty of speakers at this sort of money that can shout louder than the 607 S3.

Bowers & Wilkins 607 S3 review: Also consider

If the size of these cabinets is a big attraction, then the only-slightly-larger and similarly priced Dali Oberon 3 are well worth a listen – they don’t have quite the vim of the 607 S3. That said, the splendid Monitor Audio Studio 89 do – although they're quite a bit more expensive. 

Want something smaller, wireless, and slightly cheaper? The Ruark MR1 MkII Bluetooth stereo speakers are worth a look. 

But if you’re after a physical representation of the money you’ve spent (and you have an appropriately sized space in which to put them) the Wharfedale Diamond 12.3 have plenty to recommend them beyond how very large they are. 

Rekkord Audio F300 turntable review: a classy, fully automatic budget deck let down by a lack of punch and drive
3:11 pm | August 15, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

Rekkord Audio F300: Two-minute review

The idea that the man who operates turntable hero Pro-Ject might require another brand building and selling record players might seem an odd one – but Heinz Lichtenegger (for it is he) sees Rekkord Audio as the perfect method of filling in gaps in the Pro-Ject line-up. Specifically those gaps marked ‘automatic operation’.

So the Rekkord Audio F300 (hand-made, like the rest of the Rekkord Audio range, in the Black Forest) is a fully automatic turntable, arrives with its cartridge and even its belt pre-fitted, and is about as close to ‘plug and play’ as a product of this type ever gets. It’s properly built and finished, too – so the asking price seems absolutely fair enough.

Or. at least, it does until you get down to the business of actually ‘playing a record’. The F300 is a fine-sounding device in many ways – it’s detailed and forgiving, able to flow through rhythms and tempos with complete assurance, and creates a convincing soundstage on which the action can unfold.

But it’s ‘action’ that exposes the Rekkord Audio’s few shortcomings and marrs its bid to enter our best turntables buying guide. It’s not an especially dynamic listen when it comes to tracking shifts in volume or intensity, and it’s overtly short of outright ‘punch’ when it comes to describing bass sounds.

So ultimately it comes down to your own personal scenario. That there are more complete-sounding turntables available at this sort of money is undeniable. But if the fully automatic convenience of the F300 excites you (and that's understandable – nobody likes harming vinyl), it’s currently about as good as you’re going to get at the price. 

Rekkord Audio F300 review: Price and release date

Rekkord Audio turntable

(Image credit: Rekkord Audio)

The Rekkord Audio F300 automatic turntable is on sale now, and in the United Kingdom it sells for £549. It’s available to American customers for $599, but currently no price is quoted for the Australian market – if exchange rates are anything to go by, you’re looking at AU$1,049 or something quite like it.

There's no shortage of well-regarded turntables from well-regarded brands available at this sort of money, chief of which might be the excellent ProJect Debut Carbon Evo. But Rekkord Audio reckons it has a worthwhile point of difference…  

Rekkord Audio F300 review: Features

  • Fully automatic operation
  • Audio Technica AT91 moving magnet cartridge
  • Captive RCA connections and grounding lead

The obvious feature, and the feature Rekkord Audio is understandably most pleased about, is its fully automatic operation. Hands not as steady as they used to be? Hand/eye coordination not all it might be? The F300 is here to help.

Better still, the F300 is not only fully automatic but it’s quiet and reliable with it. Set the controls to the desired rpm, and press the ‘start’ control – the Rekkord Audio takes care of the rest. About my only gripe concerns the F300’s insistence that 12in discs spin at 33.3rpm and 7in discs at 45rpm. So, anyone who wants to listen to a 45rpm 12in single will have to cue it up manually and take it off manually at the end of the side. Which takes a bit of the shine off the ownership experience, no two ways about it. 

Rekkord Audio F300 turntable

(Image credit: Rekkord Audio)

The F300 is hard-wired for stereo RCA and grounding wire connections, which adds to its ‘plug-and-play’ credentials but does mean you’ve no possibility of upgrading. The Audio Technica AT91 cartridge that arrives pre-adjusted and attached to the headshell that is, in turn, pre-attached to the 211mm low-mass aluminium tonearm is a very capable item – but again, it seems optimised for the role and upgrading doesn’t seem to have been factored in. Still, all you need to do is adjust tracking weight and dial in the appropriate anti-skate setting, and the F300 is good to go. Added to the automatic operation, it makes the whole ownership experience about as painless as it realistically can be. Even the belt that moves the aluminium platter is pre-fitted when you take the player out of its packaging.

  • Features: 4.5/5

Rekkord Audio F300 review: Sound quality

The Rekkord Audio F300 turntables.

(Image credit: Rekkord Audio)
  • Nicely tranquil and fluent sound
  • Good detail retrieval and pleasant rhythmic expression
  • Not especially dynamic or at all punchy

There’s a Paul Simon song that opens with the line, “Well, I’m accustomed to a smooth ride”. It seems unlikely to me that he is referencing the Rekkord Audio F300 (especially as the song in question is getting on for 35 years old), but nevertheless it sprang to mind when I first heard the F300 in action, and I haven’t been able to shift it. 

Because if there’s one thing the F300 offers, it’s a smooth ride. In fact, you could do a lot worse than listen to something like The Rhythm of the Saints (the Paul Simon album from which that line is taken) if you want to hear the Rekkord Audio at its most comfortable and consequently at its best. It fairly glides along in the most natural and unforced manner, handling rhythms and tempos with a deft certainty, digging out plenty of detail at every stage and offering plenty of midrange insight. It has a fair amount of bite at the top of the frequency range, creates a large and plausible soundstage, and has a slightly-warmer-than-neutral tonality that suits the material well.

There’s a pleasing unity to its presentation, and it gives every aspect of the frequency range equal billing. It’s alert to even very minor details, and is able to contextualise them both in terms of their weighting and their position on the stage.   

Rekkord Audio F300 turntables

(Image credit: Rekkord Audio)

Unfortunately, it’s not even remotely difficult to take the F300 out of its comfort zone where it is, obviously, far less comfortable. A heavyweight reissue of Aphex Twin’s timeless Selected Ambient Works 85 - 92 makes the point in unequivocal fashion – the F300 may be alert to small dynamic variations in instruments or voices, but it’s not all that adept at dealing with the big dynamic shifts associated with changes in attack or intensity. The distance between the quietest and loudest moment of this record is no distance at all when described by the Rekkord Audio.

Equally problematic is the relative lack of low-end punch the F300 is able to summon. It has no problem expressing the rhythms of this recording with positivity, but the best it can summon is a sort of mild ‘shove’ where you just know the music wants to hit with greater determination. This lack of rigour, allied to the easy-going overall nature of the F300’s delivery, conspires to serve up a presentation that’s probably most politely described as ‘tepid’. Which is no one’s idea of what Aphex Twin should sound like, let’s face it.

  • Sound: 3/5

Rekkord Audio F300 review: Design

  • Perspex dust-cover
  • Single-piece MDF plinth
  • Decoupled sub-chassis

A closeup of the Rekkord Audio F300 turntable

(Image credit: Rekkord Audio)

It’s not easy to make a mainstream record player look anything other than ‘a rectangle with a circle on it’ – and Rekkord Audio hasn’t tried. The F300 looks exactly as you might expect, in a good way.

It’s very nicely built and finished, though, and feels the part just as much as it looks it. The three available finishes (satin black or silver are available as well as the ‘stirling oak’ wood veneer of my review sample) look good, and in the case of the wood veneer model there’s a degree of tactility in the fairly deep grain, too. The plinth is of a single, relative chunky, piece of MDF – a material valued for its rejection of resonances – and the clear Perspex dust-cover on top of it is mildly angled and consequently mildly interesting in visual terms. 

The F300 is distinct from the less expensive models in the Rekkord Audio line-up thanks to the floating sub-chassis that’s visible beneath the aluminium platter. The platter itself, the tonearm assembly and the components that control the automatic operation are all decoupled from the main body of the chassis – and so the theoretical benefits where isolation from internal and external vibrations are obvious.

  • Design: 4.5/5

Rekkord Audio F300 review: Usability and setup

A close-up of the Rekkord Audio F300 turntable arm.

(Image credit: Future/Simon Lucas)
  • Minimal user input into set-up
  • Even more minimal input needed when playing a record
  • ...Sit back and listen

It’s hard to know how setting up or operating the F300 could be any simpler or more straightforward. If you can’t get a sound out of this record player within minutes of taking it from its box, you should probably have a word with yourself.

There’s a wall-wart mains adapter in the packaging that needs to be plugged in. The captive RCA leads and grounding lead need to be attached to your amplifier, wireless speaker or what-have-you. The aluminium platter needs positioning, the counterweight needs adjusting – as does the anti-skate control. And then you just need to take the plastic guard off the cartridge. You are now set up.

And, of course, the whole point of the F300 relative to most of its rivals is its ease of usability. Select the speed at which you’d like the platter to turn. And then, having put a record on the platter, push ‘start’. The job is very much done.

  • Usability and setup: 5

Rekkord Audio F300 review: Value

As a painless-to-own, easy-to-use turntable that’s properly built and finished, it’s difficult in the extreme to fault the value that Rekkord Audio is offering with the F300. Whether or not it sounds like the money’s-worth is, admittedly, a slightly different question - the answer will depend quite strongly on whether you consider the words “laid back” to be especially positive or not… 

Should I buy the Rekkord Audio F300?

Buy it if...

You value convenience
The F300 is as convenient as they currently come.

You admire good engineering
There’s no arguing with the quality of construction here, nor the standard of the engineering involved.

You like an easy-going sound
To be honest, ‘easy-going’ is to understate it somewhat.

Don't buy it if...

You own a lot of 12in singles
Rekkord Audio is adamant: 12in records turn at 33.3rpm, 7in records at 45rpm.

You enjoy upgrading your equipment
The captive leads and the cosy nature of the relationship between tonearm and cartridge don’t lend themselves to upgrades.

You admire a punchy sound
You have a stack of choice if you want a more assertive-sounding turntable. None of the alternatives are automatic, though.

Rekkord Audio F300 review: Also consider

If it’s the automatic operation that’s brought you this deep into the Rekkord Audio F300 review, you won’t find too many alternatives that perform to this sort of standard. If, however, you’re simply in the market for the best-sounding turntable this sort of money can buy, you most definitely have options – Pro-Ject and Rega (see in particular the Rega Planar PL1) are probably the most high-profile turntable brands with very capable machines at this sort of price.

How I tested the Rekkord Audio F300

I plugged its captive RCA connections into my Naim Uniti Star amplifier via a Cambridge Audio phono stage, from where it played through a pair of Audiovector QR-1 SE loudspeakers, and also into the ‘aux’ input of a KEF LS60 wireless speaker system. I played 12in and 7in records of all types, all vintages and various conditions (although I steered clear of those LPs it appears someone has been eating off). And I didn’t stop for the thick end of a week.  

JBL Clip 5 review: an affordable portable speaker with fantastic sound
4:54 pm | August 14, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: , , | Comments: Off

The JBL Clip 5 is reasonably priced at $79.95 / £59.99 / AU$89.95 and is available in the US, the UK, and Australia. Considering that the JBL Go 4 costs $49.95 / £39.99 / AU$59.95, if your budget can stretch to the JBL Clip 5 the extra investment will return big gains in sound quality and volume levels.

From minute one I was impressed with what this compact Bluetooth speaker had to offer. The Clip 5 is a satisfying mix of durability, practicality, and enjoyable sound in a small package. Is it one of the best Bluetooth speakers around? All in good time. 

The JBL Clip 5 is covered in woven fabric on the front and back, with a silicone mid-section. It has a large plastic carabiner on the top that's easy to open and clip onto things. I’ve had it hanging from door handles, the bathroom mirror, and shelving units amongst other places, and could easily change up its position to allow for the best listening experience. 

There are silicone strips on the back of the speaker body for added stability when the speaker is placed face-up on a surface, and the JBL logo on the front of the speaker is also made from silicone. Above the logo are the play/pause button and the volume up and volume down buttons. These have icons that represent the respective functions – so, a triangular 'play' icon, and plus and minus signs – and I found them satisfying to press. Within the silicone area on the left-hand side of the speaker sit the power, Bluetooth and Auracast buttons.

A close up of the carabiner on the top of the JBL Clip 5, pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

This pint-sized speaker measures just 3.4 x 5.3 x 1.8 inches / 86 x 134.5 x 46mm, but at 10 ounces / 285g, it feels a little heavy for its size. It’s a shame that it's only possible to hang the Clip 5 or lie it on its back; there was many an occasion when it would have been more convenient to stand it on its base, but its pebble-like shape makes it unstable.

The speaker has IP67 water and dust protection, meaning I wasn’t limited to where I could listen to tunes. It quickly became my favorite bath-time companion, and the steam was no issue for it. We also did a dunk test in the TechRadar testing tank, after which the Clip 5 continued to function quite happily, so whether you want to listen to tunes on the beach or do karaoke in the shower, it looks like this speaker can handle it. JBL has adopted a sustainable approach with the Clip 5 by incorporating some post-consumer recycled materials in the design. Great stuff.

A close up of the back of the JBL Clip 5, pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

If you’ve read my JBL Go 4 versus feature, you’ll already know I’m a fan of the JBL Portable app's user-friendly interface. It has an attractive, easy-to-use design that makes it a snap to view the battery level, use Stereo Group mode to play in stereo from two speakers, or use the PartyTogether mode to add other JBL speakers into the mix for amped-up sound.

Further features on the app include PlaytimeBoost, which is designed to boost the volume of the music without consuming more battery power, a Product Information section, and an EQ settings section. There are four equalizer profile presets: JBL Signature, Chill, Energetic, and Vocal, as well as a customizable EQ profile.

I tested out the Clip 5’s Auracast capabilities by connecting it with a JBL Xtreme 4 and Go 4 speaker. The connection process was easy thanks to PartyTogether mode, and the resulting surround sound effect was impressive. I must admit that my colleague, audio expert Harry Padoan, and I couldn’t help but bop along to the tunes in our music testing room.

A closeup of the control buttons on the side of the JBL Clip 5, pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

The battery is said to last up to 12 hours on the JBL website. When I tested it by playing our TechRadar testing playlist non-stop at 50% volume, it lasted just under eleven-and-a-half hours, which isn’t bad considering how obnoxiously loud the Clip 5 is when playing at this volume level.

The sound quality of the JBL Clip 5 is pretty impressive considering its size and price. It’s capable of some surprisingly deep bass and delivers this without losing the detail, even when just using the default JBL Signature EQ setting.

When I laid the speaker down, I could feel the bass pounding through the surface it was on. Not only was the bass impactful and dynamic in tracks like Black Eye by Allie X, but it also delivered low-frequency bass impressively well when I listened to Angel by Massive Attack.

A close up of the USB C charging port on the JBL Clip 5, pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

Unfortunately, there was a shortcoming that became apparent when listening to Black Eye. The vocals came across slightly strained and overpowering when listening to the track at 75% volume. They were brought more into proportion when the volume was reduced to 50%; the bass continued to bounce dynamically across the track, and I could still hear the detail in the vocals. I changed to the Energetic EQ preset to see if this made any improvements. While it did what it said on the tin and added some energy to the instrumental element of the track, the vocals continued to have a sharp edge to them. As was also the case with the JBL Go 4, changing over to the Vocal EQ preset just results in all the elements sounding distorted, as if they were recorded underwater.

When listening to Hit the Road Jack by 2WEI and Bri Bryant, the delivery was satisfyingly atmospheric and immersive considering the size of the Clip 5. The different elements layered together well. The bass was dramatic and impactful, and I could hear the finer details in the background of the track as the beat was building up.

The JBL Clip 5 in black is pictured being held by the carabiner against a pink background,

(Image credit: Future)

Cheaper speakers can struggle with the treble and intensity of some vocal sections on this track, making them sound tinny and strained. The Clip 5 handled it well, but the tinniness did appear at around 75% volume, which seemed to be a running theme when I listened to various tracks. The song Boom Boom by the same artists sounded good at 75%, with plenty of detail and drama, but the highs again began to feel a little harsh; at 50% volume, everything blended together a bit better. So this definitely wouldn’t make a replacement for a party speaker if you wanted to blast out the tunes at a get-together.

Adagio Per Archi E Organo In Sol Minore by the London Philharmonic Orchestra was a satisfying listen with this speaker; there was a clear distinction between the different notes and instruments, but a slightly tinny edge to the sounds of the organ. This will likely only be noticed by audiophiles who are scrutinizing the sound quality, however. I don’t imagine anyone expects perfection at this price point but, actually, outside of the treble troubles, the Clip 5 is certainly reaching for it.

Another enjoyable listen was I Believe in a Thing Called Love by The Darkness. The guitar and vocals sounded great, and everything was well-proportioned. I could easily hear the detail and depth in Justin’s voice, and the instruments layered together well, with nothing stepping out of line or trying to steal the limelight when it shouldn’t have been.

A close up of the play, pause and volume buttons on the front of the JBL Clip 5, pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

The difference between the sound quality of the Clip 5 and the cheaper JBL Go 4 is certainly noticeable. While there is of course a $30 price difference to consider, I'd say it’s worth it if you want deeper bass and the ability to blast out some tunes without lugging about a bigger speaker – though there's naturally some sacrifice when it comes to sound quality at the higher end of the volume scale. 

If you're still undecided whether the JBL Clip 5 covers all your bases, we’ve curated a list of the best Bluetooth speakers with alternatives suitable for varied budgets and requirements. We also keep track of the best cheap Bluetooth speaker deals, so it's worth checking back now and then to see if there’s money to be saved.

JBL Clip 5 review: Price & release date

  • List price: $79.95 / £59.99 / AU$89.95
  • Available now in the US, UK, and Australia

The JBL Clip 5 was released in June 2024 and is one of JBL’s first speakers to include Auracast capabilities, along with the Xtreme 4 and Go 4. It’s available directly from the JBL website in the US, UK, and Australia for $79.95 / £59.99 / AU$89.95. 

JBL Clip 5 review: Specs

Should I buy the JBL Clip 5?

The JBL Clip 5 in black is pictured leaning against a sand coloured rock against a pink background,

(Image credit: Future)

Buy it if...

Don't buy it if...

JBL Clip 5 review: Also consider

How I tested the JBL Clip 5

  • I tested the speaker over several months
  • I listened to a variety of music genres and podcasts
  • I played music continuously to determine battery usage

I tested the JBL Clip 5 over a few months. I listened to a variety of music genres, as well as the TechRadar testing playlist that includes tracks ranging from complex and layered instrumentals to deep bass and delicate vocals. This enabled me to determine the speaker's ability to handle different frequencies.

I played our TechRadar playlist on Tidal continuously at 50% volume using the default JBL signature EQ preset to test whether the battery could last up to 12 hours.

I used it to listen to music and podcasts in the TechRadar office, our music testing room, and at home, using Spotify and Tidal from an iPhone 12 Pro and a OnePlus Pad Go.

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