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I tested the FiiO JM21 portable music player and it’s hard to believe an entry-level digital audio device can sound so good for so little outlay

1:30 pm | February 27, 2025

FiiO JM21: One-minute review

If we’ve all come to rely on FiiO for anything, it’s for specification and performance that’s out of proportion with the amount of money it’s asking for a given device. The latest product to demonstrate this happy knack in action is the FiiO JM21 digital audio player.

It’s compact, it’s more than adequately built and finished, it’s specified like a much more expensive device, and it’s simple to set up and use. Battery life is well above average for a product of this type, in much the same way that the price is well below. You can spend getting on for twice as much money on a Sony equivalent and it won’t buy you anything more where the quality of construction or the standard of specification is concerned.

So, does it sit among the best MP3 players on the market? It's an unequivocal yes from us.

FiiO JM21 review: Price and release date

FiiO JM21 portable music player, pictured on its side, on a white surface — (Image credit: Future / Simon Lucas)

Released January 2025
Priced at $199 / £179 / AU$369 (approx.)

The FiiO JM21 digital audio player was announced at CES 2025 and launched towards the end of January 2025. In the United Kingdom it currently sells for around £179, while in the United States it goes for $199. Customers in Australia are likely to have to part with AU$369 or thereabouts.

FiiO JM21 review: Features

FiiO JM21 portable music player on a white surface — (Image credit: Future / Simon Lucas)

2 x Cirrus Logic CS43198 DACs
Balanced and unbalanced headphone sockets
Bluetooth 5.0 with SBC, AAC, aptX HD, LDAC and LHDC codec support

You have to hand it to FiiO – it may have set out to produce the most affordable digital audio player it could realistically manage, but that doesn’t mean it’s felt the need to scrimp on the features.

Which means the FiiO JM21 is ready for any eventuality. It’s fitted with twin Cirrus Logic CS43198 DAC chipsets for compatibility with resolutions up to 32bit/384kHz and DSD256, and these are paired with high-performance op-amps in a fully balanced layout. Its main control, DAC and headphone amp sections are shielded and isolated in their own zones in an effort to reduce signal interference and cross-talk.

Wired outputs consist of 3.5mm and balanced 4.4mm headphone sockets – the 3.5mm socket is a hybrid number that can be used as an SPDIF output for use with an external DAC. The USB-C slot that sits between them can be used for data transfer as well as battery-charging and the 2400mAh battery is good for more than 12 hours of playback between charges. That's as long as you’re using the unbalanced output and not going to town with volume levels, of course.

The JM21 has three ‘gain’ settings, each with a different volume curve. This is especially useful if you intend to use the FiiO as a source hard-wired to an amplifier or a powered speaker – set the output to ‘LO’ and no harm will come to your equipment – and it also means the JM21 should have no problem driving even quite demanding headphones. And if you connect the FiiO to a laptop (for instance) via its USB-C socket, it can function as a USB DAC and enhance your listening pleasure more than somewhat. Used this way, it’s able to deal with 32bit/768kHz and DSD512.

Where wireless connectivity is concerned, the JM21 is both a Bluetooth transmitter and receiver. When it’s sending to headphones, wireless speakers or what-have-you, its Bluetooth 5.0 is compatible with SBC, AAC, aptX HD, LDAC and LHDC codecs. Use it as a receiver and it can deal with SBC, AAC and LDAC. Dual-band Wi-Fi is on board, of course, and the JM21 is DLNA compatible and supports Apple AirPlay, too.

There’s plenty more, from the custom crystal oscillators (with ceramic gold-plated bases) that are screened at the femtosecond level to ensure consistent, stable output to the proprietary ‘digital audio purification’ system that separates the main processing module to the co-processing equivalent. But by now I think the broad point is made: the compact form-factor and relatively low price of the JM21 is not reflected in its specification.

Features score: 5 / 5

FiiO JM21 review: Sound quality

Display of the FiiO JM21 portable music player, showing Tubular Bells by Mike Oldfield — (Image credit: Future / Simon Lucas)

Open, detailed and composed presentation
Good tonal balance and a fair amount of dynamism, too
Not absolutely comfortable at highest volumes

Everything is relative, of course, and everything needs to be put into context, but when you keep the price of the FiiO JM21 uppermost in your mind, it’s hard to find meaningful fault. That doesn’t mean I’m not going to give it a good go, you understand, but between you and me I’m struggling…

No matter if you listen wirelessly via the aptX codec to something like the Bowers & Wilkins Pi6 true wireless in-ears or the Dali IO-8 using aptX HD, using a pair of Sennheiser IE900 connected to the player’s 4.4mm balanced output, or make the FiiO part of a full-size system by connecting it to a Naim Uniti Star using the unbalanced 3.5mm output, it’s a composed, lively and admirably detailed listen. No matter if you listen to a DSD256 file of Mike Oldfield’s Tubular Bells, a 24/96kHz FLAC of When We All Fall Asleep, Where Do We Go? by Billie Eilish or a 16bit/44.1kHz file of De La Soul’s 3 Feet High and Rising, the JM21 doesn’t put a foot wrong. It’s a remarkable little device.

It balances the frequency range really nicely – from the deep and textured low frequencies to the politely shining top end and all points in between, there’s an evenness of emphasis and a lack of choppiness that speaks of a properly sorted player. It hits hard at the bottom end, but with no lack of control: its straight-edged attack means rhythmic expression is confident and convincing. There’s bite and drive at the top end, but it’s composed and never even hints at becoming hard or edgy. And in between, the mid-range is open and revealing, so a vocalist is allowed complete expression of the character and motivations.

FiiO JM21 portable music player, on its side showing microSD port, on a white background — (Image credit: Future / Simon Lucas)

The tonal balance is equally well-judged. It’s on the cool side of neutral, but not by very much and not to the detriment of the music it’s playing. Meanwhile, the attention to detail the JM21 demonstrates is really admirable – even those transient details in a recording that are gone almost as soon as they arrive are picked up on and put into appropriate context.

The fact that the FiiO establishes a quite large and easily understood soundstage doesn’t do any harm, either. Even a borderline-chaotic stage like that which Mike Oldfield creates is opened up by the JM21, and the amount of properly defined space it can put between each element of a recording is quite something. There’s plenty of space on the ‘left/right’ axis and even a stab at creating a proper sensation of ‘front/back’, too. Dynamic headroom is considerable, so when a recording indulges in big shifts in intensity or volume, the player has no difficulty in keeping up and making them absolutely apparent.

In fact, as far as I can tell the only way to make the FiiO JM21 sound anything other than entirely comfortable and confident is to wind the volume up towards ‘ill-advised’ levels. When it’s playing at its upper limits, some of the three-dimensionality of its presentation goes astray, dynamic variations become flattened, and the overall sound gets rather shouty. But you should pay attention to your parents/doctor/own common sense – you really shouldn’t be listening at this sort of volume anyway.

Sound quality score: 5 / 5

FiiO JM21 review: Design

FiiO JM21 portable music player back panel — (Image credit: Future / Simon Lucas)

121 x 68 x 13mm (HxWxD)
Aluminium and plastic construction
156g

You don’t see many ‘two-tone’ digital audio players, do you? The FiiO JM21 is one, though. It's impeccably built and finished from a combination of high-quality plastic and aluminium, is sky blue on its top half and silver on the bottom. The bottom is quite interestingly textured, too – although you may not get to experience this, as FiiO supplies the player pre-fitted with a protective transparent plastic case.

The top of the machine is basically all touch-screen - it’s a 4.7-inch, 750 x 1334 affair, and it’s big enough and bright enough to display a lot of information without becoming illegible. Despite the relatively large screen, though, at 121 x 68 x 13mm (HxWxD) the JM21 is smaller than even the most compact smartphone, and at 156g it’s no kind of burden to a pocket.

Design score: 5 / 5

FiiO JM21 review: Usability and setup

Android 13
3GB RAM, 32GB ROM (of which 22GB is usable)
8-core Qualcomm Snapdragon 680 processor

The FiiO JM21 uses an extensively adapted version of Android 13 as an operating system, and thanks to an 8-core Qualcomm Snapdragon 680 processor it’s fast and stable in operation. FiiO is open enough to acknowledge that Android 13 is fairly memory-hungry, though, and given the JM21 has just 3GB of RAM available (in order to keep both costs down) it suggests only loading those essential music-streaming apps and avoiding peripheral stuff. It also suggests avoiding running multiple apps simultaneously if at all possible.

The 22GB of usable ROM isn’t going to last long, but there’s a microSD card slot on one side of the player - and it can handle memory cards of up to 2TB, which is enough to store all the hi-res stuff you could possibly want to listen to.

Physical controls are arranged on the edge of the player, too. On the left side (as you look at it) there’s a power on/off button with an LED tell-tale just below it. Beneath there is a volume up/down rocker. On the right, meanwhile, there’s play/pause, skip forwards and skip backwards. Everything you need, in other words, and just as reliable and positive in their action as the touchscreen controls are.

Setting up the JM21 is simplicity itself for anyone who’s ever owned a smartphone. Charge the battery (from ‘flat’ to ‘full’ takes around two hours), put the player on your local network, install the apps you need to install (only the essentials, remember), and away you go. I’m struggling to think of how it could be any more straightforward.

Usability and setup score: 5 / 5

FiiO JM21 review: Value

I’ll say it as directly as I can, for the avoidance of doubt: the FiiO JM21 is tremendous value for money, at $199 / £179 / AU$369 (approx.). It’s as well-made and -finished as any sub-£500 digital audio player you care to mention, it’s specified beyond its asking price, and it sounds great when playing at real-world volumes.

Yes, it could do with more internal memory - but then the physical size, as well as the price, would very probably increase. SO make sure to budget for a microSD card of worthwhile capacity - you’ll still be in possession of a great-value portable music player.

Value score: 5 / 5

Should I buy the FiiO JM21?

Buy it if...

‘Small and affordable’ fits your digital audio player wish-list
Other devices from other brands are as compact, but none are as aggressively priced

You want one of the very best pound-for-pound digital audio players around
Sure, bigger and pricier alternatives sound even better, but they’re quite a lot bigger and an awful lot more expensive

You admire a two-tone finish
It’s not a huge point of difference, to be fair, but the multicoloured nature of the FiiO JM21 is pleasing (to me, at least)

Don't buy it if...

You don’t own a microSD card and don’t intend to buy one
There’s not much internal memory here, and even less of it is usable

You’re determined to listen at top volume
Some of the FiiO’s admirable composure and spaciousness goes astray if you insist on listening at the sort of levels you’re supposed to avoid

FiiO JM21 review: Also consider

Sony NW-A306
The problem here is that the FiiO JM21 has, at a stroke, made such products as the Sony NW-A306, which previously constituted ‘entry level’, look overpriced and sound pretty ordinary. The Sony is more poised when playing at the biggest volumes, sure, but there’s not a huge amount in it – certainly not to justify the extra outlay.
See our full Sony NW-A306 review

Activo P1
As for the Activo, which always looked a bit weird, it's made to look (and sound) almost juvenile by the FiiO JM21. So, all in all, ‘also consider’? Consider spending a great deal more money if you want to make a meaningful upgrade on the JM21…
Read our full Activo P1 review

How I tested the FiiO JM21

Tested for two weeks
Listened to both streamed and downloaded content
Tested with both wired and wireless headphones, Bluetooth speaker and amplifier

First things first: I installed the Presto Music and Tidal music streaming service apps via the Google Play store, and I also inserted a 512GB SanDisk microSD card loaded with lots of high-resolution content into the player’s slot.

Then I used a variety of wired and wireless headphones (including, but not limited to, some Sennheiser IE900 in-ear monitors via their 4.4mm socket and a pair of Bowers & Wilkins Px8 connected via Bluetooth), as well as connecting the player to a Bose SoundLink Max Bluetooth speaker and to a full-size stereo system by connecting its 3.5mm output to a line-level input on a Naim Uniti Star amplifier/network streamer.

And at every stage, I listened to lots of different types of music, stored in a number of different file types, and used a variety of Bluetooth codecs when the FiiO was connected wirelessly.

First reviewed in February 2025

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Technics EAH-AZ100 review: premium true wireless earbuds that bridge gap between ‘good’ and ‘great’

8:30 pm | January 7, 2025

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

Technics EAH-AZ100: Two-minute review

Technics EAH-AZ100 in-ear headphones on a white surface — (Image credit: Future / Simon Lucas)

Announced at a press conference at CES2025, the new Technics EAH-AZ100 are the company’s latest and (on paper, at least) and most thorough attempt to make meaningful waves in the stacked markets that are the best earbuds and best noise-cancelling earbuds.

There’s no denying the lengths to which the company has gone. From the extremely thorough specification (covering everything from multipoint connectivity and adaptive noise-cancellation to Bluetooth 5.3 connectivity with LDAC compatibility) to design (smaller, lighter and yet somehow no less premium in look and feel to the model they replace), the Technics EAH-AZ100 are ready to compete. Control options are numerous and well implemented, and the carefully ergonomic design extends as far as providing five different sizes of ear tip.

Of course, if you’re competing at the upper end of the market it’s important to go to these sorts of lengths. The most obvious products the Technics EAH-AZ100 intend to usurp – Bose’s QuietComfort Ultra Earbuds, the Pi6 by Bowers & Wilkins, the ubiquitous WF-1000XM5 from Sony – all look good on paper, too. The fight, as always, will be won or lost where sound quality is concerned.

And the sound quality that’s available here is convincing in pretty much every respect – or, at least, it is with ANC switched on. With noise-cancelling engaged, the AZ100 sound robust, insightful and thoroughly musical and sit easily among the best ANC earbuds out there. They can turn their hand to pretty much anything where styles of music are concerned, and are able to extract the most transient details in the most unpromising circumstances. Switch ANC off, through, and the solidly punchy and nicely controlled low frequencies lose a lot of their substance - and the Technics sound fractionally lightweight as a result. There’s a lesson there somewhere…

Technics EAH-AZ100: Price and release date

Release date: 7 January, 2025
Price: $299; £259; AU$478 (approx.)

The Technics EAH-AZ100 are on sale from 7 January 2025, having been unveiled at CES 2025 in Las Vegas. They are an update on Technics' much lauded EAH-AZ80, which arrived in 2023. A US price of $299 (the same asking fee as their predecessors) also puts the AZ100 into competition with any number of well-regarded rivals – think Bose, Bowers & Wilkins, Sennheiser and Sony just for starters…

Technics EAH-AZ100: Specs

Technics EAH-AZ100: Features

App screenshots showing settings for the Technics EAH-AZ100 in-ear headphones — (Image credit: Future / Simon Lucas)

Bluetooth 5.3 with SBC, AAC, LDAC and LC3 codec compatibility
10mm free-edge dynamic drivers with ‘magnetic fluid’ technology
Three-device multipoint connectivity

No matter what you think of the way the Technics EAH-AZ100 perform, there’s no arguing with the feature set here. Technics has laid it on with the proverbial trowel.

For instance, the EAH-AZ100 use Bluetooth 5.3 for wireless connectivity, and compatibility with SBC, AAC, LDAC and LC3 codecs means there’s something for everyone here. Perhaps it might have been nice to see Qualcomm’s aptX range of codec supported, too, but I guess you can’t have everything,

Once the digital audio information has been wirelessly received, it’s delivered to your ears by a pair of 10mm full-range dynamic drivers with free-edge aluminum diaphragms. The gap between the driver magnet and the voice-coil is filled with a viscous liquid charged with magnetic particles – Technics suggests this results in precise low-frequency response and low distortion throughout the frequency range. They quote a frequency response of 20Hz - 40kHz.

You’re able to enjoy this full-range sound for a good while, too. In the most favorable circumstances (using the AAC codec with active noise-cancellation switched off) the earbuds should play for around 12 hours between charges, and even if you go to town (using the hi-res LDAC codec with ANC switched on) you should be good for seven hours or so. The charging case is good for a respectable-but-hardly-startling one-and-a-half further charges, and you can go from ‘flat’ to ‘full’ in around two hours when charging via USB-C. Fifteen minutes on the juice is good for 90 minutes of playback. The EAH-AZ100 are compatible with Qi-certified charging pads, too, and need around three hours to become fully charged this way.

The noise-cancelling itself is of a new ‘adaptive’ design that intends to adapt to fit the wearer’s ear and deliver optimal results. Three mics per earbud also look after voice control telephony, and Technics has introduced ‘Voice Focus AI’ in order to provide the best possible call quality. The AI noise-reduction chip analyzes your surroundings in order to filter out unwanted sound, and at the same time assesses the incoming call quality in an effort to make conversations as pain-free as possible.

What else? Well, the AZ100 offer three-point connectivity for the inveterate multi-taskers among us. A suite of Dolby technologies – ‘Atmos’, ‘Audio’ and ‘Head-tracking’ – offers spatial audio, enhanced clarity for voice-based content, and a sound-field that responds to the movement of your head respectively.

Feature quality score: 5/5

Technics EAH-AZ100: Design

Technics EAH-AZ100 in-ear headphone case on white surface — (Image credit: Future / Simon Lucas)

21 x 26 x 25mm (earbud); 36 x 69 x 27mm (charging case)
5.9g (earbud); 42g (charging case)
Five sizes of ear tip

Technics has long had a bee in its bonnet about the fit of true wireless in-ear headphones, and with the EAH-AZ100 it has gone to even greater lengths than before to ensure the earbuds are a secure and comfortable fit for lugholes of all shapes and sizes.

Both the earbuds and the case in which they charge are smaller and lighter than the outgoing EAH-AZ80 model. The concha shape and fit has been reworked, and there are now five sizes of ear tip provided in the package. It seems unlikely in the extreme that you’ll be unable to ensure your AZ100 fit snugly and remain comfortable for hours on end.

Otherwise, it’s high-end Technics earbuds business as usual. The EAH-AZ100 are available in silver or black, and no matter which finish you prefer, you’ll find yourself in possession of well-made, carefully finished and quite tactile earbuds that travel in a smooth, robust charging case with a nice slice of aluminum across the top which bears the company logo.

App showing different controls for Technics EAH-AZ100 in-ear headphones — (Image credit: Future / Simon Lucas)

Controlling the AZ100 can be done in a number ways, each nicely implemented and responsive. Your source player’s native voice assistant is available, of course, and interactions are rapid and reliable. The same can be said for the capacitive touch-surface on each earbud - it’s in the same spot as the brand logo, and is as responsive and reliable as these things ever get. And you can rearrange the meaning of the various ‘touch’ or ‘hold’ commands in the newly reworked ‘Technics Audio’ control app that’s free for iOS and Android. It’s not, perhaps, the most exciting-looking control app around, but it has a huge array of functionality (from adjusting EQ settings to finessing the amount of noise-cancellation you prefer) and proves utterly stable over the long haul.

Design quality score: 5/5

Technics EAH-AZ100: Sound quality

Technics EAH-AZ100 in-ear headphones, one facing up and the other facing down, on a white surface — (Image credit: Future / Simon Lucas)

Balanced, detailed and respectably dynamic sound
Energetic and unified presentation
Pronounced difference in sound depending on whether ANC is on or off

Asking a premium price for true wireless headphones means there’s really no hiding place when it comes to sound quality – ‘good’ is nothing like good enough. Happily, the Technics EAH-AZ100 are never less than ‘very good indeed’ and are capable of giving the class leaders plenty to worry about.

No matter if they’re dealing with a 16bit/44.1kHz FLAC file of Summon the Fire by The Comet Is Coming via AAC or a 24bit/96kHz copy of Weyes Blood’s Grapevine using LDAC, they’re a balanced and insightful listen, more than capable of bringing order to ear no matter how unruly a recording might think it is. Detail levels are high at every turn, and the AZ100 organize and lay out a recording with such confidence that even the densest tunes are easy to understand.

With ANC on and EQs set to ‘direct’ (which basically means ‘flat’), these Technics are a straightforwardly enjoyable and entirely convincing listen. Low frequency activity is deep, punchy and textured, and controlled with enough authority to make sure rhythms are expressed with assurance. The midrange is open and informative, with a whole stack of detail regarding tone and timbre not only made available but put carefully into context. And there’s proper drive and attack at the top end, but treble sounds have sufficient substance to ensure they never become hard or bitey.

Best of all is the way the AZ100 unify the entirety of the frequency range. They’re completely even-handed, and the sweep from the top end to the bottom is smooth – no area is given undue prominence, no area is underplayed. It’s possible to alter this stance quite radically if you fiddle with the EQ settings, of course, but it’s obvious Technics’ engineers have found a suitable balance – it’s called ‘direct’.

Despite the carefully judged frequency response and naturalistic tonal balance, though, the AZ100 are an energetic and decently dynamic listen when the material you’re listening to demands it. They fairly power through up-tempo stuff like Claro Intelecto’s Peace of Mind and make broad and fine dynamic variations completely obvious. They do this all with absolute authority – the Technics are always in control, and consequently the organization of the soundstage never gets blurred or uncertain.

All the above applies if you have active noise-cancellation switched on, and the ANC itself is pretty effective by the standards of any premium brand that isn’t Bose. Companies both large and small have tried in vain to replicate the almost eerie Bose Blanket of Silence, and all have failed – Technics is simply the latest. But if you accept that the ANC here can be bettered, it’s actually very effective where all but the most near-field, loud and toppy frequency occurrences are concerned.

Switch ANC off, though, and the AZ100 undergo a strange and obvious change in their sonic character. Low frequencies lose a degree of substance, and the overall presentation becomes rather flimsy and lightweight. It may well be fair to suggest that very few people buy a pair of true wireless earbuds with active noise-cancellation in order to leave the ANC turned off, but it’s equally fair to point out that any number of alternative designs sound exactly the same no matter if the ANC is operating or not.

Sound quality score: 4.5/5

Technics EAH-AZ100: Value

Rear of Technics EAH-AZ100 in-ear headphones carry case, showing USB-C charging port — (Image credit: Future / Simon Lucas)

Look and feel like a premium item
Balanced, convincing sound (with ANC on)
Very thoroughly specified

Touching and wearing the Technics EAH-AZ100 is a very pleasant experience. They’re nicely made and finished from tactile materials, and the care the company has taken where ergonomics are concerned means getting a secure and comfortable fit is no problem whatsoever.

Technics has been similarly thorough when it comes to specification, too. If you judge value for money by the spec-sheet yardstick, a) you’re not alone, and b) you’re in business here. The AZ100 are handsomely specified, with triple-device multipoint connectivity to boot. Only the lack of aptX compatibility sounding the mildest of false notes.

Sound quality score: 4.5/5

Should you buy the Technics EAH-AZ100?

Buy them if...

You value comfort
Small, light, very carefully shaped and with a very wide choice of ear tips, the EAH-AZ100 are no kind of burden to wear for hours on end

You enjoy vibrant, informative sound
Keep the ANC switched on and the Technics will reward you with an audio performance that strikes a very nice balance between ‘insight’ and ‘entertainment’

You’re a full-on multi-tasker
Triple-point wireless connectivity means your EAH-AZ100 can connect simultaneously to your laptop, your tablet and your smartphone, and switch seamlessly between them

Don't buy them if...

You’re far from mains power for days at a time
Seven hours (with ANC on) from the earbuds and another 10 hours or so from the charging case ain’t bad – but not if you like to rock around the clock…

Noise-cancellation is the most important thing
To be honest, Technics is far from alone in having ANC that’s not quite as good as that provided by Bose. If noise-cancellation is paramount, buy a pair of QuietComfort Ultra and be done with it

You’re not very dextrous
The earbuds fit snugly into their charging case, and unless you have fingers like cocktail sticks it can be a little tricky getting them out

Technics EAH-AZ100: Also consider

Bose QuietComfort Ultra Earbuds
If you’re after class-leading noise-cancellation along with very competitive ‘everything else’ you need to check out the Bose QuietComfort Ultra Earbuds – oh, and they are also available at a new and improved price-point. Read our full Bose QuietComfort Ultra Earbuds review.

Sony WF-1000XM5
They’re surely not long for this world, but that just means that the Sony WF-1000XM5 are now routinely available for less than $230, and that means they are even more difficult to ignore than before. Read our full Sony WF-1000XM5 review.

How I tested the Technics EAH-AZ100

Connected to an iPhone 14 Pro and a FiiO M15S
Various codecs, various file types and various styles of music
Listened (on and off) for very nearly a month

When connected to my iPhone 14 Pro, I am of course limited to the AAC codec - but this is nevertheless a decent-sounding smartphone and reveals a lot of what makes the EAH-AZ100 tick. The best results, though, naturally come via the FiiO M15S digital audio player – it’s compatible with the LDAC codec, which means higher resolution and an altogether fuller audio experience.

I spent the best part of a month (not 24/7, obviously) listening to the Technics earbuds, and in that time listened to a lot of different types of music, of different file standards and resolutions. And it wouldn’t be any kind of hardship to have to do it all again…

Read more about how we test

First reviewed January 2025

Dali IO-8 review: great-sounding noise-cancelling headphones, but ‘entry-level’ this is not

11:00 am | October 8, 2024

Author: admin | Category: Audio Computers Gadgets Headphones | Tags: AAC | Comments: Off

Dali IO-8: Two-minute review

The Dali IO-8 are the wireless over-ear noise-cancelling result of the company's attempts to cater for more mainstream customers. A brand like Dali should have more than one pair of wireless over-ear noise-cancelling headphones in its line-up, of course, especially when the one pre-existing pair it does have costs pennies less than £1,000 in the UK. Yet, even at a price of £599, the aforementioned word ‘mainstream’ is perhaps not the first that should spring to mind for the new Dali IO-8.

With one fairly notable exception, the IO-8 are specified to compete at this fiercely contested price point for the best noise-cancelling headphones crown. They’re very acceptably built and finished, from high-quality materials (although the real leather isn’t going to excite vegan customers). Bluetooth 5.2 with aptX Adaptive compatibility, 30 hours of battery life with ANC engaged, 24bit/96kHz support, 50mm full-range drivers with 10Hz-43kHz frequency response… these are all welcome features. The ability to work passively, with no requirement for power, when wired via an analogue connection, is a very nice touch too.

Only the lack of a control app sounds a slightly bum note, no matter how Dali might seek to spin it as a virtue.

Dali IO-8 over-ear headphones, in their carry case, on a wood surface — (Image credit: Future / Simon Lucas)

Dali IO-8 review: Price & release date

Released on October 8, 2024
Priced $899 / £599 / AU$TBC

The Dali IO-8 wireless over-ear noise-cancelling headphones launched on October 8, 2024, and in the United Kingdom they currently sell for £599. In the United States they’ll cost you $899, while in Australia the going rate has not officially been confirmed, at the time of publishing (but it'll be around AU$1,165 or thereabouts).

These are affordable wireless headphones by Dali standards, true, but everything’s relative, isn’t it? This sort of money can buy you some extremely well-regarded alternatives from brands that don’t necessarily consider $899 to be ‘entry-level’...

Close-up of Dali IO-8 over-ear headphone outer earcup — (Image credit: Future / Simon Lucas)

Dali IO-8 review: Specs

Inner earcups of the Dali IO-8 over-ear headphones on a wood surface — (Image credit: Future / Simon Lucas)

Dali IO-8 review: Features

50mm free edge full-range dynamic drivers
Bluetooth 5.2 with SBC, AAC, aptX HD and aptX Adaptive compatibility
35 hours of battery life

As far as the ‘wireless’ part of ‘wireless over-ear noise-cancelling headphones’ goes, the Dali IO-8 use Bluetooth 5.2 for connectivity, and have compatibility with SBC, AAC, aptX HD and aptX Adaptive codecs. But it’s also possible to use them via a wired connection – the USB-C socket on the right earcup can be used for data transfer as well as for charging the battery, and connected this way they’re able to deal with digital audio files of up to 24bit/96kHz resolution. Obviously you can give them even larger files to deal with, but these will be downscaled before the digital-to-analogue conversion takes place.

Dali provides a USB-C / USB-A cable in a reasonably compact travel case, and also includes a 3.5mm / 3.5mm analogue alternative. There’s a 3.5mm input on the left earcup, and if you make an analogue connection to a source player the Dali don’t even need to be powered on. Flat battery? No problem: the IO-8 can be used passively, which is a definite bonus.

Mind you, letting the battery run flat will smack of negligence. The Dali will run for 35 hours from a single charge with active noise-cancelling switched off, and if you switch it on that figure drops to a still-competitive 30 hours. The ANC itself (or ‘audiophile active noise-cancelling’, as Dali rather self-importantly has it) has ‘on’, ‘off’ and ‘transparency’ settings, and the company has tuned it for maximum sound quality rather than maximum noise-cancellation.

Dali IO-8 over-ear headphones earcup with on/off switch, battery life and USB-C socket — (Image credit: Future / Simon Lucas)

No matter how you get your audio information on board, it’s delivered to your ears by a couple of 50mm free edge full-range dynamic drivers that are good, suggests Dali, for a frequency response of 10Hz-43kHz. Just as it does with its full-size speakers, Dali has built these drivers from a paper fibre material with randomly aligned fibres of varying lengths to create a light-yet-stiff diaphragm with optimal damping.

As far as control is concerned, there are a couple of options here. Each earcup features a couple of mic openings – Dali has used cVc technology for telephony, and these mics also allow communication with your source player’s native voice assistant. In addition to its USB-C input, the right earcup features a combination of push- and touch-controls covering ‘play/pause’, ‘volume up/down’, ‘skip forwards/backwards’, ‘answer/end call’ and ‘power on/off/Bluetooth pairing’ as well as cycling through your ANC options or choosing between two EQ settings (‘hi-fi’ or ‘bass’).

What’s conspicuous by its absence, though, is a control app. Dali wants to make a virtue of this – it’s tuned the IO-8 to sound as good as they can, goes the rationale, and the last thing the sound quality needs is the end user sticking their oar in. Whether or not you think an outlay as significant as this ought to buy a swanky control app a la Bowers & Wilkins, Bose and all the rest of them is a question of personal preference.

Features score: 4.5/5

Dali IO-8 review: Sound quality

Detailed and expansive sound
Positive, dynamic presentation
Great low-end expression and agility

If you’ve heard any of Dali’s more expensive loudspeaker designs lately, the combination of talents the IO-8 demonstrate when playing music, of any type, won’t come as any kind of surprise. If you haven’t, though, well… it’s like this…

The IO-8 are remarkably insightful, detailed headphones. No element of a recording is too fleeting to elude them, and they have the happy knack of being able to put even the most transient events in a singular recording like Children Crying by The Congos into convincing context. Their remarkable facility for detail retrieval and expression is not at the expense of the bigger picture, either. The Dali create a large overall image, and it’s only when you peer closely at it that you realise just how alive with detail it is.

There’s a sensation of directness and of positivity to the way these headphones deliver music, a sensation of engagement that some similarly priced alternatives forgo in an effort to sound somehow more ‘accurate’. There’s no lack of precision to the IO-8, no lack of apparent fidelity – but they’re no dry tool of analysis. The idea of music as entertainment does not escape them, not even for a moment.

They have ample bite and shine at the top of the frequency range, but it’s controlled to the point that there’s never any glint of hardness, even in a Lee Perry production that is constantly on edge where treble sounds are concerned. The transition into the midrange is seamless, and once there the Dali communicate with absolute assurance and no little articulacy. They can relay a vocal performance's minutiae with the sort of effortlessness that makes for a direct and unequivocal listen.

Dali IO-8 over-ear headphones 3.5mm cable socket — (Image credit: Future / Simon Lucas)

At the bottom of the frequency range there’s a great combination of weight, texture and momentum. Listening with the ‘hi-fi’ EQ setting selected, the Dali offer straight-edged attack, rhythmic certainty, a decent amount of punch and an absolute stack of tonal and textural variation. Switch to ‘bass’ and while the amount of low-end presence increases noticeably, it’s not at the expense of any of the other work the Dali do with bass information. For my money it’s a slightly less naturalistic setting, but those who crave a bit of wallop won’t be disappointed.

Tonality is carefully neutral, and the frequency response is delightfully even from the very bottom of the frequency range to the very top. The broad dynamic shifts in intensity apparent in a 24bit/96kHz FLAC file of Stay Lit by Holy F*** are described in full – the IO-8 have no problem putting considerable distance between ‘loud’ and ‘quiet’. And the harmonic variations that are apparent in every instrument in this recording are given plenty of expression, too.

The Dali summon a large and persuasive soundstage, organizes it with utter authority and makes specific elements of even very complex recordings easy to identify and individualize. But at the same time it offers a very persuasive sensation of togetherness and singularity to recordings – there’s always an impression of ‘performance’ to the way it presents music.

Noise-cancelling, predictably, falls squarely into the ‘very good’ category rather than the very brief list headed ‘as good as Bose’ (single occupant: Bose). The IO-8 can do a reasonably thorough job on external sounds and keep those external distractions at bay, sure, but just as importantly, it does so without affecting the sonic characteristics in the slightest.

Sound quality score: 5/5

Dali IO-8 review: Design

‘Iron’ black, or ‘caramel’ white finishes
Real leather contact points
Weighs 325g

It comes to something, doesn’t it, when ‘round’ counts as a design flourish? But the fundamental design of over-ear headphones is so established that the perfectly circular earcups and earpads of the IO-8 is about the only part of their appearance that’s even remotely unusual.

They’re expertly built and finished, mind you, and from very upmarket and tactile materials. The round plate that covers the outside of each round earcup is of brushed and anodised metal, while the contact points of the inside of the headband and the earpads themselves are of memory foam covered in genuine leather (so long, vegans, it was nice knowing you). An outer section of the earpads and the entirety of the outside of the headband are covered in hard-wearing textile.

The headband adjustment mechanism is mostly concealed inside the headband itself, and it moves with nicely judged resistance. At 325g the IO-8 are far from the heaviest wireless over-ears around, and both the hanger arrangement and clamping force are so judicious that they remain comfortable for hours at a time. And unlike quite a lot of rival products, the Dali are not so big that they exclude the smaller-headed among us.

Design score: 4.5/5

Dali IO-8 over-ear headphones' headband and hanger arrangement on a wooden surface — (Image credit: Future / Simon Lucas)

Dali IO-8 review: Value

High-quality sound at a crowded price point
Comfortable, look good, excellent battery life
No control app, plus non-vegan

You buy expensive headphones in order to enjoy high-quality sound, right? If so, then there’s no arguing with the value on offer here – the Dali IO-8 are by no means your only choice at the price, but they have nothing to apologize for when it comes to the way they sound.

And if you’re able to overlook the lack of a vegan option, the standard of build and finish is well up to standard, too. The IO-8 look and feel good and they’re comfortable for hours on end, with the battery life to prove it.

If you think this sort of money should buy a control app, you’ll certainly get no argument from me. But I have to wonder what it would be for – after all, the way Dali has voiced these headphones is unlikely to be improved by my fiddling with EQ settings, and the company has already indicated that the ANC is implemented to the maximum level it’s happy with. It would be nice to be able to integrate all my favorite music streaming services into one hub, of course, but I’ve seen enough ropey control apps to know that ‘no app’ is better than ‘annoying app’.

Value score: 4.5/5

Should I buy Dali IO-8?

Buy them if...

Don't buy them if...

Dali IO-8 over-ear headphones carry case on a wood surface — (Image credit: Future / Simon Lucas)

Dali IO-8 review: Also consider

Apple AirPods Max
I’m contractually obliged to mention the Apple AirPods Max here. They’re a great option for iPhone and iPad users, to be fair, with a nicely realized sensation of spatial audio when connected to a sibling device, but I’ve yet to see anyone good-looking enough to wear them without looking like a bit of a ‘nana.
See our in-depth Apple AirPods Max review for more info.

How I tested the Dali IO-8

Connected wirelessly, via USB-C and via 3.5mm analogue
Powered and passively
Indoors and out

They’re adaptable by the standards of wireless headphones, the Dali IO-8, and so I listened to them when wireless connected to an iPhone 14 Pro and a FiiO M15S digital audio player. I also listened to them via a USB-C connection to an Apple MacBook Pro (loaded with Colibri software in order to play authentically high-resolution content).

I also listened to them with the battery switched off and a hard analogue connection made to both the FiiO and the MacBook Pro, too. I listened to them at my desk and on public transport, I listened to lots of different styles of music, delivered via lots of different digital audio file types and sizes. And I did all of this, on and off, for well over a week.

First reviewed: October 2024
Read more about how we test

Activo P1 music player review: Astell & Kern audio quality for considerably less cash

1:30 pm | July 23, 2024

Author: admin | Category: Audio Computers Gadgets Portable Media Players | Tags: AAC, DAC, LDAC | Comments: Off

Activo P1: One-minute review

The outside says Activo but at heart this is an Astell & Kern hi-res audio player with all that implies: superb sound, impressive specifications and excellent performance. It doesn't look quite as expensive or as eye-catching as its parent brand's players but it's what's inside that counts, and what's inside here is very good: the same amplification as more expensive players and an ESS ES9219Q SABRE Dual-DAC. There are multiple connections including aptX HD and LDAC on supported hardware, and while the built-in storage isn't enough for much hi-res audio you can add SD cards with capacities up to 1.5TB.

The most important thing is how this player sounds, and in that department it deserves the full five stars: as a music player it sounds superb, and in DAC mode it's a useful audio upgrade for your computer – so yes, it'll easily advance to our roundup of the best MP3 players in the entry-level space. There's a built-in equalizer that you can use to craft complex EQ curves but during our testing we tended to leave that feature off because the P1 sounded so good across multiple genres. In addition to its local playback, the P1 also works with all the key streaming services and includes full Play Store support.

If you're looking for a player to drive Apple headphones, this isn't the device for you: its high quality wireless streaming is in formats that Apple doesn't support and as a result you're missing out on some of the fun, even with AirPods Max. But with compatible headphones or a wired connection to your headphones or hi-fi this is a wonderful audio player and music streamer that delivers a performance you'd normally expect to pay a lot more to experience.

Activo P1 using Apple Music — Third party apps retain their own interfaces and don't integrate with the play history feature. If you're a subscriber you can get the same lossless audio as you'd get on your smartphone app. (Image credit: Future)

Activo P1 review: Price and release date

Priced at $430 / £399 / AU$ tbc

The Activo P1 launched on 22 July 2024. It is much cheaper than its parent brand's siblings. In the UK, for example, Astell & Kern's entry level digital audio player, the SR35, currently retails for £599 (or $649) owing to its 2023 release date, but has a recommended retail price of £799 (or $799). The Activo P1 has a similar specification for $440 / £399. It's not a budget player by any means, because of course that figure is still a lot of money to most of us. But it's a lot less than you'd typically pay for this specification.

Activo P1 interface — The interface is very Android, and that's no bad thing as there's zero learning curve. The Play Store app is included. (Image credit: Future)

Activo P1 review: Features

Bluetooth 5.3; SBC, AAC, aptX HD and LDAC codec compatibility
32bit/384kHz and DSD256
Wired and wireless DAC

The P1 has an ES9219Q SABRE Dual-DAC. Its built-in amplifier is based on the Astell & Kern Teraton Alpha system, which promises exceptional clarity and detail and which you'll also find in the Astell & Kern SR35. It's powered by an octa-core processor and delivers up to 20 hours of battery life; there's dual-band Wi-Fi, 64GB of internal memory and an SD card slot supporting capacities up to 1.5TB. You'll fill the internal storage in no time if you're listening to hi-res audio files but it's fine for more compressed formats and SD cards are cheap to add.

The USB-C connection isn't just for fast charging; this device can also be connected to a Mac or a Windows PC and used as a wired DAC. There's also a Bluetooth DAC option.

The P1 has native DSD256, 32bit/384kHz support and plays almost every audio file format going, including WAV, FLAC, WMA, MP3, OGG, APE, AAC, ALAC, AIFF, DFF, DSF and MQA.

You can listen to music in several ways. In addition to its own music playing app, the Activo also comes with a collection of third party options including Spotify, Tidal, Qobuz and Apple Music. It also has the Play Store so you can add additional apps.

You can listen to your own tracks via the internal or SD card storage; you can stream from third party apps on the device; or you can use the device as a DAC for your computer with built-in upsampling. That latter option is likely to be a big improvement over many computers' built-in audio, and listening to tracks we know particularly well – such as tracks I'd recorded myself and played directly from Logic Pro X – there was a noticeable expansion of the sound stage, more air in the top end and a tightening of the lower frequencies. The detail was impressive: I could hear my own plectrum on the bass guitar in tracks normally too busy for such details to stand out. If you're a musician, the P1 in its wired DAC mode would be a worthwhile addition to your mixing toolkit.

Features score: 5 / 5

Activo P1 review: Sound quality

Engaging and spacious sound
Extensive EQ options
Audio upsampling with multiple modes

Listening in lossless CD quality over wired headphones Charli XCX's close-miked vocal in 360 feels so close it's almost indecent, while Simple Minds' anthemic New Gold Dream is wonderful. It's so clear that you can easily hear details such as the slightly discordant note sliding in at the beginning of each synth loop before the drums come clattering in and the bass begins its glorious grind. Taylor Swift's Willow is bright, lively and feels like it's happening in the room around you, as does Talk Talk's gossamer Desire, its spaciousness and minimalism feeling incredibly compelling.

The P1 really sings with well separated recordings, whether that's the rainy songs of The Blue Nile, Pet Shop Boys' sad bangers, The Cult's knowing AC/DC homage or Peter Gabriel's live work. Classic remasters such as The Rolling Stones' You Can't Always Get What You Want are grin-inducingly good, and Peter Buck's Rickenbacker really chimes on early REM tracks.

Activo P1 equalizer — You can fine-tune the audio with the included 20-band equalizer but we found that we only really needed to tweak poorly recorded tracks. (Image credit: Future)

There are lots of options here for controlling the Digital Audio Remaster (DAR) upsampling and shaping 20-band EQs, but with very few exceptions – older, less well recorded tracks mostly – we didn't feel that the standard sound needed tweaking.

The presence of third-party apps means it's easy to do an A/B comparison between streaming and local hi-res music, so for example Broken Chanter's chiming telecaster guitar, Luminous's kitchen-sink production and HiFi Sean's euphoric house are noticeably more detailed and more vivid in high quality FLAC than from streaming services when listening on wired headphones.

The sound quality you get will depend on what you're listening with, so for example if you connect a set of Apple AirPods Max via Bluetooth rather than with a cable a message will pop up to let you know you're listening in AAC: the sound is still very good but that protocol isn't the best quality the P1 can deliver. For non-Apple headphones the P1 supports aptX HD and LDAC for high quality streaming. When we listened to identical songs with wired rather than AAC wireless the difference was evident, with songs feeling less boxy and more spacious.

Sound quality score: 5 / 5

Activo P1 side view — By Astell & Kern standards the design of the P1 is rather muted, but it's straightforward with sensibly located controls. (Image credit: Future)

Activo P1 review: Design

A little 'beige' by A&K standards
Straightforward button controls
Mostly operated by touchscreen

Astell & Kern players are typically made with a brutalist eye – all angles, rotary dials and shiny surfaces. This player is slightly less attention-grabbing. Its casing is a mix of aluminium and white plastic, it's a little smaller than its siblings and its interface is light grey rather than the darker tones of the Astell & Kern software.

On top you'll find two connectors, one 3.5mm output and one 4.4mm balanced, and the microSD card slot and USB-C connector are on the bottom edge. Holding the device with its 4.1-inch touchscreen facing you its volume controls are on the top left and the power/wake and menu buttons are on the right.

Third party apps don't integrate with the device's interface, so for example the songs you play through those apps won't be added to the recently played carousel and the apps' interfaces vary from service to service – but they work well and deliver the same features as their smartphone counterparts. Apple Music, for instance, looks like, works like and delivers the same lossless audio as its iPhone version.

The interface is snappy enough in everyday operation but it's a little slow to boot up, taking between 30 and 51 seconds to launch from a cold start. And the P1 gets warm during sustained use; not frighteningly so, but it heats up enough that you could use it as a hand-warmer in winter.

Design score: 4 / 5

Activo P1 review: Value

When you consider the pedigree here, $440 / £399 is good value for money: the Astell & Kern A&norma SR35 has an RRP of $799 / £799 and a street price of $649 / £599 for the same battery life and Bluetooth codec support. The A&K player is more advanced and customizable, but unless you're listening on truly exceptional headphones, I'm not sure paying nearly double the price (at full RRP) would give you nearly double the delight. If you want to upgrade your computer's audio or get a good quality hi-res audio experience, the P1 is very good value.

Value score: 5 / 5

Should I buy the Activo P1?

Buy it if...

Don't buy it if...

Activo P1 review: Also consider

How I tested the Activo P1

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

I tested the Activo P1 over a period of several weeks in multiple modes: as a DAC and headphone amp for my M2 Mac, which I use for music production; and for listening to music with a mix of wired and wireless headphones including Philips Fidelio X2HR, Apple AirPods Max and Bose QuietComfort earbuds. I listened to a mix of compressed and lossless streaming audio and a selection of FLAC, WAV and AIFF files across multiple genres.

First reviewed in July 2024

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Astell & Kern A&ultima SP3000T portable music player review: another huge step forward in energetic, open sound

1:00 pm | June 21, 2024

Author: admin | Category: Audio Computers Gadgets Portable Media Players | Tags: AAC, LDAC | Comments: Off

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

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

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

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

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

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

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

Priced at $2,999 / £3,199 / AU$5,299

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

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

Astell & Kern A&ultima SP3000T review: Features

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

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

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

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

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

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

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

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

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

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

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

Features score: 5 / 5

Astell & Kern A&ultima SP3000T review: Sound quality

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

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

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

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

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

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

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

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

Sound quality score: 5 / 5

Astell & Kern A&ultima SP3000T review: Design

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

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

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

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

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

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

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

Design score: 5 / 5

Astell & Kern A&ultima SP3000T review: Value

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

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

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

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

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

Buy it if...

Don't buy it if...

Astell & Kern A&ultima SP3000T review: Also consider

How I tested the Astell & Kern A&ultima SP3000T

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

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

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

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

First reviewed in June 2024

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Bose SoundLink Max review: a punchy Bluetooth speaker to make your party pop

6:30 pm | June 20, 2024

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

Bose SoundLink Max: Two-minute review

The Bose SoundLink Max has delivered the biggest, burliest model in the company's already well-stocked and well-reviewed SoundLink concept that has served it pretty well lately. The Bose SoundLink Max has a rugged, go-anywhere design with the stamina to keep you entertained right around the clock. Well, very nearly…

It’s robust, as the IP67 rating indicates, and the liberal use of silicone means it’s happy to withstand the odd knock or bump. The carry-handle can be swapped out for a shoulder-strap (it’s a cost option, mind you), and overall the Bose SoundLink Max is as outdoors-y as they come.

And when you’re out and about, the Bose SoundLink Max is a very enjoyable companion. The sound it makes is as big and heavy as the speaker it comes from, but it’s by no means a blunt instrument. It’s quite a deft and agile listen for something with as much out-and-out punch as this, and can gesture, albeit only slightly, towards a truly stereo presentation, too.

In fact, if it were able to retrieve and reveal a little more of the fine detail in a recording, it would be approaching ‘ideal’ and one of the best Bluetooth speakers out there.

Bose Soundlink Max review: Price and release date

Released June 4, 2024
Officially priced at $399 / £399 / AU$599

The Bose SoundLink Max was released in early June, 2024, and sells for $399 / £399 / AU$599.

That’s proper money for a wireless speaker with no smarts and no Wi-Fi connectivity, no two ways about it. But, as will become apparent, the Bose SoundLink Max has compensations for its relative lack of functionality…

Bose SoundLink Max Bluetooth speaker on wooden table — (Image credit: Future / Simon Lucas)

Bose SoundLink Max review: Specs

Bose SoundLink Max Bluetooth speaker displaying carry handle — (Image credit: Future / Simon Lucas)

Bose SoundLink Max review: Features

2 x 89mm transducers, 1 x 23mm transducer, 2 x 104x79mm ‘racetrack’ passive radiators
Bluetooth 5.3 with SBC, AAC and aptX Adaptive codec compatibility
Class D amplification

It’s possible, of course, to use the 3.5mm analogue input to get audio information on board the Bose SoundLink Max – but obviously this is first-and-foremost a Bluetooth speaker. It uses Bluetooth 5.3 for wireless connectivity, and is compatible with SBC, AAC and aptX Adaptive codecs.

No matter how you get it there, though, once the audio information is on board it’s amplified by Class D power – Bose, as per usual, is not saying how much. Then it’s served to a speaker driver array that consists of a couple of 89mm transducers and a 23mm partner arranged across the front of the chassis, supported by a couple of 104 x 79mm ‘racetrack’ passive balanced mode radiators – there’s one at either end, behind the perforated aluminium grilles.

Thanks to Bose’s ‘SimpleSync’ technology, the SoundLink Max can quickly and easily become part of a rudimentary multiroom system, provided you’re using other compatible Bose speakers, naturally. Got a Bose soundbar or smart speaker? It’ll connect to the SoundLink Max without fuss.

There’s a USB-C on the rear of the speaker. It’s used for charging the battery, obviously, but if you’ve plenty of power on board your speaker and your phone is running low, it can also be used as a power output.

Features score: 5/5

Bose SoundLink Max Bluetooth speaker showing AUX and USB-C ports — (Image credit: Future / Simon Lucas)

Bose SoundLink Max review: Design

IP67 rating against dust and moisture
20 hours of battery life
Available in two finishes

At 120 x 265 x 105mm (HxWxD) and 2.13kg, the SoundLink Max is relatively big and heavy by prevailing ‘portable wireless speaker’ standards. But thanks to a particularly judicious combination of materials – mostly aluminium and silicone and an extremely tactile, and easily swapped, rope-and-silicone carry-handle – the Bose is easy to shift from place to place. Differently coloured versions of the ‘twist-to-fit’ handle are available (for £25, roughly $31/ AU$47), and an over-the-shoulder alternative can be yours (for £45, about $58 / AU$85).

The silicone element of the design is certainly tactile, and it helps the Bose absorb bumps and shocks. But it’s very willing to collect dust and greasy fingerprints, and an absolute bugger to keep clean.

The quoted 20 hours of battery life is eminently achievable (unless you’re absolutely caning the volume), which is just as well, because to go from ‘flat’ to ‘full’ takes a leisurely five hours via the USB-C socket on the rear. On the plus side, you can be pretty sure those 20 hours can be spent in any realistic environment, thanks to a chunky IP67 rating against moisture and dust.

There are some nicely positive controls on the top of the speaker – power on/off, Bluetooth pairing, play/pause and volume up/down are all available, and there’s also a ‘shortcut’ button. In the (exemplary) Bose control app you’re able to choose between two functions for this control – either switch to the 3.5mm analogue input that’s positioned next to the USB-C, or resume Spotify playback (provided your Spotify app is up-to-date).

The app also includes some EQ adjustment along with a few presets, a volume control, connection management (the SoundLink Max can connect to two sources at a time) and a volume control. Plus, of course, access to software and firmware upgrades, voice-prompt adjustments and what have you.

Design score: 4.5/5

Bose SoundLink Max Bluetooth speaker top panel controls on wooden table — (Image credit: Future / Simon Lucas)

Bose SoundLink Max review: Sound quality

Punchy, full-scale sound
Agile rather than musclebound, though
Could conceivably sound more detailed

Bose, it seems fairly safe to say, has given low-frequency grunt and presence a proper think where the SoundLink Max is concerned. ‘It’s going to be used outdoors,’ is how I imagine the thinking going, ‘and so it needs as much punch as it’s possible to extract.’ And there’s no two ways about it, this speaker is about as robustly assertive with low-end stuff as seems possible.

It’s far from being a blunt instrument, though. Given a reasonably big file of Aphex Twin’s Isoprophlex (Slow) to deal with, the Bose hits good and hard, without question, but it controls the low end well, attacking with straight-edged positivity and ensuring bass sounds stay strictly in their lane rather than bleeding all over the midrange. This speaker hits with determination, but with accuracy, and as a consequence there’s far more to its presentation than simple muscle.

It offers quite an open, distinct midrange that’s more than capable of holding its own against all the ructions beneath it. At the top of the frequency range there’s authentic bite and shine, and just as much attack as the speaker exhibits at the opposite end – but, again, control is such that even if you listen at considerable volume (and be in no doubt, the Bose SoundLink Max is capable of considerable volume) treble sounds are never hard or in-your-face.

The Bose is tonally consistent from the top of the frequency range to the bottom, and it unites the entire range smoothly. Focus is good, too, and the SoundLink Max creates a reasonably convincing soundstage – although the notion that it’s capable of creating anything other than the tiniest hint of stereo separation is fanciful. It’s quite dynamic where the broad quiet/LOUD aspects of recordings are concerned, too, although the distance it puts between the two states could be wider. That’s almost certainly a consequence of the fact that the Bose gives every impression of playing quite loudly even when it’s playing quietly.

The most significant area where the Bose might conceivably up its game concerns detail retrieval. The SoundLink Max has no problem retaining and revealing the most significant details in a recording, but when it’s playing something like The Spark That Bled by The Flaming Lips it lets a lot of the finer details (of which this recording has plenty) go astray. It doesn’t impact on the enjoyably forceful nature of the overall presentation, of course – and if you’re listening to content for the first time it seems likely you wouldn’t even twig that anything is missing. But when you listen to stuff you’re properly familiar with, there’s no denying the Bose struggles to extract the finer detail that you know is there.

Sound quality: 4/5

Bose SoundLink Max review: Value

Yes, pennies short of £400 / $400 / AU$600 is a lot of money for a wireless Bluetooth speaker without a hint of smart functionality. But the Bose SoundLink Max makes a very strong case for itself if you take it on its own terms – it’s properly built and finished, from materials that look good, feel good and suggest longevity.

It’s specified to perform in pretty much any realistic environment. It’s capable of big, burly and convincing sound – and can churn it out for hour after hour. So, as long as you accept its restricted functionality, the SoundLink MAx represents very good value indeed.

Value score: 4.5/5

Bose SoundLink Max Bluetooth speaker on a wooden table — (Image credit: Future / Simon Lucas)

Should I buy the Bose SoundLink Max?

Buy it if…

Don’t buy it if…

Bose SoundLink Max review: Also consider

How I tested the Bose SoundLink Max

Tested for about a week, mainly indoors but also in a back garden
Played a variety of music types
Listened the TIDAL app on iPhone and Android smartphones

I listened to the Bose SoundLink Max indoors and out. I listened to it via an iPhone and an Android smartphone, each running the TIDAL app. I listened to it at discreet volumes (while indoors) and thoroughly indiscreet volumes (while in my garden, before I became concerned about upsetting my neighbours).

And I listened to it with a variety of music types and a variety of digital audio file sizes. This all went on for about a week – mostly indoors because, the weather was bloody awful in the U.K., and while the Bose is happy to work outdoors in the rain, I am not. Not sorry.

Read more about how we test

First reviewed: June 2024

Sennheiser Accentum True Wireless earbuds review: big on features, light on sound

11:00 am | June 9, 2024

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

Sennheiser Accentum True Wireless: Two-minute review

The Sennheiser Accentum True Wireless form part of what appears an increasingly important trend for true wireless in-ear headphone manufacturers to have a range of products that cover a fairly wide spread of prices – that is, at least, where the more established and high-profile manufacturers are concerned. Sennheiser has enjoyed a reasonable amount of success with its midrange(ish) ‘Accentum’ range, so this variant seems a logical move.

Initial impressions are, it’s fair to say, mixed. On the page, the Sennheiser Accentum True Wireless look specified to compete with the best noise-cancelling earbuds in the business (even if the most up-to-the-minute codec they’re compatible with is plain-vanilla aptX). In the hand, they don’t look or feel anything special at all. Once you’re wearing the earbuds, though, you’ll appreciate the carefully ergonomic shape and the long-term comfort provided.

But while there’s plenty to enjoy about the sound the Sennheiser Accentum True Wireless make, performance is just as mixed as the first impressions. The presentation is spacious, confidently organized and tonally balanced, with smoothly realized frequency response, too. A lack of animation and energy undermines this good work, though, and noise-cancellation that doesn’t do all that thorough a job seals the Sennheiser Accentum True Wireless’ fate…

Gray Sennheiser Accentum True Wireless earbuds on a wooden table — (Image credit: Future / Simon Lucas)

Sennheiser Accentum True Wireless review: Price & release date

Released in May 2024
List price: $179 / £169 / AU$349

The Sennheiser Accentum True Wireless are on sale now – they officially launched on 21 May 2024. They’re priced at $179 in the United States, £169 in the United Kingdom, and AU$349 in Australia. Which, let’s not pretend otherwise, puts them up against some pretty stiff competition…

Sennheiser Accentum True Wireless review: Specs

Sennheiser Accentum True Wireless review: Features

Up to 28 hours of battery life (earbuds plus charging case)
7mm ‘TrueResponse’ dynamic drivers
Bluetooth 5.3 with SBC, AAC, aptX and LC3 codec compatibility

As far as wireless connectivity is concerned, the Sennheiser Accentum True Wireless have plenty going on. They use Bluetooth 5.3 as a base, and there’s compatibility with aptX and LC3 codecs as well as the more common SBC and AAC alternatives. Meanwhile, a firmware update is promised that will bring Bluetooth LE and Auracast to the party, too.

No matter the specifics of how you get your digital audio information on board, though, it’s delivered by a couple of Sennheiser’s TrueResponse dynamic drivers. They’re 7mm each in this application, and they’re good for a frequency response of 5Hz to 21kHz – at least according to the manufacturer.

As long as you don’t get carried away where volume levels are concerned, you should be able to eke as much as eight hours' performance from the earbuds before they need recharging. That’s with noise-cancellation switched off, of course – switch it on and you’re looking at more like six hours. The palm-sized little charging case holds more than two further full charges, which means you’re looking at a best-case scenario of, Sennheiser says, 28 hours before you have to visit any mains power. Recharging is available via the USB-C slot on the case, and the Accentum True Wireless are also compatible with Qi-certified charging pads.

Gray Sennheiser Accentum True Wireless earbuds case on a wooden table — (Image credit: Future / Simon Lucas)

The active noise-cancellation that’s available here is a hybrid system that can be set to ‘off’, ‘on’ or ‘anti-wind’ – there are three ‘transparency’ positions, too (‘low’, ‘mid’ and ‘high’).

Control of the ANC, and plenty more besides, is available in Sennheiser’s exemplary Smart Control app that’s free for iOS and Android. It may not be much to look at, Smart Control, but it’s stable, logical and reliable – which puts it ahead of any number of nominal rivals. Here’s where you can manage your connections (the earbuds can connect to two devices at the same time), create custom EQ settings using a five-band equaliser (with presets for ‘podcast’, which forces the midrange forward, and ‘bass boost’, which does exactly what you’d expect), and rearrange the layout of your touch controls.

Each earbud has a capacitive touch surface, and different numbers and/or lengths of presses can put you in charge of play/pause, skip forwards/backwards, volume up/down, answer/end/reject call, summoning your voice assistant and cycling through your ANC options.

Features score: 4.5/5

Sennheiser Accentum True Wireless review: Sound quality

Controlled, open sound
Nicely even frequency response
Rather flat and undemonstrative

In quite a few ways, the Sennheiser Accentum True Wireless are an engaging and enjoyable listen. But there are some areas in which they lag behind the best of their rivals somewhat.

They’re certainly an open, spacious listen – even when playing something as dense and multi-layered as Paul’s Boutique by Beastie Boys. The soundstage they create is large and easy to understand, and there’s just as much attention paid to spaces and silences as to the actual occurrences in the recording. The Accentum True Wireless are properly organised and take charge of recordings – their authority and control is never in question. If you need a complex recording opened up and made easy to comprehend, you won’t go far wrong here.

It’s a similar story where tonality and frequency response are concerned. There’s very little coloration to the tonality of the Accentum True Wireless – they’re basically neutral, and don’t really stick their oar into the sound of a recording all that much. And while claims for a frequency response down to 5Hz are predictably optimistic, there’s no arguing with the depth or substance of the bottom end the Sennheiser are capable of generating. The fairly iron-fisted control of bass sounds means rhythms get decent expression, too.

And the good news continues from higher up the frequency range. The midrange takes advantage of the Sennheiser's open nature, allowing voices plenty of space in which to operate, and at the top end there’s a fair amount of substance if not quite as much bite and shine as is ideal. The Accentum True Wireless are even-handed and unified, so no area of the frequency range is underplayed or overstated. Detail levels are reasonably high at every stage, too.

Where these earbuds come up noticeably short, though, is where the demands of both the broad and fine dynamics are concerned. There’s a rather one-level, undemonstrative quality to the way the Sennheiser present recordings that robs them of a lot of animation – so even if you’re listening to something as energetic and upbeat as King of the Jungle by Ezra Collective, there’s a fixed level of intensity at which the recording operates. The Sennheiser are reluctant in the extreme to deviate from this, aren’t all that interested in making an especially big leap from ‘quiet’ to ‘loud’ and, in the crudest terms, drain much of the entertainment from what really ought to be a spirited and upfront listen. This matter-of-fact presentation doesn’t suit the material in the slightest.

The noise-cancellation that’s on offer here is a little less than inspiring, too. On the plus side, there’s no alteration to the actual sound the Accentum True Wireless make when ANC is switched on, but the downside is that the Sennheiser do only a partial job on external sounds. High frequencies, in particular, seem able to evade the noise-cancellation algorithms with ease.

Sound quality score: 3.5/5

Sennheiser Accentum True Wireless review: Design

5.5g per earbud, 41g charging case
Available in three finishes
IP54 rating

It’s possible for true wireless earbuds to be perfectly well constructed and flawlessly finished, and yet look and feel not remotely special – and that’s what’s happened here. The Sennheiser Accentum True Wireless are built and finished to the manufacturer's long-established standard, and quite obviously will stand up to all sorts of careless treatment. And yet they don’t look or feel in any way premium. The plastics from which they’re constructed are hard, unyielding and slippery. In all honesty, the Sennheiser present as less expensive than they are.

That’s not to say they’ve been thoughtlessly designed, you understand. They’re gratifyingly compact, for starters: the charging case is just 29 x 49 x 52mm (HxWxD), and the slender earbuds are just 5.5g each. In combination with a choice of four sizes of silicone ear tip, the design of the earbuds means they fit snugly and comfortably and will stay that way for hours on end.

An IP54 rating means they can safely be used in pretty much any realistic circumstance, and a choice of three finishes (white, black or blue) helps their desirability quotient, too. Just a little, mind you.

Design score: 4/5

Sennheiser Accentum True Wireless review: Value

Thorough specification and stamina for the money
Solid (if uninspiring) build quality
Against tough rivals, they don't win for sound or ANC

There’s value to be had here in the thoroughness of specification, quality of build and finish, battery life and cachet that comes from owning a product from a brand with a big reputation.

You’re not exactly short of choice where true wireless in-ear headphones at this sort of money are concerned, though, and when held up against the best of their rivals the Sennheiser Accentum True Wireless don’t represent great value – the sound they make is compromized, the noise-cancellation they offer isn’t amazing, and the look and feel is nothing special either.

Value score: 3.5/5

Should I buy the Sennheiser Accentum True Wireless?

Buy them if...

Don't buy them if...

Sennheiser Accentum True Wireless review: Also consider

How I tested the Sennheiser Accentum True Wireless

With iOS and Android devices
Using a variety of codec standards
With all sorts of music

During a good week or so of constant use, my Sennheiser Accentum True Wireless were connected to a MacBook Pro, an iPhone 14 Pro and a Samsung Galaxy S23 in order to investigate different codecs and sources of music. The music itself was of many different file types and sizes, and many different styles. And I made sure to take the Sennheiser with me while I was out and about, in order to check out comfort and ANC as well as claims for battery life.

Read more about how we test

First reviewed: June 2024

Klipsch The Three Plus review: more than the sum of its parts

1:00 pm | May 27, 2024

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

Klipsch The Three Plus: One-minute review

The Klipsch The Three Plus is a slightly awkwardly named wireless speaker with ambition. Despite being the rough size and price of some of the best wireless speakers and looking quite like a wireless speaker too, The Three Plus is, in fact, an all-in-one audio system. An all-in-one system with quite impressive functionality and specification, what’s more.

A selection of wired and wireless connection options means the Klipsch can support quite an array of sources, up to and including a turntable. It’s able to deal with fairly hi-res content without alarms (as long as it’s via an appropriate source). It’s a good-looking, well-made and quite tactile device, and it’s happy to sit more-or-less anywhere that it’s not too boxed in. It’s even got a pretty decent control app.

And in almost every circumstance, it’s an enjoyably upfront and lively listen. Detail levels are fairly high, determination to attack a tune from the bottom up is obvious – but the Klipsch is not blunt or lacking in finesse. Heard through any of its inputs other than the phono stage, it confidently combines attack with dexterity. The phono stage itself, though, is not the most accomplished when it comes to drive or detail retrieval – which means it’s a ‘nice to have’ rather than your go-to input. Anyone after a single-box system to accompany their turntable might have to save up for just a little longer…

Klipsch The Three Plus on a gray table — Q Acoustics' music system know-how, all the way to the floor… (Image credit: Future)

Klipsch The Three Plus: Price and release date

$399 / £379 / AU$529
Announced September 25, 2023

The Klipsch The Three Plus is on sale now, and in the United Kingdom it’s priced at £379. In the United States it sells for $399, while in Australia the going rate is AU$529. They were first announced on September 25, 2023.

On one hand, in terms of form and function there’s a lot of stuff here for that money here. On the other hand, the Klipsch is attempting to muscle in on territory already hotly contested by brands as credible as Denon, Panasonic and Ruark (to name just three). There’s only one way to find out if The Three Plus makes any sense or not…

Klipsch the Three Plus on white background, in a kitchen — (Image credit: Future)

Klipsch The Three Plus review: Features

120 watts of power
2 x 57mm full-range drivers, 1 x 133mm subwoofer, 2 x 133mm passive radiators
Bluetooth 5.3 with SBC and AAC codec compatibility

On the outside, The Three Plus might seem to be featureless at first glance. The extraordinarily brief control interface on its top surface, which consists of an ‘input selection’ button and little coloured confirmatory LED light plus a nicely tactile volume control wheel, is pretty much your lot — until you look at the back of the box.

Here’s where your physical inputs live. There’s a digital optical input (good for resolutions of up to 24bit/96kHz), a stereo RCA input that’s switchable between line-level and phono level (so the Klipsch is ready to deal with a turntable if you so desire) and a USB-C input that lets smartphones, thumb-drives, PMPs and what-have-you join your system. The socket can be used for reverse charging, and Klipsch specifically suggests it’s capable of powering a WiiM Mini in order to facilitate network streaming too.

Wireless connectivity, meanwhile, is handled by Bluetooth in 5.3 guise – it’s compatible with SBC and AAC codecs. And the Bluetooth chipset Klipsch has deployed means The Three Plus features ‘Broadcast’ mode – which means the speaker can transmit (as well as receive) Bluetooth information. Transmissions are limited to mono, true, but as many as 10 ‘Broadcast’-enabled speakers can receive and play the signal; the scope for a simple, and extensive, multi-speaker system is obvious. Bear in mind the speaker(s) receiving the signal cannot broadcast it any further, so the range of your system will depend entirely on the primary speaker.

Once your audio information is on board, the digital stuff is pored over by a digital-to-analogue converter that can definitely deal with 24bit/96kHz content – whether or not it needs to downscale this resolution of content is a question Klipsch seems unwilling to answer. The analogue stuff, of course, needs no such attention. Once it’s in the analogue domain, it’s amplified by an all-in total of 120 watts of Class D power before delivery to what Klipsch describes as a 2.1-channel speaker driver array. This consists of a couple of 57mm full-range drivers, bolstered by a 133mm subwoofer that’s supported by a pair of 133mm passive radiators.

Features score: 5/5

Klipsch the Three Plus from above — (Image credit: Future)

Klipsch The Three Plus review: Sound quality

Assertive, upfront and enjoyable sound
Maintains its sonic characteristics in most circumstances
Considers ‘loud’ to be a total virtue

Quite a lot of this review is spent discussing how usefully compact and elegant a device the Klipsch The Three Plus is. But now the talk turns to sound quality – and it’s safe to say there’s nothing compact or especially elegant about the way it sounds. This is a big, bold-sounding device, and while it’s not lacking the poise that might make the description ‘inelegant’ seem appropriate, I get the strong impression that decorum is not uppermost in its mind.

With one notable exception, The Three Plus maintains its attitude across any of its inputs. No matter if you’re streaming a FLAC of John Cale’s Fear is a Man’s Best Friend via Tidal, listening to a 24bit/96kHz file of Weyes Blood’s And in the Darkness, Hearts Aglow via the USB-C input or a CD of Double Drums by Peace Orchestra, the Klipsch is consistent. It came to get down, and it wants to take you with it.

The easiest way to create an impression of sonic ‘excitement’ is via the lower frequencies, of course, and the Klipsch is far from shy here. Bass presence is considerable – but it’s properly controlled and carries a lot of information regarding the details of tone and texture, so The Three Plus stops short of being a blunt instrument. If it’s frankly unlikely punch you want from your unassuming little tabletop device, though, you came to the right place. The Klipsch absolutely motors through low-frequency stuff, keeping momentum levels high and rhythms on the front foot.

The midrange just about manages to keep its head above water, though, and here just as elsewhere The Three Plus extracts a very worthwhile amount of detail. It’s able to grant vocalists the emotional weight and character they require, and it’s actually quite communicative. The presentation is spacious enough to allow the midrange to operate without too much hassle from the bottom end and, while there’s a fairly obvious point-source of sound, the Klipsch never sounds crowded.

Integration through the frequency range is good, and at the top end there’s just about enough bite and shine to balance out the enthusiasm of the bottom end. Tonality is on the warm side of neutral, but not fatally so – and despite the number of drivers and radiators at work here, there’s very agreeable togetherness and singularity about the way The Three Plus presents even quite complex recordings.

The Klipsch is one of those devices that sounds quite loud even when it’s playing quite quietly – its upfront attitude and generally assertive nature are always apparent. But there’s still a fair amount of dynamic headroom available, even if it doesn’t so much go from ‘quiet’ to ‘loud’ but rather from ‘loud’ to ‘louder still’. Even at quite oppressive volume, though, it’s quite composed and doesn’t sound stressed.

The one outlier here is the phono stage. A vinyl alternative of Fear is a Man’s Best Friend lacks a fair bit of the streamed version’s drive and attack – it’s strangely matter-of-fact and lacking both dynamism and insight by comparison. It’s by no means a disaster, the phono stage here. But it doesn’t take all that much of a listen to establish that it’s the input through which The Three Plus sounds least confident and least engaging.

Sound quality score: 4.5/5

Klipsch the Three Plus closeup — (Image credit: Future)

Klipsch The Three Plus review: Design

178 x 355 x 213mm (HxWxD)
Walnut or matte black real wood veneer finishes
4.8kg

Obviously you’ll make your own mind up about the way The Three Plus looks – but for my money, the combination of a surface that’s covered in a real wood veneer (matte black as well as the walnut of my review sample is available), acoustic cloth tightly wrapped around all four sides, and a little metal strip housing the product’s few physical controls is very nice indeed. The Klipsch, I reckon, looks and feels like a premium item.

At 178 x 355 x 213mm (HxWxD) it’s nicely proportioned, and can be as discreet just as readily as it can be a feature of your decor. Despite the way its drivers and passive radiators are arranged, it’s relaxed about positioning (up to a point – it won’t thank you for being slotted into a space where it’s boxed in on all sides). And the standard of build and finish is certainly up to the sort of level the asking price demands.

Obviously, if you want to exploit its wider connectivity rather than just use it as a Bluetooth speaker, you’ll need to give it a bit of room – all its physical connections are at the rear, after all. Other than these practical considerations, though, the design of the Klipsch is as accommodating and as gratifying as can be.

Design score: 5/5

Klipsch triptych of the app screen grabs — (Image credit: Klipsch)

Klipsch The Three Plus: Usability and setup

Klipsch ‘Connect’ control app
A (very) few physical controls
Self-contained simplicity

It’s difficult to know how the Klipsch The Three Plus could be any friendlier or more straightforward. As long as you take a moment’s care when positioning it (make sure surfaces to the left and right aren’t too close), it’s an absolute piece of cake to live with.

You can control volume using the wheel on the top of the cabinet, and you can cycle through your input options here too. Otherwise, it’s all about the Klipsch ‘Connect’ control app that’s free for iOS and Android. The app is clean and logical, reasonably responsive and useful – here’s where you can check for updates, control playback, select input, fiddle with a three-band EQ (and its five presets) and deploy ‘night mode’ (in order to squash dynamic range and subdue low-frequency response).

Usability and setup score: 5/5

Klipsch The Three Plus: Value

Obviously there are the few little issues with ultimate sound quality, but taken on the whole it’s difficult to argue with the value that’s on offer here. Consider the quality of build and finish of The Three Plus, its decorative nature, its extended functionality and its generally very agreeable sound – and then consider how much Klipsch is asking.

Value score: 4.5/5

Klipsch The Three Plus review: Should you buy it?

Buy it if...

Don't buy it if...

Klipsch The Three Plus review: Also consider

Klipsch The Three Plus review: How I tested

Tested every available input
Played all sorts of music and different file types
Tried it out in a range of locations

I tested the Klipsch The Three Plus over the course of a working week, and listened to it pretty much all day every day. I positioned it on an equipment rack, on a bookshelf and on a chest of drawers. I used each of its physical inputs at some point (to listen to a turntable, a CD player and a portable music player) as well as connecting a smartphone and the same portable music player via Bluetooth. I played all sorts of music, and in terms of digital audio I listened to many different types and sizes of file. I listened to it at big volumes, and as quietly as it is prepared to go (which is not, as I mentioned, perhaps as quiet as it might be).

First reviewed May 2024
Read more about how we test

Technics EAH-AZ80 wireless earbuds review: feature-rich but up against tough rivals

4:27 pm | June 2, 2023

Author: admin | Category: Computers Gadgets | Tags: AAC, LDAC | Comments: Off

Technics EAH-AZ80: Two-minute review

The Technics EAH-AZ80 earbuds outside their case — The units look bulky, but they fit well (Image credit: Simon Lucas)

There are a lot choices when it comes to picking the best wireless earbuds. So in a move of either supreme corporate confidence or utter corporate hubris, Technics has decided to join the fray with the EAH-AZ80.

And in virtually every respect, the EAH-AZ80 make a strong case for themselves. The triple-point connectivity (a first in a product of this type) proves stable and useful, and thanks to ‘Just My Voice’ technology these earbuds are far less prone to wind-noise interference than any number of rivals. The sound they make is also accomplished – it's both swift and accurate, as well as balanced and detailed.

It’s not the most energetic sound you've ever heard though. And marginal shortcomings related to battery life and the effectiveness of the active noise-cancellation confirm that Technics has missed the bull’s-eye by a tiny margin with the EAH-AZ80. They will be absolutely perfect for some customers looking for the best noise-cancelling earbuds, mind you…

Technics EAH-AZ80: Price and release date

Release date: on sale now
Price: $299; £259; AU$499

The price of the Technics EAH-AZ80 is that of a premium product, for sure – but happily, so is the specification. They have Bluetooth 5.3 with LDAC compatibility, triple-point connectivity, big and serious drivers doing the audio business, sound telephony functionality and noise-cancellation, a thoughtful and comfortable design. Honestly, it’s hard to know what more Technics could have done.

The issue is this: at that price, their closest competition is the Sony WF-1000XM4 (which launched at $279 / £250 / AU$449.95 but are slightly discounted these days owing to a 2021 release date) and the Bose QuietComfort Earbuds 2 ($299 / £279 / AU$429). Anyone familiar with either product will know that to call these earbuds stiff competition is an understatement.

Technics EAH-AZ80: Specs

Technics EAH-AZ80: Features

Technics EAH-AZ80 app triple screens on gray background — Technics' Audio Connect app is clean, stable and logical, with plenty of functionality and no flashy graphics to distract you (Image credit: Future)

Bluetooth 5.3 with triple-point connectivity
SBC, AAC and LDAC codec compatibility
10mm full-range dynamic drivers

When it comes to the business of a) getting audio information on board and b) making the best of it, Technics has gone to considerable lengths with the EAH-AZ80. Really, it’s hard to identify a gap in the specification here.

Wireless connectivity, for example, is handled by Bluetooth 5.3, and there’s high-resolution LDAC codec compatibility as well as the more prosaic SBC and AAC alternatives. And in what the company confidently claims is a world’s first, the AZ80 have triple-point connectivity, which means that for those of us who can’t possibly manage without our earbuds being simultaneously connected to our laptop, smartphone or tablet, can switch seamlessly between them.

No matter the source of your digital audio information though, Technics delivers the sound to your ears via a pair of 10mm full-range, free-edge aluminium dynamic drivers. These work in conjunction with an internal acoustic control chamber and harmoniser to serve up a frequency response of 20Hz to 40kHz. And thanks to an IPX4 rating, you should be able to enjoy these full-range sounds in any realistic environment.

Each earbud is fitted with four mics: ‘talk’, ‘voice detection’ ‘feed back’ and ‘feed forward’. Technics wants the EAH-AZ80 to be your go-to earbud when it comes to communication. Its ‘Just My Voice’ technology is designed to enhance vocal clarity in unhelpful environments and suppress those external sounds that can impact on in-call intelligibility. The mic array also deals with the ‘dual hybrid’ active noise-cancellation, of course - and in addition to the ‘feed forward’ and ‘feed back’ noise-cancellation, the AZ80 have a software filter dealing with digital signal processing and a hardware filter for the analogue equivalent.

The charging case has a USB-C slot for connection to mains power, and the Technics are compatible with any Qi-certified charging pad too. From ‘flat’ to ‘full’ takes around two hours, and 15 minutes in the juice should be good for more than an hour’s action. Battery life can be anything from a quite acceptable seven hours in the ‘buds and 25 in the charging case (if you’re listening to AAC files with the ANC switched off) to a rather less impressive four hours (earbuds) and 16 hours (charging case) if you switch the ANC on and stream hefty LDAC files.

Where control is concerned, you’ve a number of options. The capacitive touch surface on each earbud is large and responsive, and you can reliably control ‘play/pause’, ‘volume up/down’, ‘skip forwards/backwards’, ‘answer/end/reject call’ and ‘cycle through ANC options’ this way. The fact that the number of taps or presses each function requires can be user-defined is very welcome, too.

You can define the controls in the ‘Audio Connect’ app that’s free for iOS and Android. It’s a clean, stable and logical app, with plenty of functionality and no flashy graphics to distract you – altering the intensity of the active noise-cancellation (or dialling the amount of ambient noise you hear up or down), setting custom EQ levels, and checking for firmware updates are among the highlights.

That quite complex arrangement of mics comes into its own where voice-control is concerned. The EAH-AZ80 are compatible with all native voice-assistants except Bixby, and your interactions with the assistant are reliable and responsive.

Feature quality score: 5/5

Technics EAH-AZ80: Design

The Technics EAHAZ80 inside their case with the lid closed — The case is compact; the branding suitably understated – and we'd expect nothing less (Image credit: Simon Lucas)

7g per earbud
Careful ergonomic shape
Milled aluminium touch surface

Obviously Technics didn’t tear up the rulebook where the design of true wireless in-ear headphones is concerned when it finalised the EAH-AZ80. But as well as giving a necessarily small and discreet product a hint of ‘premium’, it’s also created an earbud that manages to be both more comfortable and more stable than the norm.

The basic look is good – the fairly large milled aluminium touch surface on each earbud looks and feels good. The same is true of the charging case in which they travel in. Each part of the product has a confidently understated ‘Technics’ logo stamped on it, which isn't too obstructive.

The plastics that constitute the majority of the product are sturdy and feel robust, despite the earbuds weighing a svelte-enough 7g each – the charging case is an equally trim 50g. Build quality hasn’t been compromised in order to keep the weight down though – the EAH-AZ80 feels like a product that will last for the long haul.

Technics has included a moulded extrusion into the otherwise-unremarkable drop-shaped body of each earbud. The company calls this shape ‘concha-fit’, and it’s designed to fit as naturally and unobtrusively as possible into the ear. It also distributes the weight of the earbuds as evenly as possible once they're in situ. And to further maximise the comfort of the AZ80, Technics provides seven different sizes of silicone earbud in the packaging – the accuracy of the fit is all-important when wearing in-ear headphones, of course, and Technics isn’t shy about pointing out your ears may not be identically sized. That’s why it’s given you as good a chance as possible to get the ideal fit for both your ears.

Design quality score: 5/5

Technics EAH-AZ80: Sound quality

The Technics EAHAZ80 earbuds one facing up and the other down — That 'concha-fit' shape might look a little big, but the weight distribution is bang on (Image credit: Simon Lucas)

Detailed, natural and neutral (though not the most exciting sound)
Excellent telephony
Average active noise-cancellation

Where audio quality is concerned – and let’s face it, that’s what most of us are here for most of the time – the Technics EAH-AZ80 are a vexatious combination of really impressive and slightly underwhelming.

A track that played to their strengths was a Tidal Masters file, Grapevine by Weyes Blood, which offered lots to admire. The whole frequency range is really nicely balanced and coherent from top to bottom and very even-handed from the (deep, nicely textured) bass to the (clean, politely attacking) treble. The midrange is eloquent and informative, thanks to impressively high detail levels, and the journey from floor to ceiling and back again is smooth and seamless.

Control of the lowest frequencies is good, with nice straight edges to the attack of sounds and no discernible overhang to the decay. This helps the AZ80 remain nice and positive when it comes to rhythmic expression, and it means that the midrange is never in any danger of being swamped or dragged at by overconfident bass. The opposite end of the frequency range is equally well controlled, though in ultimate terms the Technics could do with a little more substance and shine to those treble sounds.

The sky-high detail levels means no harmonic variation or minor dynamic discrepancy goes astray, and the AZ80 are just as capable when it comes to barrelling through the big dynamic shifts in a recording too. Their soundstage is spacious and well organised, so even complicated or instrument-heavy recordings are solidly laid out and easy to follow. And even though every element of a recording gets sufficient space in which to express itself, the Technics properly unify recordings into a convincing whole, into an actual performance.

They’re not the most exciting sounding earbuds you ever heard though, it has to be said. For all of their precision and insight, the AZ80 are just a little short of the sort of drive and animation that can turn listening into an invigorating, exciting experience. There’s no denying the admirable nature of their even handedness and realism, of course – but some music demands the sort of bite and attack that the Technics don’t seem especially comfortable with delivering.

And there’s a similar diffidence to the way their active noise-cancellation is implemented. The problem for the EAH-AZ80, of course, is the problem that all true wireless in-ear headphones have when it comes to ANC: the Bose QuietComfort Earbuds II. Compared to the best in class, the AZ80 can rescue overall noise, do an especially worthwhile job on high-frequency stuff – but they’re unable to do a complete job on all the external distractions you might encounter. In the opposite direction, though, their amplification of external sounds when using ‘ambient sound’ is impressive.

The way they handle connectivity and communication needs no caveats, though. The triple-point system provides seemingly unbreakable connections to your three nominated devices, and multitasking is a breeze as a result. And the ‘Just My Voice’ technology works well too - wind-noise is dramatically reduced, and voices are far more prominent as a result. They sound slightly less than ‘natural’, it’s true - but that’s infinitely preferable to wind interference when you’re trying to hold a conversation.

Sound quality score: 4/5

Technics EAH-AZ80: Value

The Technics EAHAZ80 inside their case — Shiny, jewel-like buds which look pricey – and they are (Image credit: Simon Lucas)

Properly built with premium materials
Many performance positives
But not an across-the-board success

Around the edges, the Technics EAH-AZ80 represent great value. They look and feel every bit of the asking price, all their clever functions are implemented flawlessly, and they give that ineffable pride of ownership that so many alternative designs strive in vain for. And in many ways, they sound great too, especially if you value accuracy and neutrality of sound above all else. But their slight lack of animation is compounded by second-tier ANC and battery life, which means they can’t quite score full marks.

Sound quality score: 4/5

Should you buy the Technics EAH-AZ80?

Buy them if...

You intend to wear your earbuds all day
Some carefully considered design, along with a lavish selection of silicone ear tips, means the EAH-AZ80 should stay comfortable no matter the size or shape of your ears.

You want to switch between devices
Triple-point connectivity is a world-first in a product like this, and it’s brilliantly convenient for those of us who surround themselves with sources of audio.

You prefer a neutral, lifelike sound
There’s nothing artificial about the way the Technics EAH-AZ80 sound, they offer convincingly realistic and coherent listening in all circumstances.

Don't buy them if...

You intend to wear your earbuds all day
Even at its best, the battery life available here is nothing special – long-haul flights are a non-starter, unless you want to recharge halfway through.

You have a lot of external noise to block out
While it’s true to say there are less capable noise-cancelling true wireless earbuds around, it’s equally true to point out that there are more capable alternatives too.

You prefer an animated, exciting sound
For all of their poise, balance and accuracy, the Technics EAH-AZ80 don’t produce the most out-and-out animated sound you ever heard.

Technics EAH-AZ80: Also consider

How I tested the Technics EAH-AZ80

Tested for a week or more
Used in a home office, on the street and on public transport
Apple iPhone 14 Pro and Nothing Phone (1) as source players

The benefits of the Technics EAH-AZ80 are obvious. They stay comfortable for easily as long as their battery lasts, they connected to all the sources of music I could stash on me at once and they’re simple to use for phone calls even in a wind-tunnel.

If it wasn’t for the fact that I could hear some of the sounds around me, especially on the train, and the fact that I know some of the music I listened to should sound fiercer, I’d give them a wholehearted five star recommendation.

Read more about how we test

First reviewed June 2023

Bang & Olufsen Beocom Portal review

1:33 pm | February 8, 2023

Author: admin | Category: Computers Gadgets | Tags: AAC, ANC, EQ, USB | Comments: Off

Two-minute review

Those people and businesses that are protective of their liquid assets will probably exclude the Danish luxury brand Bang & Olufsen from their product choices.

Bang & Olufsen has a long and impressive history of delivering excellent audio technology for those that care more about quality than price, and its new Beocom Portal headphones haven’t strayed from that path.

However, compared with gaming-orientated or audiophile-luring headphones, these have been designed more with hybrid workers in mind. And are being promoted by Bang & Olufsen as “the next big step in our efforts to grow our business-to-business portfolio which is an important strategic focus area for Bang & Olufsen”, according to John Howard, Head of Enterprise at Bang & Olufsen.

In service to those objectives, these Bluetooth-connected headphones are Zoom-certified out of the box and come with support for all the commonly used communication platforms.

Therefore, irrespective of the particular standardisation of the purchasing business, these should be suitable.

One caveat of deploying these types of devices away from the office is resolving technical issues without onsite support. The Beocom Portal headphones come with Beocom link USB wireless Bluetooth adapters (with aptX Adaptive Codec), pre-paired for use and supporting both USB Type-A and USB Type-C ports on the host device.

If the connecting technology is already Bluetooth enabled, Bang & Olufsen has apps, Apple and Android, that can establish the pairing easily with the minimum of fuss.

These headphones aren’t exclusively Bluetooth, as they include the cables to connect them to both USB and 3.5mm audio systems. The USB-A to USB-C cable also doubles to charge the Portal headphones, although no charger is included for those that don’t have access to a USB-A system.

Once these are connected, the user can experience the “uncompromised Bang Olufsen signature sound”, or clear communication and audio rendering for those who don’t speak PR.

It achieves this by using an array of beamforming microphones to isolate and amplify the voice of the user while cancelling out background noise, though cancelling can be disabled if required. A prerequisite for those that spend their days calling others, along with long-wear comfort, these are things that business headphone designers can no longer ignore.

While these might look very similar to the previous Beoplay 500 design, plenty of business-friendly changes make these more suitable for hybrid workers.

Bang & Olufsen Beocom Portal price and availability

How much does it cost? $549 / £459 / €549
When is it out? It is available now
Where can you get it? You can get it in Bang & Olufsen stores and online

The Bang & Olufsen Beocom Portal isn’t cheap or even attractively priced, and those expecting otherwise aren’t familiar with this brand.

The only choice here is that they come in Black Anthracite, Navy or Grey Mist colour schemes.

Value score: 3/5

Bang & Olufsen Beocom Portal design

Designed by Jakob Wagner
Stylish and lightweight
Simple to operate

For those unfamiliar with the name, Jacob Wenger is an American industrial designer and entrepreneur that founded his own design firm, Jacob Wenger Design, LLC, and it specializes in high-end custom furniture and product design.

Therefore, while it might be a leap to suggest that he designed the Beocom Portal headphones, his design team was responsible for their ergonomics and visual styling.

Unsurprisingly, these have all the hallmark deference of a product design exercise where every sharp edge has been eliminated and replaced with a sweeping curve.

What makes these stand out from other headphone makers' products are some simple refinements that elevate the user experience.

Where most headbands have a notched connection to the driver covers, on the Beocom Portal, they move smoothly, allowing for a great degree of positioning. It’s a tiny thing, but it makes for even greater comfort. The breathable fabric used for the headband is another factor in making these easy to wear throughout a working day.

In other respects, the control mechanisms of the Portal follow a pattern that anyone who has experience with B&O Bluetooth headphones will be familiar with.

Each of the metal surfaces on the cup faces operates as a touch input, but the subtle nuances of this design are that strictly what gestures do entirely depends on the mode of operation.

For example, if the wearer is taking a call, then tapping on the left cup will end the call. But the same action will pause a track playing over Bluetooth. Some actions overlap, and some are entirely different. These peculiarities might take some learning by the user, but it’s logical.

However, the controls assume oddly that music lovers never repeat tracks or fast forward.

What the designers avoided was using touch on the cups for volume controls, instead using a rocker/slider on the left cup to control noise cancellation and one on the right side to adjust volume levels.

Each side also has a single pressable button, with the right one doubling as the power and Bluetooth pairing control and the left side mute.

The physical controls have their limits, and we’d strongly recommend installing the Bang & Olufsen Beocom app on your phone, as this allows you to easily switch between different modes and levels of noise cancellation. And, this tool can also update the onboard firmware should the makers release updates.

Both the USB-C connection and 3.5mm audio jack is placed on the right side, assuming that the computer will be on that side of the user if they’re using wired technology.

Bang & Olufsen opted for a design that doesn’t have a boom microphone, instead a beamforming array to identify the wearer from other sounds and focus exclusively on that source. The quality is more than acceptable and well within the spec required for making and receiving calls, but it isn’t the clarity needed for broadcast work, like a podcast.

Overall, these are exceptionally classy headphones that work well in a business context, although some audiophiles might take exception to the inability to reverse skip tracks and move through audio accurately.

Design score: 4/5

Bang & Olufsen Beocom Portal features

AAC and aptX Adaptive
Google Fast Pair and Microsoft Swift Pair
Good battery life

Specs

The Bang & Olufsen Beocom Portal that was sent to us for review came with the following hardware:
Frequency range: 20 – 22,000Hz
ANC: Adaptive ANC with Transparency Mode plus Dolby Atmos
Drivers: Electro-dynamic driver w/ Neodymium magnets
Drive diameter: 40mm
Driver sensitivity: 95dB @ 1kHz / 1mW
EQ: Presets and custom settings via Bang & Olufsen App
Designer: Jakob Wagner, LLC
Fit: Circumaural
Dimensions (WxHxD): 167.3 x 178.7 x 92.6mm

The Bluetooth technology in the Portal is version 5.1, which goes beyond the standard ABC codec with both AAC and aptX Adaptive.

Due to the audio compression used, variable between 5:1 and 10:1, the aptX Adaptive is the preferred method of connection for best audio fidelity, as it offers up to 420 kBits of data at 48 kHz.

That’s for a single source, but it is possible to have multipoint connections for those transitioning from a PC to mobile phone use.

By default, the headset will automatically try to connect to the last device that was paired, and it supports both Google Fast Pair and Microsoft Swift Pair technologies.

Ironically, the best audio quality available is undoubtedly over USB. When connected using the provided cable, these will be seen by the connected PC as rated for Dolby Atmos playback.

Another high-quality sound option is the audio jack mode, but it has a few limitations since it won’t work if the Portal isn’t powered by the battery or through USB. But with power available, even when using audio jack input, the noise cancelling and some controls will work as expected.

Noise cancelling on these is good, but not quite as amazing as we’ve experienced on some of the more expensive options from Sony. The effect is that low-frequency rumbles are all but eliminated, but higher ranges are muffled. This allows you to realise someone alongside is speaking to you in person but removes most unwanted background sounds that you might experience in an office. There are five levels of ANC, enabling the user to find the one that makes them less distracted by those around them while not entirely deaf while wearing them.

You can also adjust the level of your own voice feeding back into the headphones, which can be helpful if you are raising that to cope with a bustling environment.

The similarities between the Beocom Portal and Beoplay 500 series headphones might lead some to think they are the same product, but some distinct differences exist, especially in respect of the battery.

Where the Beoplay 500 offer 19 hours of talk time with Active Noise Cancellation, the Portal has extended that to 23 hours and listening to music at a moderate volume level offers 47 hours with Active noise cancellation (connected to the Beocom Link A or C dongle).

That extra time should make the Portal last through at least three working days, as they turn off after 15 minutes without an active audio stream.

The quoted times are dependent on the sound being relayed through the headphones, as high-impact audio, like rock music, will use more power to output compared to a flute solo.

Features score: 4/5

Bang & Olufsen Beocom Portal Sound

Best over USB
Balanced soundscape

When phones get more than 10,000 mAh, they’ve got enough battery for extended use without a recharge, and this one has 10800 mAh of battery inside.

According to Doogee, the V30 should operate for more than three days of typical use without needing a recharge, and it might make it to a fourth.

The included 66W charger can recover 50% of its battery capacity from empty in around 30 minutes, although if you use the 15W wireless charging, it will take four hours to reach the same level.

There are rugged designs that offer more battery, but they trade weight for that advantage, and the physical mass of the V30 isn’t so great that it becomes impractical.

The available capacity is enough for a camping holiday, and the power efficiency of the platform makes the most of it.

Sound score: 4/5

I could wax lyrical about the balanced frequency response, how they feel after you’ve been wearing them for hours and the generally wonderful build quality, but none of these things obscures the fiscal elephant in this room.

If you want some high-quality headphones that are equally impressive user for work or play and carry this logo, then be prepared to open your wallet wide.