Beyerdynamic DT 30 IE review

The Beyerdynamic DT 30 IE have sprung into the affordable IEM arena. One that, as of late, has provided some incredible quality, with brands such as Sennheiser, Meze Audio, and Activo bringing some serious sound-for-pound value.

While the DT 30 IE don’t try anything outwardly fancy, they’re still a very attractive proposition. They have 11mm dynamic drivers intended to supply a “neutral and balanced tuning,” passive noise cancellation up to “-39dB,” and even have an IP54 dust and water resistance rating.

But can they compete with some of the best wired earbuds around? I spent a couple of weeks using them as one of my main listening devices — here’s what I thought.

Let’s start with the area that matters most: sound quality. As you may expect at this price-point, sound quality is good rather than excellent — though there are a lot of positives to discuss.

In Can’t Let Go by Earth, Wind & Fire, overall audio was clear and balanced relatively well. I felt that vocals in the mid-range were a bit lacking in texture and detail, but still had good presence in the mix. More subtle percussive elements came through nicely, though, and funky bass was well-weighted.

Although I felt that the DT 30 IE perhaps lacked the openness and nuance of pricier options, they still sound strong for the price.

And perhaps the main thing that grabs you about the DT 30 IE is their bass output. It’s meaty and dynamic, which is ideal for gigging situations or if you want to enjoy hard-hitting tunes to the max in a more casual capacity. In Kickin’ In The Beat by Lewis Taylor, I was struck by pumping low-end output, which didn’t obscure vocals or drums in the treble range — it's punchy and fairly agile, making for an exciting listen.

Treble is clear and fairly controlled, though it could be more articulate and expressive. In Sing To Me by Ned Doheny, percussion in the treble range didn’t have the precise, bright quality that I was listening out for, with a slightly muted take. This wasn’t the case when I switched over to the Sennheiser IE 200, which offered better top-end clarity, and also provided a more natural interpretation of lead vocals.

So, it’s certainly a positive start overall for the DT 30 IE, but how do they compete elsewhere? In terms of features, there’s not a lot to run through. There’s no in-line controller with volume controls, which is more of a nice-to-have rather than an expectation for IEMs in my view. They also skip on interchangeable connectors, as seen on models such as the Activo Volcano, so you’re stuck with a 3.5mm option unless you purchase an adapter of some kind. But what I did like was the range of ear tips packed in, allowing you to find the ideal seal, no matter your ear size.

And when I got the right seal, I found that the DT 30 IE offered pretty solid passive noise isolation. Is it the best I’ve experienced? No — models with foam ear tips, such as the Shure Aonic 3 take the prize there. But I did find that sounds like typing and office chatter were dulled to a pretty commendable degree, and that’s going to be key for gigging musicians, for example. I also found that, with the right seal, the DT 30 IE were supremely comfortable and secure, making them ideal for longer listening sessions. They’re also nice and small, which I prefer over the chunky approach some rivals go for.

It’s also worth noting that the cable for the DT 30 IE is detachable, so you can swap this out for an aftermarket MMCX cable if you’d prefer. The cable itself is built to a really nice standard, though, and it produced next to no cable noise when I tried taking the buds on the go.

The IEMs themselves, however, don’t quite exude the same sense of premium build quality. They have a translucent look, enabling you to make out the drivers inside, but the casing feels a bit overly plasticky. I’m not expecting ultra-premium materials at this price point, but I do think some rivals in this price-range look a bit more luxurious — the Meze Audio Alba spring to mind.

So are the Beyerdynamic DT 30 IE worth the money? Overall, I’d say yes. They provide good sound quality with impressive bass and solid clarity across the frequency range, as well as a lightweight and comfortable build, and decent passive noise isolation. All of that for $149.99 / £99 / AU$199 isn’t half bad.

What I would argue, however, is that you can get slightly more detailed, nuanced sound — and slightly better build quality — in this general price range. The Sennheiser IE 200 and Meze Audio Alba, in my opinion, offer superior performance at a very similar cost, and I’d suggest checking those out before pulling the trigger on the DT 30 IE, as good as they are.

Beyerdynamic DT 30 IE review: price & release date

• List price of $149.99 / £99 / AU$199
• Released in June 2026

The Beyerdynamic DT 30 IE are priced at $149.99 / £99 / AU$199, meaning they’re certainly sitting in the affordable domain within the IEMs world.

I’ve personally reviewed a number of competitors in this range, including the Sennheiser IE 200, Meze Audio Alba, Activo Scoop, and Shure SE215.

The DT 30 IE were released in June 2026, and are available in a single white colorway.

Beyerdynamic DT 30 IE review: specs

Should I buy the Beyerdynamic DT 30 IE?

Buy them if…

Don’t buy them if…

Beyerdynamic DT 30 IE review: also consider

How I tested the Beyerdynamic DT 30 IE

• Tested over the course of two weeks
• Mainly tested using Tidal
• Paired with Astell & Kern A&ultima SP4000

I spent a couple of weeks using the Beyerdynamic DT 30 IE, and hours upon hours listening to music. Typically, I had the DT 30 IE hooked up to the Astell & Kern A&ultima SP4000 media player, though I did also try them out with my Windows laptop.

To begin with, I sifted through tracks in the TechRadar reference playlist, which features tunes from a wide variety of genres, but I also bumped a bunch of songs from my personal library. I also made sure to compare the DT 30 IE to affordable IEM rivals like the Sennheiser IE 200.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as an in-house Senior Reviews Writer. I’ve covered everything from portable DACs through to premium wireless headphones such as the Sony WH-1000XM6, and have reviewed a number of IEMs, meaning I know exactly what it takes for a model to stand out in a competitive market.

• Read TechRadar’s reviews guarantee
• First reviewed: September 2026

Sound quality is important to me. Whether I'm listening to hi-res mixes on Tidal or making music of my own, I want to hear it in the absolute best detail I can. That's why, during Prime Day this July, I finally pulled the trigger and bought the Sennheiser HD 660S2. But since then, I've started to wonder whether getting a DAC is essential to unlocking the loftiest realms of sonic sophistication.

While the Sennheiser HD 660S2 aren't the most expensive headphones I've ever owned, I'd argue they are the most premium, sonically speaking. Compared to wireless headphones where a decent chunk of your spend is going on Bluetooth chipsets, ANC and fancy features, wired headphones such as the HD 660S2 are a pure audio play. Pretty much every cent you spend goes towards their engineering for sound quality.

As a result, it's not surprising that my initial response to these cans has been positive. They don't have the most strongly flavored sound profile — for example, there wasn't throbbing bass pounding my ear drums like Neil Peart trying to slaughter a fleet-footed fly crawling across his skins. But their frequency balance is as judicious as any of the best headphones, neglecting no part of the spectrum.

Another huge factor is their open-backed design. As they let in near enough every perceivable external sound, the idea of using them on the subway brings me out in a cold sweat — ain't nobody there to hear fellow passengers discuss nasty medical ailments in graphic detail before breakfast. But that same transparency gives them a seriously spacious sound that allows each element a decent amount of room to breathe, already making them a great upgrade over their closed-back cousins.

Perhaps the biggest win in their corner is the very fact that they're wired. As they don't have to contend with the limited bit- and sample rates of Bluetooth headphones, they're free from lossy compression (in themselves at least — they can't help your source material if it's not up to the job), meaning they can maintain the original source's resolution and detail. While that might matter less when you're using a flimsy $30 / £20 / AU$40 pair of cans, in more premium headphones, you can absolutely hear lossless formats the way they're meant to be heard.

This all comes with a pretty serious asterisk though. As alluded to above, unlike their wireless rivals, wired headphones aren't packing their own DAC, meaning those digital files you're listening to need to be converted to analog audio before passing along that wire. And while laptops — and the few phones that still have 3.5mm jacks — have their own built-in DACs, these usually lack the power to drive heavy duty cans like the HD 660S2.

Don't get me wrong: while I knew the Sennheisers wouldn't necessarily be giving me their A-game without a DAC, their sound has still been impressive, which is no mean feat. But it has started me wondering: what am I missing? Could one of the best DACs help me unlock the loftiest realms of audio quality?

I resolved to find out.

DAC-seat driver

Given iFi created many of our picks for our best DACs guide, it seemed a sensible place to start and I eventually settled on the iFi Zen DAC 3. Not only is this portable DAC capable of audio resolutions of up to 32-bit/768kHz, its 390mW amplifier should have plenty of power to drive the 300-ohm resistance of the Sennheiser HD 660S2.

Setting it up is simplicity itself. All I had to do was hook it up to my laptop with a USB-C cable, plug the HD 660S2's chonky 6.3mm jack in its front port and I was all set to start comparing the quality of some tunes.

Mid-range frequencies fared surprisingly well, even without a DAC. During Diamonds On the Soles of Her Shoes by Paul Simon, I felt like I was sat right at the heart of Ladysmith Black Mambazo's choir and there was some really tasty detail to the low toms in the percussion. Once I'd plugged in the iFi, there was some improvement, with a little more dynamism to those vocals and a bit more spaciousness in the mix, but the changes were very subtle.

Treble is a similar story. Before I plugged the DAC in, Go Your Own Way by Fleetwood Mac sounded bright and crisp — the strumming of the guitars felt suitably tight and had a decent amount of bite, without feeling brittle. Hooking the the HD 660S up to the DAC didn't substantially transform the treble, but the iFi did allow for even more low-end heft to the track without overshadowing the pinpoint definition of those guitars. Honestly, this is probably the first time I've ever felt like this track actually sounded bassy.

In light of this, you won't be surprised to hear that low-end performance is where iFi's DAC made the biggest difference, making Otomo by Bonobo sound truly ridiculous. Even without the DAC, the HD 660S2 made the bass sound warm and punchy, without harming the clarity of the percussion or those tribal choral vocals. But when using Zen DAC 3, the impact bass during the drop was unreal — the sub bass is so strong it feels like it hits you right in the brain stem.

This increased low-end clarity and dynamism also helps when it comes to precision and separation too. Deprived of DAC, the HD 660S2 did an excellent job of rendering I Need the Night by London Grammar — those reverberant vocals sounded wonderfully detailed and gorgeously expressed, even when the beat kicked in. But with a DAC picking up the slack, the sustained guitars and bass were able to shine more without encroaching on the vocals, while the beat still felt suitably punchy.

So the iFi Zen DAC 3 definitely added some spit and polish to my tunes.

DAC to reality

Still, all of the improvements I've noted above feel incremental at best. Attempting to jack up my listening experience with a DAC resulted in what I'd class more as a 5% improvement, rather than the revolutionary experience I was expecting. So what gives?

Turns out, some sacred cows need to be put out to pasture. While there are plenty of people who will swear blind that you need a discrete DAC for a pair of high-impedance headphones like the HD 660S2 (which come with a rating of 300 ohms), that's not actually always true. Because, if you're lucky, you may find that your gear's built-in DAC is plenty powerful enough on its own.

I should have dug into the specs of my hardware a little more. Both the MacBook Air M5 I use at home and the MacBook Pro M4 I use at work have a pretty sophisticated DAC built-in — if you're driving some low-impedance wired earbuds, it'll deliver a far lower voltage but when you pop in a pair of audiophile-grade headphones like the Sennheiser HD 660S2, it'll deliver substantially more power. That's why these cans sounded so great out of the box to me.

While that's great news for me — and for anyone else who's happy to drop $1,299 / £1,299 / AU$2,099 on a MacBook just as an expensive network audio player — it's not that illuminating on whether your more humble devices will benefit from the help of an external device.

So I guess it's DAC to the drawing board.

To hell and DAC

Like all great technologists, I know every catastrophic failure is just a fantastic opportunity to pivot. So I redesigned my experiment on the fly. I grabbed one of our testing smartphones — the skilled yet affordable OnePlus Nord CE5 — plugged in a USB-C to 3.5mm adapter and jacked in the Sennheiser HD 660S2. And boy, was it a... whatever the opposite of a revelation is.

When drip-fed on the meager power a phone outputs, the HD 660S2 sound like a completely different pair of headphones. As you'd expect, their output is much quieter and mids lack impact. On Painted Wolf by O’Flynn, the Rhodes-style keyboard and strings sounded far more hollowed out than when listening with the DAC, which gave that fiddle part real body and texture.

Without the Zen DAC, the phone struggled to deliver much treble either. Thanks to its bright presentation, Crash into Me by Dave Matthews Band quickly shows up any glassiness or sibilance in a pair of headphones high-end, yet here it sounded rolled off and lacking in confidence. Conversely, once hooked up to iFi Zen DAC 3, the HD 660S2 made each of those densely layered guitar parts feel distinct and detailed — I could practically hear the vibration of the plectrum as it scrapes over the strings.

One area I'll give the Sennheisers their due though is when it comes to bass. Even without a lot of power behind them, the low end of Listen by Pola & Bryson and Goddard. still sounded pretty tasty — those snarling D&B bass warps still felt deep and beautifully detailed and there was a soupçon of sub beneath it all. The DAC still delivered here too though, swaddling you in lush pads, while that bassline genuinely sounds like you’re being hit full-force in the chest by a Funktion One rig.

It isn't just the frequency balance that felt off either: the lack of DAC limited the HD 660S2's to present its soundstage with quite as much dynamism or distinction. Playing Breathe This Air by Jon Hopkins with the Zen DAC 3 plugged in, I found the wonderful interplay of piano strikes across the stereo field to be genuinely breathtaking. Thanks to the Sennheisers' open-back design, they were still able to get a decent stereo spread without the iFi's help but the pinging of each element across the soundstage felt considerably less dynamic than before.

So a DAC absolutely makes a huge difference. If you're playing music off a cheaper or more portable device, any increased investment in higher-quality headphones may well be wiped out if you don't pair it with a discrete DAC. But don't assume you need one by default, as the days of all built-in DACs being dreadful are well behind us.

JBL Live Buds 4 review

Ever wondered what life would be like if your earbuds had a touchscreen case? OK, you probably haven’t, but stick with me here. The JBL Live Buds 4 are the new generation of the audio specialist’s in-ears that pair with a smart charging case, enabling you to adjust sound settings, adapt ANC, and more — all without having to download a companion app.

They’re a standout model in a congested market. The Live Buds 4 also sit within JBL's wider Live range, which is itself fairly congested in that it also includes the stemmed JBL Live Beam, plus the open-fit JBL Live Flex. This specific model, though — the Live Buds 4 — comes with a number of claimed upgrades over its predecessor, including enhanced ANC, new “fidelity drivers,” and boosted call quality. But are they worth the money and can they compete with options in our best earbuds roundup? Here’s what I think after three weeks of testing.

We’ve got to start with the smart charging case, which has a revamped UI for a smoother, more complete user experience. The touchscreen is undoubtedly small, but it's highly responsive, and there are clear menus to access EQ tweaking, ANC modes, appearance options, and even tools like a flashlight and timer. I sometimes preferred using the JBL Headphones app for the ease of a larger screen, and the ability to set a custom wallpaper from my photo gallery, but for on-the-go tweaks, the charging case is a neat option — even if it is arguably a little bit gimmicky. But hey, I like a good gimmick now and then.

Beyond what I’ve already mentioned, the case features a lot of fun features, like a smart-talk option, which picks up voices if you want to have a conversation while keeping your buds in. There are also customizable touch controls for the buds themselves (which I found to be reactive and convenient), and settings for how your voice sounds on a call, including a bright, natural, and powerful option.

Speaking of calls, JBL has included 6 mics in these earbuds, as well as its new Perfect Calls 2.0 tech, which makes use of AI to keep your voice clear, even in noisier environments. As I mentioned in my JBL Live Beam 4 review (I know, it's easy to get confused with names), I did find my voice to be relatively clear on calls and when taking a recording, but unfortunately I didn’t get the premium clarity I was expecting. There was some noticeable sibilance in my recording, and I also found that some background noises remained more prominent than anticipated.

I also want to talk about active noise cancellation, which has been improved for the Live 4 series. Overall, ANC is decent, but it’s still not up to the standards offered by buds from Apple and Bose. When out and about or on public transport, I could still make out background chatter, and in the office, typing sounds and doors closing were still audible. Sounds are still dulled effectively, and ANC is by no means bad — but if you’re expecting a curtain of silence when using the Live Buds 4, you may be left wanting more.

One area that the Buds 4 totally excel in, though, is sound quality. For earbuds in this price-range, the Buds 4 are excellent, dishing out impactful bass, clean mids, and expressive highs, impressive handling of dynamics, and good attention to detail.

When tuning into Labor of Love by Ned Doheny, I was struck by the beautifully textured and weighted acoustic guitars, which were well separated from clear, tonally accurate vocals. Subtle percussive details also came through beautifully, and funky bass sounded impactful without drowning out other sounds across the frequency range. What’s more, by activating the higher-res Bluetooth codec, LDAC, I could make out some more intricacies in the mid-range, with almost life-like guitars taking the listening experience to the next level.

The Live Buds 4 proved to cope brilliantly with any genre, though. With a deeper, more energetic track, such as Don’t Compare Yourself by Kolter, the pumping deep bass hit phenomenally hard, and reached down to tremendous depths for this level. Bassy synths sounded textured and controlled, lively drums sounded articulate and precise, and emotive vocals, while impactful, never overwhelmed the mix.

I have very few complaints about the sound, and it’s super-simple to customize it to your liking with the EQ settings on the charging case or JBL headphones app. But one thing that could’ve been better was the spatial audio setting, which just lacked the clarity and openness of the standard tuning. I’d also argue that the soundstage is relatively broad on the Live Buds 4 anyway, so you should just keep this mode off if you ask me.

Let’s also talk design, as this is the main area where the Live Buds 4 differentiate themselves from the Beam and Flex. They take up a small, snug in-ear feel, which is ideal for those who prefer earbuds without the stems. I found the buds to be incredibly comfortable, and had no issue keeping them in for multiple hours at a time. They’re also highly secure, never feeling as if they’ll fall out of your ears.

The buds also have a good standard of build, the case has an attractive, textured finish, and the model can be purchased in a wide range of colors. The buds are also IP55-rated, making them splashproof. Some rivals offer superior IP57 protection, but IP55 is enough to keep your buds safe on a rainy day.

One more difference the Buds 4 have, is that they offer the least amount of battery life in the Live 4 lineup, with 8 hours of playtime with the buds when ANC is on, and up to 40 hours with the case. That’s still a good amount of playtime, and competes well with major rivals.

So, are the JBL Live Buds 4 worth their £179.99 / AU$269.95 (about $240) asking price? For me, it’s an emphatic yes. Of course, they’re not the cheapest buds on the market, but they’re also a fair bit cheaper than big-name rivals like the AirPods Pro 3 and Bose QuietComfort Ultra Earbuds Gen 2. They also sound fantastic for the money, with the nifty charging case only adding more value. Sure, they could do better in the call quality and ANC department, but ultimately, they still offer decent enough quality in those areas.

JBL Live Buds 4 review: price & release date

• List price of £179.99 / AU$269.95 (about $240)
• Revealed in May 2026

The JBL Live Buds 4 were revealed in May 2026, alongside their siblings, the JBL Live Beam 4 and the JBL Live Flex 4. They released about two years after their predecessor, the JBL Live Buds 3.

They come in at £179.99 / AU$269.95 (about $240), which is the same as their predecessors cost at the point of launch (in the UK). We’re yet to catch wind of a release date and pricing for the US, but we’ll update this review accordingly if and when further details emerge.

These buds are available at a relatively affordable price for the quality on offer, coming in at a lower cost than rivals such as the Apple AirPods Pro 3 and the Bose QuietComfort Ultra Earbuds Gen 2.

Our top pick for wireless earbuds whatever your budget is the Technics EAH-AZ100, at $299 / £259 (around AU$478). So at quite a bit less than those figures, the JBL Live Buds 4 can be yours for a shade under flagship money — and that's a very good thing in terms of value.

That said, the Huawei Freebuds Pro 5 are our current 'best mid-range' pick in that detailed guide, and those excellent buds retail for the same £179.99 fee as the JBL option. They don't have a smart charging case, but still, food for thought…

JBL Live Buds 4 review: specs

Should I buy the JBL Live Buds 4?

Buy them if…

Don’t buy them if…

JBL Live Buds 4 review: also consider

How I tested the JBL Live Buds 4

• Tested over the course of three weeks
• Used in the office, on walks, and on public transport
• Mainly streamed tunes over Tidal, but tapped into Spotify too

I spent three weeks putting the JBL Live Buds 4 through their paces. During this time, I listened to countless hours of music, messed around with everything the smart charging case had to offer, and exhausted their various features.

As always, I made sure to use these buds in a range of environments — including at home or at the office, but also when out on walks near busy roads, and when on public transport like buses and trains. When listening to tunes, I predominantly streamed music over Tidal on my Xiaomi 17 phone, but I also jumped into Spotify now and then. I made sure to soft through the multi-genre TechRadar reference playlist, but also bumped a bunch of tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as a Senior Reviews Writer. I’ve reviewed everything from premium wireless headphones like the Sony 1000X The Collexion to hulking party speakers like the Marshall Bromley 750. Of course, I’ve also tested many pairs of wireless earbuds, so I know exactly what it takes for a model to stand out in a highly competitive market.

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• First reviewed: August 2026

Indian tech brand Noise has teamed up with Bose for a brand new pair of open earbuds, the Noise Master Buds Open.

These clip-on buds are a first for Noise in the open ear segment, but join its existing Master series lineup, that includes over-ear headphones and in-ear buds — which were also built alongside Bose.

And lucky me — I’ve already tried the Master Buds Open for myself. I got hands on with the brand new open earbuds at IFA Berlin 2026, and spoke with Noise about its collaboration with Bose and the fancy features crammed into its latest creation.

Bose sound at an affordable price… kinda

Allow me to start with something of a disclaimer. The Master Buds Open aren’t a fully fledged Bose product, they simply feature ‘Sound by Bose’ technology. This means that the audio giant helped to tune the sound on the Master Buds Open, and there’s a specific Sound by Bose EQ option for the model.

We’ve seen other brands use Sound by Bose tech in the last year or so, with Baseus making use of a partnership in its Inspire line (including the XH1 headphones), and Skullcandy teaming up with the ANC giant for products including the Method 360 ANC (which we rated very highly).

However, Noise has a closer relationship with Bose than most, as the latter has invested in the Indian company across recent years, and the pair have already developed a number of audio products together, including the Noise Master Buds 2 and Master Buds Max.

Although the new Master Buds Open don’t quite offer the exceptional build and sound quality we’ve come to expect from products like the Bose QuietComfort Ultra Earbuds Gen 2, this collaboration certainly heightens the perceived value of Noise’s affordable audio gear, and helps it to stand out as a relatively recent entrant in competitive markets like the US, UK, and EU.

Getting hands on

Anyway, let’s talk about my time getting hands-on with the Noise Master Buds Open.

I have to say, when the buds were brought over to me, they made an excellent first impression. They come in a beautiful case with appealing metallic details, and the buds themselves look incredibly sleek and almost futuristic — especially in the slick Silver colorway.

In use, the Master Buds Open also felt supremely comfortable. I find that some clip-on earbuds have the tendency to either feel a bit tight, or almost too loose, but in my short time with the Master Buds Open they seemed to master the clip-on feel, with a secure yet comfortable fit and almost weightless on-ear sensation.

Sonically, the Master Buds Open performed about as well as I expected, although I should preface my thoughts by noting that the unit I tried was a prototype, and so the Master Buds Open may sound a little different at launch.

Naturally, I made use of the Sound by Bose EQ option, and I’d say the earbuds performed decently overall. A representative played me a bit of I’m Alive by Céline Dion, and I was treated to clear vocals, with fairly prominent bass (as far as open ears go), and well-separated guitars in the mid-range.

I also had the chance to play some songs of my choosing, and switched over to Can’t Resist by Jamback. In this house track, I realized that treble was pretty forward, meaning that drums higher in the frequency range were particularly prominent. Bass was also decently weighted, although you won’t get the pounding low-end that some of the best wireless earbuds can provide.

Was I blown away by the audio on offer from the Master Buds Open? Perhaps not — at least not at this stage. But they did perform pretty well overall, especially when you consider their price. I was told that the Master Buds Open will release for about €119 (around $140 / £100), which is relatively affordable — especially when you consider that Bose’s Ultra Open Earbuds have a list price of $299 / £299 / AU$449.95.

A surprising highlight

While the Master Buds Open will undoubtedly face stiff competition from similarly priced rivals like the Anker Soundcore AeroClip, they did impress me with their comfort and looks.

But one thing struck me more than any other: their surprisingly feature-rich companion app. Not only did I find Noise’s app to be incredibly easy to use and navigate, but I also couldn’t believe how much functionality it had to offer.

There’s a spatial audio setting, designed to offer “dynamic and realistic” audio, as well as a Gaming Mode if you need low-latency audio — a nice touch for keen mobile gamers.

On top of this, the Master Buds Open have customizable touch controls, multi-point, Find My Device capabilities, and a Focus Mode, which locks the buds’ controls when you just want to zone in on your tunes and avoid accidental touch commands. Of course, there are also EQ settings, including a fully customizable equalizer, and mics built in for taking calls on the go.

Noise was also keen to show me that the Master Buds have a built-in AI assistant. This enables you to ask questions with your voice, read chat history, and transcribe meetings or discussions. That’s quite a lot of functionality for buds in this price-range.

While there’s no specific launch date for the Master Buds Open just yet, Noise has said that they’re set to launch on their website and with some major online retailers from late September 2026.

IFA, Berlin's huge annual tech expo, is where some of the biggest tech firms unveil their latest innovations — and this year is one of the strongest we've seen in a long time for interesting new releases.

IFA is a great place to find fascinating new gadgets and devices, ranging from next-gen AR glasses to self-driving personal mobility vehicles, and from weird new kitchen appliances to armies of humanoid robots.

We've chosen the top products from those that were nominated for our IFA 2026 'Best in Show' awards to produce this list of our 25 winners, based on how innovative they are, how well they serve their intended use, and the degree to which we think they'll influence their area of the tech market.

There were many more products that we really liked, of course, but we had to be ruthless — here are our top picks from IFA 2026.

Anker Soundcore Sleep Earbuds 4 Pro

The best technology delivers real-world benefits, and what could be more beneficial than a good night's sleep? The Soundcore Sleep Earbuds 4 Pro use in-ear PPG optical sensors to monitor your heartrate, which is more accurate than other optical tracking methods thanks to the rich capillaries and stable position of your ear canal. That monitoring delivers data to the smart-screen, phone-free SleepHub charging case.

The Sleep Earbuds Pro feature passive isolation as well as 30dB active noise cancelling, and the case-based snore monitoring system detects and masks the sound of your partner snoring using its built-in sounds. Despite the addition of multiple new components the housing is thinner than previous generations, and even more comfortable for side sleepers.

Anker's BioSync dynamic audio system monitors relaxation in real time, dynamically adjusting the audio content and structure to help you find the most effective sleep sounds. Sleep earbuds are something that can truly improve your health and happiness by improving your sleep, and these look like a really smart upgrade.

Agibot A3

Agibot is doing some amazing things with humanoid robots, and the full-sized Agibot A3 combines multiple capabilities in a lightweight, extremely dynamic model: if you're assembling a robot dance troupe or planning a big exhibition, the A3's the bot to buy.

The A3 weighs just 55kg, has a power-to-weight ratio of 0.218kW/kg, and delivers up to 12kW of instant peak power, enabling it to somersault. Its battery runs for up to 10 hours and is hot-swappable in seconds, so it's great for applications where it needs to last all day. It'll happily fit in an SUV for travel, too.

In addition to voice and app control, the A3 delivers industry-first touch sensing that adds physical interaction to its controls. It also has a 360-degree multi-array mic system for accurate voice recognition, even in noisy environments.

One of the most exciting features of the A3 is its large-scale swarm co-ordination, which uses precise UWB positioning to enable performances by up to 100 individual robots. That makes it possible to create very complex, high-impact performances for big events, as well as enabling multiple units to work smartly in environments such as factories or warehouses. The awareness and the uptime make this a great new approach to robotics.

Hypershell X Ultra S

The Hypershell X Ultra S exoskeleton helped mountaineer Adriana Brownlee in -30C temperatures on Mount Everest, supported athlete Aurélien Fontenoy's 4,037km Route 66 journey while recovering from injury, and is currently being trialed by search and rescue organizations worldwide.

Before Hypershell, exoskeletons cost $100,000 and above; the same capabilities are now available to consumers for less than $2,000, in a device weighing under 2kg.

The X Ultra S is an end-to-end AI motion-control system that uses an AI model to transform raw sensor data directly into motor torque, enabling faster response, smoother adaptation, and more natural human-machine synchronization.

There are 12 active modes, including walking, cycling and running, and a new Gentle Assist mode for older adults and users with short or shuffling strides. Fitness Mode adds resistance, turning a walk into a workout.

But it's the price that won us over here — this could be a game changer for getting people with limited mobility out and doing more things that they love, from hiking to just visiting the local stores.

JMGO IRIS Ultra Max

The IRIS Ultra Max is one of the world’s first true 4K 120Hz flagship smart projectors, delivering native 4K (rather than pixel-shifted) at 120Hz from input to output, all from its very compact case.

The Ultra Max's dual iris system has 6+9 blades, the highest count in its class, which promises to improve stray light suppression by 11.34% for a more accurate picture, while delivering class-leading contrast, with a quoted ration of 10,000:1. The MALC 6.0 Triple-Laser Engine delivers an impressive 6,500 ISO lumens of brightness, making it more visible in more lighting conditions, and with a promised ability to recreate 110% of the BT.2020 color space, with an astounding color accuracy of delta-E of 0.7, meaning it's truly capable of pro-level color range and accuracy.

The IRIS Ultra Max also introduces an industry-first 3-in-1 Optical System that integrates 0.88–1.7:1 Optical Zoom, Four-Way Lens Shift (V ±130%, H ±53%), and an AI-Powered Gimbal (360° H, 150° V) into a unified projection architecture. This makes it more more flexible than traditional projectors to positioning, because it has so many different options for correcting its picture. It gives small home theater setups top-tier performance without compromise.

DJI Osmo Pocket 4P

Designed for vloggers and movie-makers alike, the Osmo Pocket 4P is the world’s first dual-lens pocket gimbal camera. It delivers cinema-grade imaging in a pocket-friendly form, and features DJI's Academy Award-winning Ronin stabilization.

The main lens is a wide-angle 20mm equivalent with an f/2.0 aperture, and a new 1-inch CMOS sensor that offers 17 stops of dynamic range and over one billion colors via DJI's new 10-bit D-Log 2 color profile.

That's supplemented with a 60mm medium-tele portrait lens, which gives you 3x optical zoom and up to 12x digital zoom. Its f/1.8 aperture is particularly good for creating bokeh effects by compressing the background and pulling it closer to the subject.

The Osmo Pocket 4P also features the latest version of DJI's ActiveTrack, which uses AI algorithms to maintain tracking lock at up to 12x zoom. It can actively track up to eight people, framing groups and centering anyone new who steps into the field of view.

RayNeo GT Max AR Glasses

The RayNeo GT Max AR Glasses are the world's first AR glasses to support Dolby Vision playback as part of creating a virtual cinema experience. They deliver up to 1,200 nits of perceived brightness, a 120Hz refresh rate, and real-time SDR to HDR conversion for super-clear images, too. Their optical system is 29% thinner and lighter than traditional designs, and delivers an industry-leading 59-degree field of view.

One of our favorite features is the adjustable virtual screen sizes, with a choice of 227 inches, 267 inches or 307 inches. That's clever: the tighter size is ideal for spreadsheets and productivity apps if you're using them as a display for a phone or laptop, while the larger sizes deliver immersive gaming and video.

Steady, Pinned and Follow modes enable you to anchor the screen or have it move with you, and 3DoF spatial tracking maintains the screen position without straining your eyes, and keeps subtitles, taskbars and image edges within the viewing area as you move. These look like the most advanced way to take a screen with you everywhere, and they could be indispensable for long flights.

TCL P80 Ultra

If you spend as much time on your phone as we do, you'll be blown away by the screen of the TCL P80 Ultra. It's the first phone to integrate NXTPAPER eye-comfort technology, with a 1.5K sharp AMOLED display for reflection-free reading even in bright sunlight, and a button that instantly turns your P80 Ultra into an e-reader with paper-like viewing.

The P80 Ultra has nano-etched anti-glare glass, eliminating surface reflections without reducing brightness. It also features circular polarized light technology, which changes the light output to more closely replicate the characteristics of natural light, and flicker-free dimming.

The camera's pretty special too. It's a 50MP 3x periscope telephoto lens with a 50MP 1/1.56-inch large-format sensor, capturing more light per pixel than smaller sensors and enabling 6x lossless zoom. Image stabilization eliminates motion blur in photos and video, and TCL's MuseFilm filters promise cinematic-quality images. But it's the groundbreaking display that really won us over — a lot of people will find it much kinder on the eyes.

Lenovo ThinkBook 14x Gen 2

Lenovo's ultra-light laptop makes even ultraportables look positively porky: at just 2.18lbs / 990g and just 12.9mm thick it's one of the lightest and thinnest laptops around, making it ideal for business travelers and students alike — especially if you opt for the backlit keyboard, which is really helpful in dimly lit rooms and airplanes.

Lenovo has somehow managed to give the ThinkBook 14x the super-thin treatment without sacrificing connectivity, so in addition to its Wi-Fi 7 it features two 10Gbps USB-C ports, two 5Gbps USB-A ports and an HDMI 2.1 port, so there's no need to haul a hub around with you. It also has a spare M.2 slot that enables you to expand its storage, which makes this a solid long-term investment.

The ThinkBook 14x Gen 2 is also one of the most customizable ultraportables, powered by Intel Core 7 (Series 3) processors and with display options including vivid OLED and touchscreen LCD. It's good-looking too, with a choice of metallic finishes including Luna Gray, Celestial White, Mystic Violet and Veil Blue.

EarFun Wave Pro X

EarFun's headphones consistently deliver premium performance without the premium price tag, and the Wave Pro X are the brand's best yet. They feature a patented dual-driver system that places a 40mm diamond-like carbon driver and a 10mm liquid crystal polymer driver on a precisely aligned axis, creating a more natural and detailed sound than you typically get from multi-driver designs.

The Wave Pro X feature an 8-mic AI system that continuously optimizes the hybrid ANC system, even in wired AUX mode, and the Qualcomm QCC3095 chipset delivers Bluetooth 6.0, aptX Lossless, LDAC, USB Audio and Auracast. Add AI translation and up to 90 hours of battery life to the mix and you've got a truly excellent pair of headphones — EarFun has been working on these for a long time, and even delayed them in order to get the tuning just right.

Urevo CyberPad 3

The CyberPad 3 is a home/office treadmill that's designed differently to traditional models. Its WalkFree Adaptive Speed Control uses pressure sensors built into the running board, which detect your stepping motion to automatically start and stop operation; when you're walking or running it takes data from the motor to calculate speed adjustments in real time.

Its multi-user support is smart too, capturing raw weight and stride-rate data to generate a structured user profile that's directly linked to the speed-control algorithm.

The support structure is made from Q235 steel with a side frame of die-cast aluminum, and it utilizes a redesigned transmission path to deliver an exceptionally compact construction: the ultra-slim body is under 11cm thick. Despite its small size it features a 15% incline-lift mechanism and a 42cm running belt, with its size based on analysis of human shoulder widths.

Plaud One

Plaud One is a wearable AI companion that combines three key features that are usually separate: wearable conversation capture, context that builds across day-to-day conversations, and AI that can analyze data and take appropriate action. It can capture online meetings, and face-to-face discussions and phone calls, and it has built-in eSIM and 4G LTE for phone-free operation.

What makes Plaud One different is that it understands context. Instead of treating each recording as a standalone transcript, it can retain context across multiple discussions — so a conversation from one meeting can be connected to a later conversation or call.

That understanding enables the Plaud Agent to help you take action, identifying next steps and completing tasks across tools such as Gmail, Google Calendar, Notion, and Slack.

Minisforum MS-S1 Max-P495

The MS-S1 Max-P495 delivers large-model AI computing from an exceptionally small footprint with a very high specification. It combines AMD Ryzen AI Max+ PRO 495 with up to 192GB of unified memory to run 128B+ LLMs locally, delivering up to 126 TOPS, and its unified memory architecture eliminates VRAM bottlenecks while also reducing latency.

That power is cooled by a high-performance thermal solution featuring a copper base, six heat pipes, dual fans and phase-change cooling, and it's encased in a fully scalable design, with a slide-out chassis for easy upgrading and a rack-ready form factor.

With 4x PCIe expansion, dual 10Gb Ethernet, dual 40Gbps USB4 v2, Wi-Fi 7, and a built-in 320W PSU, the MS-S1 Max-P495 delivers future-proof power for desktop systems and scalable AI clusters alike — it's a mind-blowing beast made to meet a new kind of research and development need.

XPPen Magic Pro 13

XPPen's Magic Pro 13 is a mobile drawing pad designed for creative pros, featuring an industry-first hardware-level drawing display mode that delivers low latency, native color output and higher bandwidth video transmission over a simple one-cable connection, giving you a paper-like experience with 16K pressure sensitivity and cursor hover support.

It's the first drawing pad in its category to come with dual-USB support, enabling you to benefit from a high-speed data connection while charging your Magic Pro 13.

The Magic Pro 13 features the new Shelf digital asset management system and XPPen's Canvas software, designed to deliver a simple and intuitive sketching experience for capturing ideas when inspiration strikes. And for creatives on the move it offers two thermal management modes, balancing performance and energy efficiency based on different creative scenarios.

Strutt ev1c

Strutt's ev1c reimagines the power chair with three major advancements: Strutt's evSense sensing array, a quad-drive drivetrain, and a modular, connected design.

eVSense uses two LiDARs, 10 time-of-flight sensors, six ultrasonics and two cameras to create 3D maps in real time, powering the Co-Pilot collision avoidance for people, pets, and edges, and the Auto-Pilot, which enables you to select on-screen destinations, or use LLM-powered voice commands such as "Take me to the kitchen" — basically it's a self-driving personal mobility vehicle.

The drivetrain features four-wheel independent suspension, ABS, active steering, and an integrated electronic stability program (ESP), safely managing 13-degree slopes, cobblestones and rough terrain without slippage or tipping. And when it's time to travel, it breaks down into five modules for easy trunk storage. It looks like a genuine move forward for this kind of mobility device.

xTool M2 Color Craft Laser

The xTool M2 is the first desktop machine to combine full-color CMYK printing, laser engraving and laser cutting into one enclosed Class 1 system, delivering a full print-then-cut workflow. Simply print your full-color design onto a piece of wood, leather or acrylic, and the xTool M2 Color Craft Laser cuts or engraves the exact contour with camera-guided precision. And there's a built-in air-assist pump, an industry first for a semiconductor laser, that keeps cut edges clean by reducing carbonization and yellowing.

Having these three capabilities in a single device is a huge power-up: instead of having to print on one machine and engrave or cut on another, you can turn your raw idea into a finished, professional-looking product in a single operation. It's ideal for stickers, labels, signage, personalized gifts, and small-batch products — you could start a whole business with this one device. And because it's an enclosed system, it's also very safe.

Perlegear AX1 Smart Adaptive Mount

The Perlegear AX1 Smart Adaptive Mount answers an interesting question: what if your TV mount was as smart as your TV? The AX1 is an AI-powered, motorized TV mount that can automatically adjust the height of your TV to different viewing positions, so for example you might have it low for solo TV watching, but raised for watching sports with friends, or for following an on-screen fitness app or motion-based game.

The AX1 is controllable via gesture commands, its mobile app, via remote control, or via Alexa, Google Assistant or Siri. It can distinguish between single- and multi-person viewing, with the latter calculating the best screen height for the group, and it's capable of moving a 200-pound / 90kg TV up to 15.7 inches / 400mm vertically, with real-time obstacle detection that stops and reverses the move if the path is blocked.

Speediance Gym Monster 3

The brilliantly named Gym Monster 3 delivers serious strength training for home workouts, combining the experience of a Smith machine, barbell, dumbbells, cable machine, rowing machine, pulley system, and squat rack into one streamlined setup with up to 200lbs / 90kg of intelligent digital resistance.

Twin 800W direct-drive motors deliver smooth, consistent resistance through every rep, and it's adjustable in one-pound / 0.45kg increments, so you can progress at your own pace, rather than make big jumps you might not be ready for.

The Gym Monster 3 is controlled via a clever Bluetooth Ring Control that enables you to make adjustments without stepping away or breaking your flow, and it features four dedicated training modes: Standard, Chain, Eccentric, and Fixed Speed. It also features a built-in AI coach that can guide you from your first session onwards.

Midea GreenApex Dishwasher

The humble dishwasher hasn't changed much since Josephine Cochrane's 1886 invention went electric in the late 1920s and gained spray arms in the 1950s. But the Midea GreenApex is very different from traditional grease-busters. It's a dual heat-pump system that uses a single coordinated heat pump platform to deliver washing, rapid drying, and dry storage in a single appliance.

The GreenApex is 50% more energy efficient than conventional dishwashers, delivers 30-minute rapid drying and 168 hours of dry storage without continued system operation, and offers gentle heat-pump drying at around 45°C, so you don't need to worry about high temperatures damaging more delicate items. It feels like a major leap forward for an appliance type that doesn't often have the phrase 'cutting-edge' associated with it.

Reolink OMVI 2i Ultra

The Reolink OMVI 2i Ultra Security Camera features an innovative, decoupled dual-lens tracking system in which the individual lenses operate fully independently of one another. Unlike in other dual-lens or hybrid zoom security cameras, the two lenses here are not mechanically linked, so the fixed 130-degree 4K wide-angle lens never moves, while the telephoto camera is free to rotate anywhere, including to cover areas outside the field of view of the main lens.

This means that when the 4K camera's on-device AI spots a person, vehicle or animal, it triggers the pan-tilt camera to lock onto and follow that subject even after they exit the wide camera's field of view — but you don't lose any recording from the wide camera's view during that time.

You can also use the wide-angle view to redirect the pan-tilt camera to a particular location by simply tapping that point in the live camera view, or have the wide camera and the pan-tilt camera monitoring two distinct locations, such as your driveway and a side gate.

Navimow H510 Pro

The Navimow H510 Pro features four key innovations: precise edge finishing, zero-turn steering, adaptive mowing intelligence, and 3D modelling.

Rather than edging with a trimmer line, which can be noisy and cause minor damage, the H510 Pro has an extendable robot arm that performs zero-gap edging quietly and safely — it's the most interesting and smart version of this technology that we've seen.

The all-wheel-drive system protects your turf too, with a zero-steering system that avoids dragging the wheels across the grass during lateral turns. And the Adaptive Mowing Intelligence feature analyzes grass growth patterns to determine the optimal mowing frequency, using the 1/3 cutting rule to preserve lawn health.

With 3D terrain modeling rather than the industry-standard 2D, and a sensor array including infrared as well as LiDAR and vision for low-light reliability, and triple-sensor avoidance to protect wildlife, the H510 is a smart solution for even the most challenging lawns.

DJI Romo 2 Series

The Romo 2 Series is a robot vacuum that won't be defeated by obstacles such as deep rugs, sliding door tracks and other barriers. That's because it has robotic legs that can step over obstacles as high as 4cm, and double-step thresholds up to an impressive 8.5cm.

It also features a built-in LiDAR-guided ultra-wide-swing robotic arm to extend the mop's reach, and its powerful suction system features an automatically lowering plate that forms a semi-seal on carpet for better extraction of dust and allergens.

The Romo 2 Series also benefits from the tech of DJI's flagship drones, with a Structured Light-Speckle projector and dual fish-eye vision sensors for full 3D depth perception. It can detect items such as cables and training pads as thin as 2mm, and its AI can distinguish between debris and liquid, as well as deal with transparent obstacles such as glass doors and mirrors.

Acer Vero 16

With so many laptops sacrificing easy maintenance and repairability for super-skinny styling, the Acer Vero 16 is a breath of fresh air. While it doesn't skimp on style or power — it's highly portable, delivers up to 180 platform TOPS with an Intel Core Ultra X9 processor 388H, and can be configured with a stunning 16-inch 3K OLED display — it's made with longevity in mind.

A tool-free latch provides easy access to the Vero's innards, and the battery and SSD are replaceable, while the system is designed to support the next two generations of processors if you want to upgrade. Fully 70% of the chassis consists of a blend of PCR (post-consumer recycled) and bio-based oyster shell material, and it meets US military standards for toughness. This is a laptop that's built to last, in a way that's rare to see — and very welcome.

Asus ProArt GR1X

The Asus ProArt GR1X is tiny, measuring just 150 x 150 x 51mm. But there's nothing small about its specification. Designed for advanced content creation and local AI workflows, it delivers data center-class compute inside a mini PC, removing the need to run LLMs remotely while eliminating cloud latency, cost, and IP protection concerns for pro creators.

The ProArt GR1X features the groundbreaking Nvidia RTX Spark 'superchip', which means you get a 20-core Grace CPU and a 6,144-core Blackwell GPU, delivering up to one petaflop of FP4 AI inference performance. With up to 128GB of LPDDR5X unified memory at 9,400MHz, it enables you to run up to 120B-parameter LLMs locally, and render entire 3D scenes on-device in Windows 11.

That kind of power demands highly efficient cooling, and Asus has developed an advanced precision-cooling system that delivers 1.6x more efficient thermal coverage than standard compact systems. Asus also solved the challenge of metal-enclosure signal attenuation by embedding the Wi-Fi 7 antennas behind a glass-like signal-transparent material. It's quite the design coup, and an impressive showcase for Nvidia's new elite chip.

EcoFlow STREAM 5000 / STREAM AC 5000

The EcoFlow Stream series is a plug-and-play modular system for residential solar energy generation and storage that's designed to be renter- and apartment-friendly. It can add battery storage and smart power-management to existing solar PV installations, as well as being employed to create a new home system from scratch.

The Stream Series features EcoFlow's Oasis 3.0 home energy management system, which understands dynamic energy tariffs, keeps an eye on the weather forecast, and continuously analyzes your home energy needs to optimize generation, storage and consumption.

That means you can give the EcoBot AI agent instructions such as "I need my car charged by 7am tomorrow at the lowest possible cost" and it will implement the necessary steps, or have your energy schedules reconfigured automatically when you have visitors or other instances of increased demand.

From October the EcoFlow Stream series will also get a new feature: Local Mode, which gives you uninterrupted operation and local app control even if there are cloud or connectivity outages. It's a very powerful (no pun intended) system that's been designed with the real world in mind.

Tapo D260

The Tapo D260 wired/wireless security camera is a video doorbell that delivers all the benefits of high-spec security without the potential downsides: it stores facial recognition data locally to protect privacy, and no features are locked behind a subscription. It's advanced, yet totally cost-free once you buy it.

It has 4K resolution, a wide 180-degree field of view to cover the entire doorway, and delivers sharp detail in subjects up to 30 feet away.

The D260 features multiple intelligent detection and recognition features, including radar as well as the obligatory infrared motion sensor. These enable it to discount false alerts from things such as moving branches or passing headlights, while on-device AI can recognize people, packages, vehicles, and animals.

If you wish, you can opt in to build a library of family and friends using facial recognition, and there's even a voice changer to disguise your voice when speaking to unfamiliar callers. In a world where people are sick of subscriptions, this offers a great security upgrade without the monthly fee.

• JLab unveils new earbuds offerings at IFA 2026
• Highlight is JLab JBuds Mini ANC with support for Apple Find My
• Also new sports earbuds and a shiny 'Jelle' design

As part of the IFA 2026 proceedings, affordable earbuds brand JLab has unveiled a few new offerings — but the highlight is a product we already knew about, that we're seeing in a new way.

Back when they were first unveiled in January, we gave the super-small JLab JBuds Mini ANC a whirl and found them so bijou that they could fit on your keychain (and with a price to match most keychains, too).

But now, these affordable earbuds officially work with Apple's Find My for the first time (a feat not easy to achieve outside of Apple's AirPods and Beats products), so you can use your iPhone to locate the lost buds. Given that you're likely chaining them to your keys, this effectively lets the JBuds case replace your AirTag 2. All without a price hike: you're paying $42.99 / £39.99 (about AU$80) for them.

Feature-wise, that's the highlight. Design-wise, you could argue that it's the brand's new 'Jelle' style which takes the spotlight. This is a new range of color options is based on gel nail colors and is launching for the Mini ANC, as well as the JBuds Luxe, which will sell for $84.99 / £79.99 (around AU$160) in these new finishes.

While most earbuds and headphones aren't that shiny, with their matte plastic, Jelle is very shiny. The products come in five different color ways, each of which is very shiny, like a jelly. It looks like your earbuds were ripped straight from the Simpsons.

Two real new earbuds

There are also two all-new, never seen 'til now pairs of earbuds JLab's showing off at IFA.

Firstly, we have the JBuds Open Sport 2, which are new hook-style open earbuds that act as an update to the JBuds Open Sport (surprise surprise), and will cost $52.99 / £49.99 (about AU$100) when it goes on sale later this year.

These bring several key spec upgrades over their predecessors. The headliners are a much better battery life, jumping up to 45 hours when you include the case, and new audio tools to better close the open-ear gap.

Then we have the JBuds Go Sport ANC, which are due to sell in mid-September for $42.99 / £39.99 (about AU$80).

The Go Sport ANC are hook-style sports earbuds with a tip, unlike the Open, which offer a key upgrade over the pre-existing Go Sport; the addition of noise cancellation. It'll let you enjoy a rigid fit and drown out some of your surrounding sounds.

While the JBuds Mini ANC and Jelle-fied devices are on sale now, you'll have to wait for these sports earbuds. I can see them being very popular in the end-of-year sales though.

• Baseus Bowie MC2 open-ears launched recently, gaining our glowing review
• Baseus Bowie MC2 NC just made their debut mere weeks later, at IFA 2026
• This model adds noise cancellation and comes at a slightly higher price

It seems like only yesterday I was reviewing the Baseus Bowie MC2 cuff-style earbuds, which I thoroughly believe are some of the best open earbuds for people on a budget.

It was actually about two weeks ago, but the brand is already back with a follow-up to the buds.

At annual tech conference IFA 2026, the wraps have been pulled off the Baseus Bowie MC2 NC, which have one main change over the existing earbuds: the addition of noise cancellation. (You got it from the title didn't you?)

The Bowie MC2 NC are due to go on sale at some point this month, for a slightly-higher price of $99.99 (likely about £99.99, based on the non-NC buds' price). The previous pair sell for $79.99 / £89.99 (about AU$180), so you're paying a little more for noise cancellation. As you'd imagine.

Mostly, these are the same earbuds, with an identical feature set, sound profile and charging case. The latter's stamina is stated to be slightly better, with a 60-hour battery life, but given how much of a power drain noise cancellation is, the resulting battery life will likely be less.

Noise cancellation in a noise uncancelling bud

Noise cancellation is an odd feature for open earbuds — and it's very rare to see it in this ear cuff-style design. ANC typically removes background sound, but the entire point of open earbuds is to allow you to hear what's going on around you. Very few open-earbuds makers have offered any degree of noise cancellation; Honor's Earbuds Open and Shokz' OpenFit Pro are two of the few examples that do, but both sport a more 'traditional' open-ear shell design, rather than the Baseus Bowie's cuff shape.

In practice, though, I get it. You might want to hear what's going on around you while you're stood beside a busy, dangerous road, but not when you're on loud public transport. Some degree of versatility is welcome.

Cancelling sound on these buds is a technical challenge, though. It's hard to remove background noise from music, when these sounds are coming around the bud too. It's like trying to block a river, with a dam that only covers half of it.

To solve this problem, Baseus has redesigned the 'air cushion', or the comfy padded layer around the Bowie MC2's bud. This apparently now blocks up your ear better, to create an acoustic seal that can better block surrounding sounds.

Whether there's appetite for noise cancellation in noise uncancelling buds remains to be seen, but it's good that there are options; this is, as far as I can recall, the first clip-on pair I've heard of with the feature.

• Belkin unveils SoundForm Isolate and Dot earbuds
• Offer ANC, Multipoint and ear wings for a really low price
• Also, there's a new set of child-focused over-ears

You may know Belkin as a company that typically sells power banks, phone cases and charging cables, but its range is diverse and now includes some potential winners in the audio sector.

At IFA 2026, the brand has expanded its fledgling audio family with two new super-affordable pairs of earbuds, each of which offers Active Noise Cancellation (ANC) at a price far below rivals.

There's the SoundForm Isolate Buds, which sell for a very palatable £39.99 (about $54, AU$80), and the SoundForm Dot Buds, going for £29.99 (around $40, AU$60). Those names are meaty, but hopefully the audio is too.

Don't confuse the SoundForm Isolate Buds for the SoundForm Isolate; rookie mistake. Those are existing over-ears. Add 'Buds' for the new products.

Also, when it comes to the Dot option, you can select a model with or without ANC, because Belkin wants to give customers the choice. And the set that can't cancel noise can be yours for just £19.99 (around $26 or AU$36). Dot Got it? Good.

As luck would have it, we've got feet on the ground in Berlin at IFA, and my colleague Harry Padoan got a quick listen in with the SoundForm Isolate (main image and below).

His early thoughts? "From my brief time using the earbuds, they sounded very bass-heavy out of the box. The low-end was powerful and fairly regimented too, which is ideal for more energetic tracks," Padoan said. "While this could sometimes mean that vocals and mid-range sounds weren't the clearest in the mix, the audio quality seems relatively solid overall for the price you pay."

These options have been released alongside the SoundForm Play, over-ear headphones which are intended for "older kids".

Dot's the deal?

Both of Belkin's new earbuds are sold on an important promise: ANC for a lot less than Bose, Sony or Apple. But these buds have a few other benefits.

The Isolate offer Multipoint connection, a clear call quality mode, and a 32-hour battery life. They come with a wing-style design, with a ridge that keeps them locked in your ear, which should make them suitable for workouts.

The slightly cheaper Dots miss out on the wings, and have a slightly lower battery life at 30 hours, but still get Multipoint and clear calling. They also come in both ANC and non-ANC versions. The non-ANC model costs £19.99 (about $25, AU$40), so they're super cheap, but do miss a pretty useful tool.

Conspicuously absent? Any mention of the buds' audio architecture. It seems, then, that the feature list is the real selling point here; don't expect incredible sound (perhaps you guessed that from the price).

You'd be forgiven for being apprehensive about buying earbuds from a charging bank company, even a well-known one such as Belkin. However, many similar companies have begun making the jump into audio: Anker's Soundcore now makes some of our favorite earbuds, and Baseus is following suit — and both are also showing products at IFA.

This is because, unlike some spaces within tech, the power bank and charging tech sector is growing quickly (maybe people are holding onto their phones longer in these challenging times?), affording these brands some extra cash to put towards designing new affordable wearables.

What I'm saying is, it's well worth paying attention to Belkin's offerings. I'll be very interested to see if the company's affordable buds can rival our go-to best budget earbuds recommendations.

• Anker sub-brand Soundcore unveils 7 new headphones at IFA
• New wireless open-ears, over-ears and in-ears, as well as sleep buds
• These include Aerofit 2, taking features from some top options released earlier in the year

Released in May, the Soundcore Liberty 5 Pro are my favorite earbuds of 2026 so far, leading to a glowing 4.5-star review... and now Soundcore has taken that DNA, and given it a little twist.

I'm talking about the Soundcore Aeroclip 2, which have just been unveiled at IFA 2026. On the surface, they seem like simple successors to the original Aeroclip, and an odd comparison for the aforementioned in-ear buds. But it's all about the feature set.

You see, the Aeroclip 2 come with Anker's Thus chip, the firm's very own internal AI chipset, used in the Liberty 5 Pro. This brings a suite of advantages that other earbuds of this design simply don't have, including clearer call quality, optimized battery life and a listening test. The new buds are due to cost $169.99 / £159.99 (about AU$320) and go on sale on September 22.

Another point of comparison is that both the Liberty 5 Pro and Aeroclip 2 also now have an advanced model: the 5 Pro Max and Aeroclip 2 Pro respectively. In the latter case, as in the former, the big upgrade is a control panel on the charging case, as well as a note-taking and transcription tool which uses the actual case to take notes. The advanced model is due to cost $229.99 (about £200, AU$400) but has no set release date just yet.

Not all of the Thus chip's features are present: I loved its noise cancellation capabilities, but since clip-style earbuds are designed to not cancel noise, naturally that won't show its face here. But if I want ANC, I have plenty of other options...

A busy IFA for Anker

Anker's Soundcore sub-brand had plenty of other devices at IFA.

First up, there's the Soundcore Space 2 Pro, over-ear headphones which build on the Space 2 we saw earlier this year. Again, the improvement is that they use the Thus chip, with noise cancellation that's apparently 1.5x better than on the original model. There's also a listening test, longer battery life and comfier build, with whatever an "optimized headband" is. These cans are set to cost $199 / £199 (about AU$400), and again go on sale on September 22.

Don't want over-ears? Well, Soundcore has standard earbuds too, in the form of the Liberty Buds 2. These are lightweight, without long stems, and weigh 4.7g each. They use 9.2mm wool paper diaphragms, and once again have the Thus chip, for the listening test and clear calling.

You can buy the Liberty Buds 2 on the same day as these other gadgets: September 22. They'll sell for $129.99 / £129.99 (about AU$230).

Soundcore is continuing its line of sleep earbuds with the... Sleep Earbuds 4 (and 4 Pro). These follow on from the Sleep A30, so the brand is changing up its naming conventions here.

These have build-in photoplethysmography sensors to track your sleep stage, heart rate, heart rate variation and other metrics, with "snore masking" and a redesigned shape so they're even smaller. A neat tool is that they offer dynamic audio: if it notices you waking up, it'll start playing a sleep sound to lull you back to sleep.

The standard buds come in October, and I wasn't provided a price. The Pro models come later, in November, and their main upgrade is that they have a screen on the case, so you don't need to use your phone to manage or monitor them.

Finally, we have the Anker RIC Hearing Aids, which continue a growing trend among audio companies: using their tech to create over-the-counter hearing devices. These use the Thus chip, and therefore the clear-calling and Hear ID tools, to boost sounds you struggle to hear. No word on a price or release date for these.

Phew. Take a breath. That's only the tip of the iceberg for Anker at IFA, with charging devices and home security cameras and more, but luckily for this missive, none of them go on (or near) your ear.

Sonos, a name synonymous with effortless home audio, has had a somewhat spotty track record in recent years. The audio quality has been unfailingly excellent, but Sonos software efforts have been an enervating mix of doing too much and too little, leaving customers not just cold but actively frustrated. Its latest updates and innovations are quite different: The introduction of a unifying platform, Sonos 27, and the threads that can pull it all together in something unironically called Sonos Fabric, which Sonos says is a name for a unifying subsystem that has long existed, though not with all of these capabilities.

I reached this conclusion on Tuesday as I sat in a darkened space and watched relatively new company CEO Tom Conrad dash from one demo living space setup to another, carrying a pair of Sonos Play speakers. He placed the pair of them on a credenza opposite the new Sonos Beam Ultra and then, without touching the Sonos app or even fiddling with the speakers, transformed the three audio sources into a unified surround sound system. And when he was done integrating the small speakers into the larger sound system, Conrad simply picked up the Sonos Play speakers and returned them to their original space. The speakers then reconnected to the standard Sonos Wi-fi network and resumed their regular roles.

This is Sonos 27 and Fabric at work, where Sonos products know when they're being lifted and moved and then can communicate ultrasonically with the Beam Ultra, which then makes a small mesh network connection to build a super-low-latency surround system.

It looked and sounded like magic and is exactly the kind of dream audio scenario I imagined when buying disparate speakers. Sonos, which has always allowed its speakers to communicate and create stereo sound systems, has long held the promise of this kind of automation, but it was never possible before Fabric.

It's a hardware and software feature that could excite existing customers and even inspire a legion of new ones.

Doing what makes sense

Where Sonos' software development once seemed sort of aimless and disconnected from consumer demands, Conrad's Sonos appears to be hyper-focused on doing only what makes sense for its customers.

Take its Sonos 27Voice, which manages to up the intelligence of the Sonos voice system while staying firmly in the audio lane.

Read our exclusive interview with Sonos CEO Tom Conrad

Instead of trying to transform your Sonos speaker into a voice-activated hub for all your smart home needs, Sonos decided to keep the 27Voice fixated on Sonos capabilities, but with a bit of a twist that I think people will appreciate. In Conrad's demo, he asked a sort of rambling question about a musician, and 27Voice quickly connected him to his desired music. Time and again, Conrad's vague queries resulted in sonic pleasure.

Sonos' other strategic gem, though, is openness. So, if you want to ask your Sonos tougher questions, like how to properly cook tenderloin, it'll happily pass only the prompt to another AI of your choice.

This open approach also carries through in reverse, with AI models like Claude, ChatGPT and, yes, Siri, able — via something Sonos calls Sopnos MCP — to control Sonos speakers through the new Sonos platform.

Sonos is also fixing past missteps by, for instance, making sure that new products joining the mix are complete and fully integrated members of the Sonos family.

Music to my ears

The new Ace Ultra ($449 / AU$699), which Conrad at one point wore around his neck as he presented the new products, platforms, and strategies, is a far more complete member of the Sonos family than the original Sonos Ace headphones. Those high-end headphones only connected to the Sonos Arc soundbar. The new Ace Ultra, which includes Sonos's Headphone Engine 2, uses Sonos Fabric and, with a press of a button, can pick up the audio from the Beam Ultra or any other member of the current Sonos audio family. I saw this in action, and it really is a one-button operation.

What has remained consistent in 25 years of operation is Sonos's audio quality (I have an aging pair of Play:1 speakers that I love and use to this day), and even in my brief time with the Beam Ultra soundbar and Ace Ultra headphones, I found impressive audio chops.

The Ace Ultra headphones, which promise 35 hours of battery life (3 hours on a 3-minute charge), feature a new driver and updated adaptive EQ that adjusts each time you put the headphones on. The headphones delivered a wide range of sonic experiences to my ears, which I selected from the new Sonos iPad app. I heard deep bass, sharp highs, and warm mids. I never wore the original Sonos Ace headset, but I can report that these are not only comfortable to wear, but the updated ear foams and greater yoke range and flexibility provide a near-perfect fit and seal.

The button placement, which was new to me, took a bit of getting used to, but I found I liked the volume slider that also doubles as a push-to-pause button. There's also a button that you can push to quickly sync up with the Beam Ultra. Onboard ANC also managed to cut out the thrum of a very noisy demo space.

Similarly, the Sonos Beam Ultra is a relatively compact soundbar capable of producing some very rich sound. There are now 9 drivers, including a pair of upfiring ones dedicated to bouncing dialogue off the walls and ceiling. Sonos says it provides 7.1.2 surround sound, and in my experience, it was loud, clear, and exciting. During the demo, they were playing Godzilla vs Kong, and I immediately wanted to grab some popcorn and park myself in front of the 4K TV and white Beam Ultra soundbar.

Overall, the $699 / AU$1,099 speaker bar seems well equipped to transform any audio-challenged TV.

Both the Ace Ultra and Beam Ultra are on pre-order now and start shipping on September 29.

Sonos appears to be taking some care with the rollouts, with some arriving as soon as next week and others more slowly as previews and early access builds. I'm sure Sonos would love to avoid another calamity where everyone's Sonos app changes at once, and they suddenly lose features or even gain ones that confuse them. I'd argue, however, that these alterations — Sonos 27, Fabric, and 27Voice — are some of the most thoughtful updates the company has produced in a generation, and could turn your disparate collection of Sonos hardware into a cohesive, useful, and sonically pleasing whole.

• Sony reveals 3 new party speakers: ULT Tower 5, ULT Tower 7, and ULT Tower Max
• ULT Tower 5, $449.99 / £349 / AU$549; ULT Tower 7, $649.99/ £499 / AU$799; ULT Max $1,499.99 / £1,299 / AU$1,999
• New circular woofers, multiple sound modes, 360-degree party sound

Sony has revealed three new party speakers and — hurrah! — I’ve had the chance to hear them for myself. The Sony ULT Tower 5, ULT Tower 7, and ULT Tower Max look to offer almighty audio output for parties, DJ sets, or even karaoke sessions, with various ways to play and connect.

These bass-conscious new speakers are built around newly developed large, circular woofers (a departure from Sony's almost rectangular X-Balanced woofer unit, typically seen across the ULT range), and according to Sony, the Max model specifically delivers the most powerful bass in the ULT Power series to date. Their bold designs — which also deviate a fair bit from previous ULT speakers — as well as their massive power outputs and broad connectivity options could make them a major rival for the likes of JBL’s PartyBox models, if the sound is right.

Just how good do Sony’s new ULT speakers sound? I attended an impressive demo and I’ll reveal what I thought shortly. First, let’s run through everything I learned about Sony’s Towers, from technical specifications to nifty new features.

Taking a closer look

Let’s look closer at each of the three new ULT Tower speakers, and go through the key technical details.

The ULT Tower 5 is the smallest in the new line-up, but it still packs quite the punch. It contains a 230mm woofer and two tweeters with a 300W maximum power output. Meanwhile, the ULT Tower 7 boasts a larger 280mm woofer, alongside two mid-range units, and four tweeters — two front-facing, and two rear-facing. The rear tweeters are also angled for a wider soundstage. The ULT Tower 7 has a 420W maximum power output.

Finally, the ULT Tower Max is a true beast of a speaker. It has three woofers, two front-facing, one rear-facing. But it also comes with two-midrange units, and four tweeters, two of which are rear-facing. Its high-power amplifier delivers 2,150W of output, making it one of the most powerful party speakers I’ve ever encountered.

I want to focus in on the woofers for a moment, because Sony were really keen to stress the changes made for the new ULT Tower models. Unlike some previous models, the new Towers have circular driver units for the woofers, rather than the ‘X-Balanced’ alternative.

Sony Product Manager Mike Somerset told me: “X-Balanced is fantastic for a smaller, compact system and maximizing the surface area inside — let’s say, for a rectangular speaker unit, you know. And it also delivers a really great, impressive ‘attack’ bass. But with these, we really wanted to emphasize deep bass — and to be able to do that we’ve moved to this circular driver unit”.

The speakers also have large capacity cabinets and ULT Duct tech, which is intended to help each model produce “deeper, more powerful bass with greater authority”.

Do it your way

As well as talking up the outrageous power of the ULT Towers, Sony was keen to share the impressive customizability of the speakers. That’s because there are a number of sound modes, all of which are designed for specific situations and genres.

There are two ULT modes. The first, Sony says, is intended to enhance deep bass for “a rich, low frequency sound that makes your heart tremble,” with the second made to ramp things up even further for “even greater power, delivering body-shaking bass and strong sound pressure”.

What’s perhaps more interesting, though, are the ‘Flat’ and ‘Live’ options. As you’d expect, Flat is designed to make a track sound as it was intended to at the mixing desk, with a more neutral, balanced approach. Live, however, is focused on delivering a more spacious sound, with a strong emphasis on vocal clarity.

The speakers were tuned with the help of a number of "Hip-Hop sound creators," including producer, songwriter, and DJ, Dready, who spoke with me about the EQ adjustment process. On the Flat tuning, he said, “That’s how I would have it on a DJ set, because obviously on the controller you have the lows, mids, and highs, and we just gave it a nice blend… so, you know, when people take it, they can express themselves how they want”.

Of course, if you want to personalize things even further, you can connect to the speaker with the Sony Sound Connect app and make use of the multi-band custom equalizer instead.

So…how good do they sound?

Do the ULT Tower speakers sound any good? Allow me to go through them one by one.

The ULT Tower 5 arguably impressed me the most, relative to its size and cost. Sure, it leaves out the 360-degree Party Sound feature that the larger models adopt (presumably due to its lack of rear-facing drivers), but its raw power and regimented sound were hard to ignore. When listening to Luther by Kendrick Lamar and SZA, the speaker showed its considerable versatility. The vocal sample in the intro sounded textured and resonant, but then the drive and power of deep bass hit with surprising impact. Bass, though the clear star of the show, sounded controlled yet powerful, and never shrouded vocals in the mids or drums up high.

We cycled between the various sound modes, and the switch between an ‘attack’ bass and deep bass mode was pretty striking. It was incredibly seamless to sift through the different modes using the ULT logo — which also happens to be a button. It’s too early to say if it’s a sure-fire hit, but for £349 (around $470 / AU$660, but these are guesstimates based on the UK pricing right now, since Sony hasn't disclosed official pricing for these regions at the time of writing), the ULT Tower 5 sounded far more impressive than some rivals I’ve tested in its price and size class.

Things got even louder when we switched to the ULT Tower 7. We tried listening to Don’t Start Now by Dua Lipa, and low-frequency sounds were full-bodied, agile, and striking. Treble sounded pretty forward to me, with higher-pitched percussion seeming highly prominent, while vocals sounded clear and well-weighted in the mix.

We also tried out Money by Pink Floyd, which is a great testing track for any speaker. The 360-degree sound seemed pretty effective here, and when pairing two ULT Tower 7s together in stereo mode, the spaciousness of the track was brilliantly recreated. Vocals and guitars sounded tonally accurate and well-separated, but that low-end still came through with immense drive.

Finally, we hopped over to try out the behemoth that is the Sony ULT Tower Max. I’m no stranger to a rave, and the Max made me feel like I was listening to a set at my local venue. I was able to pick a track of my choosing, so I threw on Breather by Chris Stassy. And this perfectly showed off the huge sound of the ULT Tower Max.

The pumping, deep bass was genuinely earth-shaking, and I could almost feel it vibrating through my soul. But spacey sounds in the mid-range still came through cleanly, and were provided plenty of room to express themselves. If you want truly mesmerizing power at a relatively moderate cost (all things considered), then the ULT Tower Max could be one to keep an eye on.

We also tried pairing ten of the ULT models together, and… as you can probably imagine, the results were palpable. Auracast technology allows multiple models to chain together, and even the LED lighting syncs up across each speaker, making for an especially immersive listening experience.

Final thoughts: enticing new designs and competitive pricing

The new ULT Towers feel like Sony’s attempt to genuinely take on JBL in the party speaker arena, with the latter being particularly dominant in this field. The party speaker segment has increased in popularity as of late, and we’ve even seen new entrants like Marshall releasing its Bromley 450 and Bromley 750 speakers.

But could the ULT Towers rival the likes of JBL’s Partybox models? Well, at a glance, I think they could. They offer incredible power, more than a lot of mainstream competitors, they have a new design with attractive lighting, refined sound with rounded woofers, and plenty of ways to make them sound right for you. And that’s not to mention the wide connectivity options, including Bluetooth, RCA, XLR, and USB-C.

For the power and features on offer, they’re also priced relatively modestly, with the Tower 5 coming in at $449.99 / £349 AU$549, the Tower 7 at $649.99 / £499 / AU$799, and the ULT Max at $1,499.99 / £1,299 / AU$1,999.

I was also impressed to see the battery life of the speakers, with 30 hours on the ULT Tower 7 and 20 hours on the Tower 5 — that’s quite a lot of playtime given the power demands. And although features such as 360-degree audio and sound modes are exciting, Sound Field Optimization (which analyzes speaker placement and surround noise levels to offer the best sound possible) are even better. That’s something that could really set this model apart.

We’ll have to test the ULT Tower models out for a bit longer to determine whether they can compete with the best, but so far, it’s fair to say that they’ve impressed me.

Sonos has just made three new announcements: it's launching a new pair of headphones called the Sonos Ace Ultra; it's launching a new soundbar called the Sonos Beam Ultra; and it's rebranding its software side as an "operating system" that it's calling Sonos 27 — and is adding a new AI-enabled voice assistant, new AI agent integration, and smarter ways for its speakers to work together.

I spoke to Sonos' CEO Tom Conrad about the new launches — especially the new software, since any new software changes that Sonos makes will be met with caution from the community, as Conrad and I discussed last time we spoke.

First, here's a rundown of the details of what Sonos is launching, starting with the Ace Ultra. These new headphones will launch at $449 / £399 / AU$699, and bring a new 40mm driver promising improved sound — but more interestingly they're powered by a new chip called the Headphone Engine 2 that means they'll be able to do what people expected the original Sonos Ace to do: they'll be able to work as a standard part of the Sonos ecosystem.

The Beam Ultra, meanwhile, sits between the Sonos Beam (Gen 2) and the Sonos Arc Ultra — it's a compact soundbar, but it delivers 7.1.2 channels of Dolby Atmos sound, using nine drivers (including two upfiring drivers, which is a first for the Beam range). It launches at $699 / £699 / AU$1,099.

Both of the new products are available to pre-order on September 1, 2026, and will launch on September 29, 2026.

When it comes to software, Sonos has given its platform a name for the first time: Sonos 27. Part of the launch of Sonos 27 is the reveal of Sonos Fabric, which is the name Sonos has given to "the system capability that enables Sonos products to sense each other and adapt to the moment" — and immediately, Fabric is being used to enable smart music switching on the Ace Ultra, and the ability to have portable surround speakers in Sonos home theater setups. Conrad will explain both of those in our interview.

There are two other new elements to Sonos 27, though. Sonos 27voice is a new voice assistant that's based on AI tech, and Sonos 27mcp is a new way for AI agents to connect to Sonos systems and control them.

In our conversation, Conrad dug into why the company is doing all of this and what the company is offering for AI skeptics — so let's get into it, starting with Conrad's explanation of why they wanted to give the software a name at last.

Tom Conrad: When I got the nod to become permanent CEO about a year ago, one of my observations about the company's recent history was that while we had started as a system company, we had spent the last almost decade being really focused on getting great at shipping individual products, filling out the product line with every shape and form that our customers were interested in. Small, medium, and large soundbars; a couple sizes of subwoofer; big amplifiers, small amplifiers; portables… you get the point. And Patrick [Spence, former Sonos CEO] and the team became a really well-oiled machine with respect to hardware execution.

But in doing that, I think the unintended consequence was that at times we took our eye off the ball [regarding] what it meant to bring those products together into a cohesive whole. And someone shortly after I arrived said that the thing about Sonos is it's really 100% hardware and 100% software. And I love that framing, because it's so right. We have these two really hard problems to solve, and if either one of them doesn't get complete dedicated focus from exactly the right people, we don't deliver what our customers expect.

And so, we've done all kinds of things to elevate the software expertise in the company over the course of the last year. And at the same time, we've really invested in the idea that the software is what makes the system. And as you look at how we've taken our products to market through the years, we've always given the hardware a name — Arc and Ace and Beam and Move — but the software has never had a name.

So one of the big announcements this week is that we're giving the software a name. And what we make is really an operating system for audio experiences in the home — and ‘OS’ has always been there in our name! And so we're simply calling the software Sonos 27 because, really, it is that ‘systemness’ that the software provides that makes Sonos. And we're attaching the year moniker to it, because Sonos does get better year after year. There'll be a Sonos28 and a Sonos29 and so on.

Matt Bolton: As soon as I saw the name, my first thought was whether this means we're talking about a planned update cadence, and that feels like it would probably be a different approach than Sonos would have necessarily taken in the past?

Tom Conrad: Yeah, I think one of the things about the company for the last many years is that because we only talked about the hardware, anything we wanted to do in software had to kind of ‘ride along’ on the hardware itself. And so we'd add Atmos, or we'd add voice assistants, or we'd add new surround experiences, but they would always be tied to the fact that we're making a new soundbar, so we can work on home theater experiences. We're making a product with a microphone so we can work on voice products. By separating out the idea of the operating system, we're giving it its own identity, its own road map, its own cadence of release, which we think is a really exciting change for the company.

And our customers can expect that the software doesn't get better only when we release new hardware. And it doesn't even get better just once a year. It gets better all the time through the year, which I think fits a new, modern way that people talk about their software platforms.

Matt Bolton: What we've been seeing more recently is you guys rolling out improvements and features on a pretty regular basis. The question I have as a user is: does this mean that I'm going to be waiting for a once-a-year Sonos 27 update to get new features?

Tom Conrad: I understand that feeling. But I think if you look at even what Apple does now, they once a year talk about their new operating system, and then the features roll out through the year, some of which they've sort of talked about in their big moments and some of which are a surprise and delight along the way, and our model will be exactly the same.

Matt Bolton: I assume this means that you've got a road map already in mind that covers Sonos 28 and Sonos 29. How far in advance are you thinking?

Tom Conrad: We do, for sure. Certainly, the list of things that I want to accomplish in software runs to many years. But one of the unique opportunities in software — unlike hardware, where you have to make these bets that go out, two or three years after you start programs — is that in software, even a big program might be six months of effort.

And so, while I like to have a two- or three-year road map for software, I like to be constantly replanning so that we can react to what's happening in our customers' lives. If you think back three years ago, for example, we hadn’t even had the ChatGPT moment yet. And so, to have a locked three-year roadmap and be resolutely dedicated to that path, not understanding how the world has changed in the last three years, would be foolish. And so we have a plan, but also the wisdom to be constantly reevaluating and reprioritizing as our customers' needs evolve.

Matt Bolton: How far ahead do you plan to communicate to customers what is coming? Like you say, Apple will announce at WWDC things it doesn't expect to necessarily launch until quite a bit later in the year.

Tom Conrad: I think it's likely that we'll do a couple of events or moments a year where we talk about what's coming and what's newly available. And so I think you can expect, in many years, there'll be kind of a fall event, like this one, where we talk about our big plans for the year, and then there'll be kind of a midyear check-in where we'll add to the story.

Matt Bolton: So let’s talk about AI integration. Generally, people have gotten to the point where they're now pretty skeptical of AI features being added to everything, but it sounds like you're taking a practical approach. So how do you assess what you should build and integrate — what you can do with, as you say, the three years of the ChatGPT ‘moment’?

Tom Conrad: I guess we'll start with what we do for skeptics. The things that we do with conversational AI are completely opt-in experiences, to the point that our speakers all have a hard microphone button on them, so you press it, and it literally breaks the electrical connection between the microphone and the rest of the device. So for those who are uninterested in this moment, we provide a platform that I think has incredible utility, even absent modern AI-powered capabilities.

But I think in some ways, the more exciting dimension of what we're doing is that we're really not starting from, ‘Oh, there is this incredible new technology in large language model, generative conversational AI infrastructure, what can we build with that?’ Instead, we're starting from really spending time with our customers and understanding what they might want to do with voice in the context of Sonos in their home. And we have the room to do that because we've been shipping voice assistants on Sonos for nearly a decade, including our own.

And when I talk to customers, they say, ‘I love the idea that I can engage with the Sonos system in my home without taking my phone out of my pocket. It takes a long time for me to get to the app, my partner looks at me sideways. Like, why are you on your phone when we're having a conversation?’ I mean, I think broadly you'd be hard-pressed to find somebody who's like, ‘I wish that the people I share my home with were on their phone more.’ Instead, they're looking for ways to put the phones in a drawer and enjoy being together.

I think voice is intuitively a great way to solve that, and that's why Sonos One, our first product that had a voice assistant, was such a smash hit 10 years ago. I think people understood that this is a great way to engage. But, unfortunately, the [voice] agents themselves really didn't meet the expectations of the customer.

When I go out and talk to people, the first thing they say is not crazily complex scenarios about how to control my smart home in nine different ways — all this stuff that you hear about from other players in the industry. They say, ‘I just want to be able to talk to the assistant about what I want the same way I would talk to a human being.’ I wanna be able to say, ‘Play that album that I loved in college, with the one with the singer from the Cocteau Twins. I think the band did the theme song to that Fox show. What's it called? It's about a doctor who's really grumpy all the time. Oh, yeah. It's called House.’

And, certainly, with first-generation voice assistants, even if they knew the name of the song, they would have to remember that you have to say ‘Play this song by this artist’ and not say the album and not say the artist first — and [we had to] guess what the agent is thinking. So job one, two, three, four, five, and six is: speak to this thing naturally.

The second thing that they say is they don't really care about all of these seemingly made-up examples of things that tech companies seem to think that we want to do. ‘I looked at your calendar and noticed that you have people coming for brunch tomorrow, and the refrigerator says you're out of eggs. So I'm gonna text your wife to tell her that you've gone to the store to get-’… I mean, no one wants the system in your walls to do that stuff in the real world, I don't think.

But they do want to be able to quickly control ‘atmosphere’, I would call it — which means music, means a soundtrack, and often means lighting. And yeah, they wanna be able to set timers. They wanna be able to ask about the weather. Everything else is really far down the list from there.

So we built [Sonos 27voice] to do exactly those things. It's really fast. It's really reliable. It's really resilient to anything you throw at it linguistically. And I think people are gonna be really delighted with just the fact that it just works. One benefit to narrowing the problem domain to exactly what customers are asking for is that we're also able to deliver this with modern infrastructure that is affordable to run, which means that we can make it a standard part of the Sonos system without having a secondary subscription on top — which is another dimension that people, I think, really want. They don't want another line item on their credit card just to be able to control the ambiance in their home.

Matt Bolton: What is the technology in the background? Are you using a particular language model? Are you running on your own servers or tying into someone else's systems?

Tom Conrad: Let me give you the one last piece of the puzzle that we hear from customers, because it will help me explain the architecture. They do also say that they want access to comprehensive world knowledge. I'm in the kitchen. I'm cooking a pork tenderloin. I wanna know what the temperature should be for it to be safe to eat. My wife and I are having a debate about the name of the actor from Ted Lasso. And people want the voice assistants to be able to talk to them about the world.

So you need something that is everything that I described, but also has the wisdom to reach out to a more sophisticated general-purpose model when the query is outside of the domain of ambiance and timers and weather and the stuff that makes up 95% of what people ask. So we've built our own core model that is a purpose-built, fine-tuned, kind of mid-scale large language model, if you like, that we run on our own infrastructure and answers that 95%, and then reliably routes to an external frontier model for the general knowledge or complex questions.

And we'll even do fun things, like if the frontier model can help in the task of figuring out the music, it will do that too. So you can say things like, ‘Find some music that's breaking through on TikTok and filter it through that shoegaze music that I liked when I was in college in the nineties and make a playlist for me.’ And it will use the frontier model to understand what's being talked about on TikTok. It'll use our infrastructure to understand my musical taste, and then it'll build a playlist and go. So that's what we're doing with Sonos 27voice.

Matt Bolton: I assume the frontier model will change over time, but which one are you using for launch?

Tom Conrad: We're not talking about the infrastructure at launch, but you're right to assume that part of the flexibility here is to be able to trade in and out frontier models to optimize costs, et cetera.

Matt Bolton: The other side of the AI features you announced that I'm really interested in is the MCP integration. Sonos has this long history of being relatively developer-friendly and open, which you guys emphasized a lot in the announcement of this OS. So the MCP integration feels like you’re re-embracing the element of wanting people to be making stuff that works with your system.

Tom Conrad: I think one of the exciting things that's happened in the last, not even two years, but in the last six months, is that suddenly we see ordinary people are able to make software, right? And I know we see it all over the company, and we see it all around the world with our customers. Already, unofficial hacked API access to Sonos is a very common, vibe-coded use case, and you hear people, lots of very high-profile people, talking about controlling their system. And then I meet customers all the time who are experimenting with these things.

And so, we're launching Sonos 27mcp, which makes a supported, full surface-area set of actions in the Sonos system available to our customers, to interact with music through any agent that they choose. Sonos will show up in the Claude connector directory — and the ChatGPT connector directory, and the Grok connector directory, and the Gemini connector directory — alongside Slack and Calendar and Figma, all the other things that you might interact with in Claude on any given day.

And you can do pedestrian things like turn the music down in Claude or whatever you’re using on your phone, in their app, in their desktop app, in a web browser. It will have enough context to understand that the music is on your Sonos system, and it will find the music that's playing and turn it down.

And it will also chain tools together, so you could say things like, ‘Look at my calendar and see the party that's coming up, look at who's coming, help me figure out what would be a great set of music to play based on what we know about these people from my email history with them.’ It's a terrible made-up example. But it's really good at chaining together a bunch of tools and its own native inference and doing these things.

And then as you point out, in the sort of hobbyist community, there's this tremendous opportunity to make bespoke control experiences, both software and hardware, using this infrastructure to integrate Sonos into the emerging agentic frameworks like OpenClaw and Hermes. There's going to be dozens of these things that take over, over the course of the next year, and we'll be able to participate in that.

I think it's just gonna be really fun to see what our customers do with this. And I think it's a really unique capability, because to do it well, you have to have both the technical infrastructure — which is to say access to the nouns and verbs of your system through the internet — which very few people have.

And then you also have to have the, like, philosophical perspective that says openness is good, and allowing integration and access from these third-party systems doesn't disintermediate us. It elevates us, and not every company — maybe no other company — has that perspective.

Matt Bolton: It feels like it must be part of building a future-proof system as well, because MCP seems like quite an agnostic approach, and it means that if, say, Apple adds good MCP support to Siri, you don't have to do anything to support it. But at the same time, does it make it any harder for you to develop on your end knowing that you're going to have this really open-ended way for agents to come in and interact with the system? Does that complicate building and planning features in any way?

Tom Conrad: First, just as a footnote, I should say that it may turn out that Apple's answer to all of this integration is not MCP, but what they call App Intents. And we're also, in this moment, shipping App Intent support on Apple's platform, so we have that piece as well. It's kind of a semantically one-to-one mapping — where the connector lives is different, but what you can do with it is very similar.

How do I say this… Maybe the worst of all worlds is to have all of the third-party engagement with your product be done through hacks and unsupported APIs… I have a friend who has a newborn, and he gets up early to work. He wants to be notified when his wife wakes up, so that he could put the coffee on. And so he basically just set [Claude] Fable about the task of, like, ‘Figure out when my wife wakes up’. And so the agent hacked his smart bed. And then he's like, ‘And start the coffee maker [at that point]’. And it hacked the API for his coffee maker.

I don't know that I wanna be on the receiving end of that universe, because now when I change an implementation detail, it breaks these experiences. And I think the customer blames the coffee maker company and the smart bed brand. They don't blame the fact that they essentially had hacked themselves on top of some infrastructure that was never meant to be built upon.

And so I think the new world sort of demands a certain amount of willingness to participate in this, and I'm really excited at the idea that the MCP infrastructure gives us a really nice structured way to not just do it once and have it applied to multiple platforms, but to do it in a way that allows for a layer of compatibility as we evolve the back-end services.

Matt Bolton: The other thing I wanted to ask regarding so much talk of this being an open platform is just how open are we talking? Would we see Sonos 27 on other devices, on non-Sonos hardware?

Tom Conrad: I think, for now, the magic of Sonos really is the marrying up of what we do in hardware and then what we do with software. And so you'd never say never, but at least as it relates to the core audio business that we're in, I think we're focused on making our own exceptional experiences for the home.

I will put a tiny asterisk on that. We have a great partnership with Peloton that started with us tuning the audio experience in their newest equipment, but is extending over time to allow the Sonos system in their customers' homes to become the audio destination for [their products’ audio output]. It's not quite us bringing the operating system into other people's audio hardware, but it’s a good example of continuing the work that we've all already done to integrate everywhere where our customers wanna be.

Matt Bolton: In the Sonos Ace Ultra, obviously the big headline hook for the hardcore Sonos fans is going to be the Sonos system connectivity that people had hoped the first Ace would have. Why is the new Headphone Engine 2 hardware necessary to make that happen?

Tom Conrad: There were two pieces to unlocking the headphone connectivity for the system. The first is that we needed Wi-Fi performance and secure storage transport of [security] credentials, which is deeply embedded into the actual silicon that goes into the headphone. Unfortunately, Ace doesn't have that platform, so we couldn't responsibly bring the feature to Ace without putting your Wi-Fi password, for example, at risk on an open network during configuration. And without the improved Wi-Fi capability of the headset itself, we couldn't get the kind of ‘walk around your home’ networking performance that we wanted for the product.

But to your point, I'm really proud of the original Ace. They're super comfortable. They've got great battery life. They've got best-in-class noise cancellation performance. They're great headphones.

But it is the best example of how, in that chapter, the company had forgotten how important it is to make sure that the products we make are really part of the system, and not just an exceptional pair of headphones. Because let's be honest, there are lots of exceptional headphones in the world.

And so from the jump on Ace Ultra, we knew that we had to do the thing that our customers most wanted, which was to make the headphones an intuitive part of the [Sonos] system.

There are two mechanisms for engaging with this feature. The first is really kind of magical: you can walk up to any speaker that's playing in your home, press a button on the headset, and the music just jumps from the speaker into the headphone. You can then walk to some other part of your house, press the button again as you stand in front of [another speaker], and the music or content jumps from the headphone to the speaker. No app, no delay, no Bluetooth; it's really just the Sonos ‘Fabric’ tech facilitating this effortless, seamless experience around the home.

I said there were two things that unlock this capability. The first is the hardware that lives in the new headphones. The second is something that happens in the operating system itself, which is that — with the launch of Amp Multi — we built a virtualization technology that allows a single instance of the Sonos OS to host multiple instances of the runtime. And what that's for in Amp Multi is that you’ve got one box running four rooms.

We've taken that capability and extended it to the whole modern speaker family, so that this Sonos Play that's sitting on my desk with me can run more than one instance of the runtime. And so the headphones, which don’t have the CPU horsepower to run the full Sonos stack, doesn't have to — because it can nominate a speaker on your network to be its proxy.

And so when you when the music jumps from the speaker [to the headphones], we spin up a virtual instance of Sonos [software] in one of the speakers — it might be the one you're standing in front of, it might be another one that's less utilized — and send audio over the network as a stream to the headphones, rather than running the full stack in the headset.

And what's cool about this is whatever speaker is doing that work still has the performance overhead to run as a speaker to play music for someone else in the home. So it's a deceptively simple feature that has a lot...underneath it.

Sonos Fabric is the moniker that we've given to the fundamental technology of Sonos that bonds, and groups, and links headphones. And the other exciting thing that we're doing with Fabric in this release is that we're enabling what we call portable surrounds, which is the ability to take a Sonos Play or a Move and to use them as surrounds in a home theater setup.

So the idea is you've got Sonos Play or a couple of Moves in the kitchen, the backyard, whatever — for movie night, you can bring them in, set them down [behind you], and use them for the surround Atmos experience in your family room. And then when you're done, put them back to work in other places in your house.

What's so cool about this technologically is that the way a speaker becomes part of your home theater is fundamentally technically different than the way that a speaker joins the grouping architecture of Sonos [for multi-room], because the latency requirements between the soundbar and the surround speakers are much higher.

So when a speaker joins a home theater configuration, it actually, from a networking standpoint, connects directly to the soundbar. It doesn't go through your home network. And so when you take a speaker that was in the kitchen as part of the grouping architecture, and move it into a [home theater] satellite position, a whole bunch of magic stuff has to happen.

First of all, the soundbar and the speaker have to recognize one another. And so we use the accelerometer in the portable speaker to understand that it's been picked up and set down. And when it's set down, we send an ultrasonic signal. If there's a soundbar in the room that can hear it, it sends a signal back, and they do a handshake to figure out left-to-right distance, to automatically tune, and spin up to the home theater networking connection — all without you doing anything. No app involved at all.

It’s another one you kinda have to experience to really appreciate, but I’m super excited to begin to ship these much more flexible home theater configurations. It's unlike anything that the rest of the industry is delivering today.

Matt Bolton: Can you tell me about the new driver design in the Ace Ultra? What did you want to change compared to the previous one?

Tom Conrad: We have just some of the most sophisticated audio engineers in the world working on these products, and they wanted to deliver deeper bass, clearer details, and a clearer soundstage with less distortion. We had the opportunity to go in and build a custom driver for Ace Ultra to tune it in the studio with some of the best, and award-winning audio engineers in the world.

You have to hear it and compare it side by side with Ace, but I think you'll find that it has a deeper bass response, clearer detail, [better] balance across the audio spectrum.

Matt Bolton: I thought it was really interesting that the Beam Ultra comes in kind of as a replacement for where the original Arc ended up in the product range following the launch of the Amp Ultra. Why did you go down the route of squeezing more channels into the smaller Beam body, instead of sticking with the bigger and more flexible Arc shape to fill that role?

Tom Conrad: Our goal was to deliver truly the best midsize soundbar in the world. There are still plenty of people around the world that want a smaller form factor. They want something that can tuck underneath the television when it's sitting on a credenza, or for a smaller television. Or, frankly, they just want an object that doesn't call as much attention to itself as a larger soundbar.

And yet they want full true 7.1.2 Dolby Atmos. They want a height experience that puts them really inside the action. And so with Beam Ultra, we built a system that has nine drivers, including two upfiring drivers, that bounce audio off the ceiling and the walls to create that immersion.

If you spend time with any home theater customer, you understand that they really want a pristine dialogue experience where the dialogue always cuts through the busy scenes. And so the center soundstage of Beam Ultra is dramatically improved.

They also want bass that lands with a tremendous weight without having to put a subwoofer into the room. They want music that's expansive and has a clear soundstage. And the creators want products that recreate their intention in the family room with great accuracy.

It's so hard to talk about these products that deliver these sound experiences before people have the chance to experience them in person. But everyone we're sharing Beam Ultra with just can't believe the amount of sound experience and presence you get out of such a small soundbar.

Matt Bolton: So was it the case that when you were speaking to customers, you figured out that if people are buying at this kind of midrange price, they more often want the smaller size rather than the bigger size — even if that adds complication on your end?

Tom Conrad: That's right. I mean, we already have the best-in-the-world large soundbar in Arc Ultra. And so the question really was for the rest of the market: what can we do to make a huge generational leap in capability here? And that's the place that Beam Ultra comes from.

Matt Bolton: It feels like you could have gone with 5.1.2 channels on the Beam Ultra, and that probably would have made people happy if delivered with higher quality. What was there in the development that meant that you settled on 7.1.2 as necessary, or the right option?

Tom Conrad: Well, I think part of it is that we deliver in Beam itself such an exceptional experience around the 5.1.2 experience. We really wanted to find a way to expand the product portfolio rather than just refreshing Beam. And so, in this moment, Beam will stay in the market as our solution for the customer that is more price-conscious and who wants that 5.1.2 experience, and Beam Ultra sits above it to deliver a more immersive Atmos surround experience.

• JBL has just unveiled its new Cove line of home speakers
• 3 models which vary in shape and size (but note the Denon resemblance)
• Designed for home use, and to work with various JBL technologies

When you think of JBL speakers, your mind probably goes to the likes of the JBL Go 5 or JBL Xtreme 5: portable party devices which you take on the go. However, the brand's new offerings are totally different.

JBL has unveiled its Cove range, consisting of three speakers that are designed to stay at home. That's not to say they're not portable, but you're not meant to take them camping or to the beach.

The family is made up of the smaller Cove M1, larger (but portable) Cove P1, and even larger (and not quite portable) X1. All three models are set to sell from October 2026.

All three models have a range of useful features: they can self-tune depending on the room they're in, automatically apply balances to avoid distortion, and pair together to create multi-room noise. They don't just pair with each other: they can also connect with the JBL Bar Mk2 to add real surround sound to your movies and TV.

These are all Wi-Fi enabled speakers, though they can connect via Bluetooth. This means they support Google Cast, AirPlay 2, Spotify Connect, Roon Ready, Tidal Connect and Qobuz Connect, and they'll apparently also support Alexa+ at some point after launch.

Their design makes us think about two things. Firstly, they'll be able to fight for a spot in our best wireless speakers guide, and second, their resemblance to the Denon 200, 400 and 600 range is hard to overlook — and given our glowing review of the Denon Home 400, JBL's Cove X1 (main image) is up against some stiff competition. That's not to say the new range can't wow us, just that it's tough at the top.

Music at home? Head to the Cove

The cheapest model of the family is the JBL Cove M1, which is due to sell for €229.99 (about $260, £200, AU$400). This has 2x 30mm and 1x 20mm silk dome tweeters, and a 4" woofer.

It's the only model to lack Dolby Atmos support, and it's designed to be compact so it can fit in various nooks of your home.

Next up, the Cove P1 will sell for €449.99 (about $520, £380, AU$760), and it has all the same drivers as the M1.

So why the higher price? Well, it's the only model with a built-in battery, letting you bring the sound into your garden. It'll last for 14 hours, with a recharging dock included to power it up. IT also has an IP56 rating, unlike the other models, in case it gets caught in a spell of rain.

For a little more, you can buy the Cove X1, which will go for €499.99 (about $580, £430, AU$860). It has 4x 30mm tweeters and 2x 4" woofers, so it'll offer a much more advanced sound than its siblings.

It's designed to offer "3D room-filling" sound, and for that price you'd hope so.

• Dali launches budget-friendly subwoofer in colorful colors, to match its Rubik and Sonik 1 speakers
• 8-inch downwards firing subwoofer with adjustable gain and phase, 170W RMS / 220W peak Class D amplification
• Launching in October 2026 for $800 / £429 (about AU$815)

Dali has a habit of making five-star speakers, including the Dali Kupid and Dali Sonik 1, both of which got full marks from us. And now there's a colorful compact subwoofer to give these two speakers even more oomph, if you find bookshelves to be light on low-end.

The new Basik Sub turns your stereo setup into a 2.1 system and solves a problem that applies to any compact bookshelf speakers: there's a limit to how low you can go without putting in bigger drivers. By adding an eight-inch downfiring subwoofer to your setup, the Basik Sub is designed to add the low-end punch that makes music and movies even more entertaining.

Dali Basik Sub: key features and pricing

The Basik Sub features Dali's own 8-inch long throw woofer, which is teamed with an oversized ferrite magnet and a high-flux motor system that Dali says delivers precise control. It also features a long, vented voice coil designed to maintain cooling and minimize compression as you turn the levels up.

Dali went with a down-firing rather than front-firing subwoofer for two key reasons: to deliver more even bass distribution, and to give you more options when it comes to positioning your subwoofer in your room.

Power comes from a 170W RMS / 220W peak Class D amplifier, and there's a built-in dual-stage limiter. Gain, crossover and phase controls are adjustable to make the Basik compatible with a wide range of speaker setups.

Of course, it's not just limited to being used in a 2.1 system — the Dali Sonik range is also designed to be used as surround sounds as well as for stereo setups, so the Basik is a good fit for a budget home theater system too.

The enclosure is made of MDF, features four decoupled feet to reduce vibration and comes in a choice of Solid Black, Solid White, Caramel White, Golden Yellow and Chilly Blue.

The Dali Basik Sub will go on sale in October 2026 with a recommended price of $800 / £429 / €500 (about AU$815).

iFi iDSD GR 2: one-minute review

With the iFi iDSD GR 2, a seemingly arduous task was at hand. British hi-fi brand iFi had to produce a portable DAC/amp that could improve on the spectacular xDSD Gryphon, which we handed a rave five-star review. But boy, did they pull it off.

The iDSD GR 2 provides upgrades that feel meaningful, practical, and tangible. It delivers around 50% more amplification power than its predecessor, making it easier to drive more demanding headphones, all while providing enhanced dynamic range and lower distortion. What’s more, it adds K2HD tech, licensed from JVC Kenwood, which helps to restore warmth and musicality that digital recordings sometimes lose.

Oh, and it fixes our only major gripe with its predecessor, by adding a vivid OLED touchscreen display, making it feel intuitive and easy to use when switching sources, toggling XBass and XSpace processing, or accessing settings. As a result, it easily competes with the best headphone DACs that money can buy.

It's a fantastic performer, delivering articulate, layered, and balanced sound. I paired the DAC/amp with the Astell & Kern A&ultima SP4000 music player and a range of headphones/IEMs, including the Sennheiser HD 600, and the results blew me away. The GR 2 supplied intricate instrument separation, punchy bass, phenomenal mid-range clarity, and expressive treble, making for a captivating listen, no matter what genre I threw at it.

What’s more, the DAC/amp has higher battery capacity (4,900mAh) with adaptive power, meaning I could indulge in long listening sessions without interruption. Combine that with a neat companion app, numerous connectivity modes, and a lightweight feel, and the GR 2 is the ideal device for audiophiles to carry while on the move.

At launch, the iFi iDSD GR 2 is cheaper than its predecessor was at the point of release, despite making a whole host of improvements. And while it would’ve been nice to see a case bundled in at this price-point, and while there are cheaper options on the market, I still think this model offers impeccable value for money when considering the sheer volume of tech crammed into this little device. As a result, it’s all too easy for me to recommend the GR 2.

iFi iDSD GR 2 review: price & release date

• List price of $529 / £529 / AU$849
• Released in June 2026

The iFi iDSD GR 2 released in June 2026, and is the spiritual successor to the brand’s popular portable DAC/amp, the iFi xDSD Gryphon — a model that hit the market back in 2021. Despite offering a number of upgrades over its predecessor, the GR 2 is cheaper at launch, coming in at $529 / £529 / AU$849.

iFi iDSD GR 2 review: features

• Brilliant OLED touchscreen display
• 4,900mAh battery capacity with adaptive power
• K2HD tech opens up even more textured, subtle playback

The iFi iDSD GR 2 is rammed with features, and improves significantly on its already impressive predecessor.

Some of the most captivating options are back, including XBass and XSpace filters, which you can use in tandem or individually. XBass provides a tasteful bump to low-end sounds, while XSpace aims to deliver a more expansive soundstage — both work brilliantly, and I found myself using them often for more hard-hitting hip-hop and dance tracks.

You can select these via a new OLED touchscreen interface, which is phenomenally responsive and very easy to use. Here, you can access a range of settings, including Bluetooth pairing, dual charge mode, a voice prompt toggle, volume sync and more. The main menu also enables you to sift through the GR 2’s vast array of sources, such as Bluetooth (with higher-res aptX Lossless and LDAC support), USB-C, optical, coaxial, and line in. There’s also a lock button if you want to avoid accidental screen touches.

On top of this, the model features dedicated 3.5mm and 4.4mm headphone ports and a USB-C charging slot. Speaking of charging, it will take about 3.5 hours to get to 100% from flat, which isn’t particularly impressive, although I still found that I got quite a lot of playtime from the GR 2 without having to juice it up. That’s because the model features an upgraded battery capacity of 4,900mAh, which should be good for around 7 hours of use — though this will vary depending on volume and if you’re using sound filters.

You can use the GR 2 while charging it via its dedicated USB-C port, a very useful feature if you find you’re indulging in long listening sessions (as I did during testing). The DAC/amp also brings a new adaptive power feature to the table, which balances external power and battery operation. So, if you’ve got the GR 2 hooked up to an external supply, it can prioritize mains power, and in the case that additional power is required, it can be drawn from the device’s battery. The GR 2 will also automatically return to external power if demand drops.

Perhaps my favorite new feature on the GR 2, though, is its K2HD tech, which we saw before in iFi’s considerably pricier and larger iDSD Phantom desktop DAC. This is intended to restore harmonic detail, and bring a track closer to its intended sound, and is exclusively licensed to iFi by JVC Kenwood. I’ll speak more about the sonic benefits of K2HD in the ‘sound quality’ section, but for now, just know that it is indeed a brilliant addition.

Finally, it's worth noting that you can control the GR 2 with the iFi Nexis app, which is incredibly easy to use. It displays all of the options you’d typically see on the device’s touchscreen display, enabling you to easily switch between connectivity modes, adapt volume, toggle on the XBass / XSpace modes and more.

• Features score: 5/5

iFi iDSD GR 2 review: sound quality

• Balanced, articulate, and nuanced sound
• K2HD adds beautiful depth and detail, XBass / XSpace fantastic too
• 50% more headphone drive, but less distortion and greater dynamic range

The original Gryphon was a great performer, delivering impeccable detail, precision, and dynamism, so it should come as no surprise that its sequel is phenomenally talented as well.

Although I tried the GR 2 with a few pairs of IEMs, I conducted most of my testing with the Sennheiser HD 600 headphones, and iFi’s DAC/amp got the very best out of them.

When tuning into a 24-bit 192kHz FLAC of Doralice by Stan Getz, João Gilberto, and Antonio Carlos Jobim, the GR 2 provided a beautifully balanced, insightful listen. Vocals were textured and carefully defined, and the K2HD feature added a nice dosage of warmth. Acoustic guitars were brilliantly separated too, and sounded as if they were operating in a discrete pocket within a broad and nuanced soundstage. Subtle percussion worked away in the right channel and expressive, leading sax also flowed through with personality and natural tonality.

With a more energetic track, Rocking Chair by Mr Scruff, the GR 2 continued to impress. The resonance of bongos in the intro was striking, higher pitched percussion in the treble range came through with vibrancy and precision, and there was an incredibly warm and textured quality to the squelchy bass, which hit with impressive impact — especially with XBass active. Individual instruments, like keys and tambourines were again fantastically weighted and separated, and K2HD added a delicious layer of subtlety and detail that effortlessly restored the richness of the tune’s low end.

Even compared to a strong portable rival, like the FiiO BTR17, the iFi iDSD GR 2 proved to be exceptional. In Felini by Venerus and Marco Castello, the trickling of water was true-to-life and acoustic guitars were expertly separated from emotive vocals. On that subject, iFi’s model just added a bit more detail and depth to the vocals compared to its (still impressive) FiiO rival. The GR 2 exhibited a markedly delicate, raw quality with the vocals and I felt as if I was getting the sort of listening experience the artists had intended.

The capability of the GR 2 to serve up punchy bass, articulate mids, and expressive treble while maintaining such excellent balance across the frequency range has to be applauded. Combining this with its nuanced and precise soundstage — with or without XSpace — and impressive handling of dynamics, it truly feels like the full package.

What’s more, the GR 2 has around 50% more power to drive headphones with (up to 1,513mW RMS) than its predecessor, but it still offers even greater dynamic range and less distortion. So, whether you’re looking to upgrade from the OG Gryphon or get a portable DAC/amp with serious audiophile credentials, I think the GR 2 is one of the best options on the market right now.

• Sound quality score: 5/5

iFi iDSD GR 2 review: design

• Excellent OLED touchscreen display
• Lightweight and pretty portable
• Case can be purchased separately

In terms of design, the iFi iDSD GR 2 is a considerable upgrade over its predecessor, largely as a result of one major change: its touchscreen.

Not only is the OLED color display vivid and clear, but it's incredibly easy and intuitive to use. The touchscreen is responsive and enables you to easily make any changes you want or switch to a different source. You can also adjust the screen’s brightness to your liking, or lock the screen entirely if you want to prevent accidental commands.

Otherwise, the GR 2 has all of the qualities you’d want from a portable DAC/amp. It’s lightweight (at just 0.6 lbs / 268g), has a wide range of connectivity ports, and has a good standard of build. It also has a tactile volume control knob with a small set of physical buttons — all of which are well-sized and effective.

Some may find that there are more ‘portable’ options out there. The FiiO BTR17 I compared to the GR 2 has a considerably smaller footprint, and will fit in just about any pocket. But for the tech stuffed inside iFi’s new model, I’d still argue it’s portable enough, and I had no issue slotting it into my short pockets or a small bag. Oh, and in case you're wondering, no, my review sample never ran hot — not that the OG did either, you understand, but it's often a question we're asked. These products bear plenty of power squirrelled away within a small enclosure, so it's important to mention.

The only thing I would have liked is a case, which has to be purchased separately. But otherwise, the GR 2 is a certified hit in the design category.

• Design score: 4.5/5

iFi iDSD GR 2 review: setup & usability

• Incredibly easy to get set up and started
• iFi Nexis app only adds more seamless usability
• Easy to use interface

The iFi iDSD GR 2 is incredibly easy to start using. Just power the device on and it’s ready to go — no overlong login process, no confusing pairing requests, just plug and play design at its best.

Even if you’re not a seasoned user of DACs or amps, everything is labelled clearly, making it very simple to navigate. The iFi Nexis app also helps you tap into any settings you need on the fly, only heightening the device’s versatility.

• Setup & usability score: 5/5

iFi iDSD GR 2 review: value

• Not the cheapest option around, but still great value
• Less pricey than predecessor at launch
• Impeccable all around quality makes it feel worth the investment

Look, I’m not going to pretend that the GR 2 is a cheap piece of tech. It comes in at $529 / £529 / AU$849, which is a considerable investment to make into your audio setup — but I still think it more than earns its price.

First of all, it's cheaper than its predecessor at launch, but offers 50% more amplification power, a much-improved user interface, K2HD tech, and more. It does all of this while remaining highly portable and delivering stellar sound, and there can be no doubts over the quality you get in return for your outlay.

Yes, you could grab a model like the aforementioned FiiO BTR17 for around $219 / £179 / AU$349, and while that’s a nifty small pick with strong performance and features to match, it can’t deliver the depth of the GR 2, which stuns with its excellent sound filters, wide connectivity options, top-tier audio, and mighty portable power.

• Value score: 5/5

Should I buy the iFi iDSD GR 2?

Buy it if…

Don’t buy it if…

iFi iDSD GR 2 review: also consider

How I tested the iFi iDSD GR 2

• Tested across multiple days
• Used with Sennheiser HD 600, Beyerdynamic IEMs, and more
• Compared against rival model

I spent multiple days intensively testing the iFi iDSD GR 2, during which time I spent countless hours listening to music and exhausting its various features.

Most of the time, I used the Sennheiser HD 600 headphones to test the GR 2 out, although I did also use a few pairs of IEMs from the likes of Beyerdynamic. I used the Astell & Kern A&ultima SP4000 as my main source device, and played a range of file types. And when listening to music, I tuned into tracks from a wide variety of genres, and made sure to compare the GR 2 against a rival from FiiO.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as a resident Senior Reviews Writer. I’ve reviewed a range of products, from hulking party speakers like the Marshall Bromley 750 through to reference-grade IEMs, like the Sennheiser IE 600.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

• Castle unveils four new loudspeakers in two ranges
• Castle Tintagel sell for lower prices, with refined driver combos
• Castle Walmer are a higher price, and one has an unusual driver layout

When you think about British Castle, you probably think about Windsor, Warwick or the Tower of London; little did I know that the name also referred to a brand making old-school-looking loudspeakers.

I learned the truth because British Castle is back with a new quartet of speakers, all designed and made in the UK.

These new models, named Castle Tintagel and Castle Walmer after the real-life castles (and, in the case of the former, King Arthur's stomping ground), all have an old-school look which really catches the eye. Now, I'm not talking 'ancient castles' old-school — think ’70s wood-on-wood vibes.

The models will go on sale in September. We only have UK prices for now, and there's no word whether the models will sell elsewhere.

Hearing some Wamler audio

The lower-cost new models are the British Castle Tintagel range: the Tintagel 1 costs £1,999 (roughly $2,700 / AU$4,000) for a pair and a duo of the Tintagel 2 sell for £2,999 (about $4,000 / AU$6,000). The former is a two-way standmount, the latter a 2.5-way floor-stander.

The Tintagel 1 combines a 130mm mid/bass driver and 28mm silk dome treble, while the Tintagel 2 keeps that treble, but enhances the low-end with twin 150mm drivers. Apparently the low-end drivers are a real selling point, and are fiber cones that are designed for quick response and controlled low-end.

Despite not being cheap, the Tintagel is aimed as British Castle's entry-level speaker line. It offers a warm sound profile and classic ’70s look at a lower cost compared to its other options.

Then we have the Castle Walmer line. The Walmer 1 is a 2-way standmount speaker which sells for £2,499 (roughly $3,400 / AU$5,000) for a pair, while the Walmer 2 is a 3-way floorstander that you can buy for the sum of £4,999 (around $6,800 / AU$10,000) for a pair.

In the Walmer 1, you'll find a 130mm mid/bass driver and 12x45mm high-frequency true ribbon unit. The Walmer 2 keeps the latter but uses dual 150mm bass drivers and a 115mm midrange unit, with all of these made of the same fibre as we've already seen in the Tintagel — and what's unusual is that one of the two bass drivers is actually above the tweeter and mid/bass driver, while the other one is below them.

Normally, speaker drivers are simply arranged from highest-frequency at the top to lowest at the bottom, so I'm curious as to how this performs.

Not only does this more advanced driver combination keep the Walmer feeling unique, but the ribbon unit apparently offers a unique top-end which is detailed and delicate. The entire Walmer 2 set-up is unusual, with a bespoke mid-range speaker being relatively rare.

Spotify, I’m I owe you a huge apology.

For the past decade you’ve been my loyal music companion, but despite my tumultuous relationships with some of your features, your unmatched ubiquity means I can freely use you across my devices — with the exception, until recently, of my TV.

My Hisense 43A6NTUK smart TV is one of my favorite pieces of tech, despite it not being in the same caliber as the best TVs we test here at TechRadar, but it had been letting me down because of one thing: VIDAA OS didn't support the Spotify app.

Until now that is. Spotify launched on VIDAA TVs at the beginning of June, but I wouldn't have known this if I hadn’t been casually flicking through my TV’s app carousel. After waiting for the best part of two years for it to arrive, you can imagine how excited I was.

Since the best music streaming service landed on my TV not a day has gone by where I haven’t used it, and it’s filled a huge void. And something miraculous happened in the process: I now enjoy viewing music videos on Spotify.

I've experienced a revelation

Prior to buying a smart TV, the Amazon Fire TV Stick was my streaming device of choice, and it has always supported the Spotify app. While I enjoy my playlists on mobile, streaming Spotify on the big screen offers an entirely different experience.

It’s not news that Spotify’s music video interface and I haven’t got along — its mobile experience is too clunky and disorganized for me — and I’ve always used YouTube to stream music videos as well as my favorite web shows. Even if it meant enduring a painful amount of ads, I’ve always stuck by YouTube’s side.

I’d gotten used to YouTube’s way of doing things in the absence of Spotify’s TV app, but as soon as that app arrived I fancied trying something different. The result? Goodbye YouTube.

Before now, I’ve never understood why I could never get along with the Spotify music video interface, but I could with YouTube; then it clicked. It wasn’t Spotify’s cluttered organization that was putting me off, it was far simpler than that: music video viewing isn’t necessarily designed for the mobile experience.

Though I only stream audio when listening through headphones, every song I play through my TV on Spotify is now more or less in video form, and I’ve been busy making the playlists to go with it.

Long live the music video

Music video viewing is a big part of my life, whether that’s for background listening, nostalgia indulgence, or for blasting on the big screen when I have friends around, and YouTube has always been my go-to.

What separates Spotify from the likes of YouTube is that, with the former, the focus isn’t on the music video itself. There’s the option to switch between audio and video of course, but YouTube put the music video on the map during the transitional period into digital streaming. This is what tempted me to sign up to a YouTube Premium free trial.

I began by making playlists to mimic the nostalgia of music channels, but creating playlists on YouTube is a little fiddly, and there are all kinds of issues with the queuing system. And though you can make playlists without a Premium account, the ad interruptions ruin the viewing experience. So when Spotify launched on my smart TV, I put the pedal to the metal.

Before I knew it I had made five monster MTV-themed playlists spanning from the 1980s all the way to the 2020s, each packed to the brim with songs and their accompanying videos. That was my one rule: if it doesn’t have a music video, it doesn't go in the playlist. I haven’t used YouTube to watch music videos since, and the ad-free experience still feels too good to be true, but the joy I get from it goes beyond simply watching the visual accompaniments to my favorite songs past and present.

I consider myself a pop culture historian, and evoking the nostalgia of music channels is one of the defining elements of my music video obsession. For me, there’s no other feeling quite like bingeing music videos from MTV’s VMA peak era — think Bad Romance, Hot N Cold, Maneater. If you were there at the time, you get it.

But the music video is so much more than that. There’s a huge educational aspect for me, allowing me to step into the past to learn more about pioneering artists who paved the way for bigger and more successful acts. Using Spotify to house my video-centric playlists has been perfect for enriching my knowledge, and it also means I get to visit my parents’ youth, all while streaming old favorites I never knew had music videos.

On reflection, I guess there was never really a reason for me to dismiss Spotify’s music video integration — I just didn’t know how to use it to its full potential. I’m still not a fan of the viewing experience for mobile, but now that I know how to optimize my music video viewing, there’s no going back.

Open earbuds are super-hot right now, especially with great options from more premium brands — our guide to the best open earbuds is full of these. But prices have been coming down, and you can now find super-cheap options on Amazon, many for under $40 / £40 / AU$60. Some are from brands you’ve never heard of, others from well-known brands that are selling older models at a discount.

We all know that buying budget tech tends to come with a few sacrifices. But that doesn’t mean you shouldn’t consider them (just take a look at the great picks in our best budget earbuds guide for proof).

The problem is that open earbuds are tricky to get right. You need a combination of stability to keep them in place and an audio mix that’s engaging while also allowing ambient noise to get through. The only way to know if they've succeeded is to test them, so I picked three options from generally reliable budget earbuds brands and put them through their paces, all for under $40 / £35.99 / AU$60.

I put the Tozo OpenEarRing, Soundcore Anker V20i and Belkin SoundForm ClearFit buds to the test, listening to music and podcasts with them all over the course of two weeks.

There was no point focusing on whether these are elite sonic performers — they won’t be, and that's. But I wanted to know whether they’d still fit well, deliver enjoyable audio, and do a good job at keeping me aware of my surroundings.

For those who like to cut to the chase, I'll tell you up front that I think the Tozo OpenEarRing are actually good, the Anker Soundcore V20i are a solid buy, and the Belkin aren't worth it — but read on for exactly why.

Fit and stability

The whole point of open earbuds is they keep your ear canal open so you can hear both your music and what’s going on around you. But that means they’re challenging to design because there are no in-ear tips to keep them securely in place.

Instead, what keeps them stable is either an ear hook that sits around the back of your head, or an ear clip that slips over the side of your ear. (There are some options that just sit in the ear like regular earbuds, but without inserting into the ear canal — but when it comes to open earbuds most people focus on hook or clip style.)

The Belkin SoundForm ClearFit buds have the ear hook design, but it’s a fairly short hook and the angle it curves at didn’t feel particularly comfortable behind my ear.

The main unit of the bud, which sits in front of your ear, is also quite bulky. It felt like there were weight distribution issues between the hook and the buds, which meant they never felt totally secure when I was walking, and slipped and bounced around a little when I was running.

What made this experience worse was that the touch controls on the side of the buds were incredibly sensitive, so in trying to get the right fit or move them back into position, I was playing/pausing and skipping tracks without meaning to.

Now, the Soundcore Anker V20i may look similar with their ear hooks, but these are longer, which kept them more stable because they were anchored in place. They also had a really useful customization feature at the base of the hook, which gives you four slightly different angles to wear them at, depending on the shape of your ear, to help keep them secure.

They felt a little unstable on longer, sweatier runs, but their design differences meant they fit much better than the Belkin buds did.

The Tozo OpenEarRing buds have a different design altogether. They’re part of a category of buds we refer to as 'clip-on'. You part the buds ever-so-slightly and then slip them over your helix at the side of your ear.

Tozo’s take on this design was very easy to wear. It’s worth mentioning here that this style of design does get much closer to your ear than the ear hook style does, which instead sits above it. But the main, circular part of the Tozo buds sat in my concha comfortably, while still not creating a seal, so my ear canals were kept open.

In the past, I’ve preferred clip-on designs. I wear glasses often, and wear sunglasses over summer. I also have thick hair. These factors mean it never feels like there’s enough space behind my ear for buds with ear hooks.

Having said that, plenty of people do rate more expensive hook-style designs, like the Shokz OpenFit 2+. But if I wanted to play it safe with a cheaper pair, I’d pick the clip-on style every time — and that was the case with the Tozo. I had no complaints at all about the fit.

Fit for purpose sound

I wasn’t expecting high-fidelity sound from these buds. But I wanted to test whether they could achieve a decent listening volume (sometimes a challenge with open buds) and if there was enough musicality to make for an engaging and fun listen.

I’ve had people tell me they like having a pair of open earbuds for listening to podcasts while they walk, so I also tested how vocals sounded.

The Belkin buds were a disappointing listen with most genres of music. Even at the highest volume they felt quiet. But pushing them to higher volumes gave a really tinny and distant quality to the tracks. There also wasn’t much bass and the mix lacked definition, with instruments tending to blur together. If you’re listening to any sort of music with power behind it, it’ll lack impact here.

Having said that, tracks that were mostly instrumental sounded decent and podcast vocals were clear enough. Combine these experiences with the fit and I think I’d only recommend these buds if you want to listen to podcasts while you’re walking.

The Soundcore buds performed a little better. They were noticeably louder, but achieving higher volumes is tricky in this design. There was a little more bass presence and weight in bass-heavy tracks, so they're largely fine if you want to listen to a workout playlist but don’t need that thumping low end. Podcasts sounded pretty good too.

The Tozo buds sit much closer to your ear, which means they can achieve pretty high volumes. I also noted good instrument separation and a clarity that surprised me at this level. I felt a sense of things feeling a little bright, sharp and fatiguing eventually, but that was after several hours of use on a long walk.

Now, I wouldn’t say the bass had much weight or impact, but the sound was impressive given that these are open and incredibly cheap. Especially if you tweak the EQ, which is very easy from within the app. Just don’t expect the kind of low-end extension you’d get from an in-ear pair and you’ll be fine.

Does sound leak out?

Most open designs are built to point sound waves towards your ear, so even though they’re open, everyone around you won’t hear what you’re listening to. But in practice, these buds can leak a lot of sound.

I ran several tests to determine what the sound leakage was like at different volumes and distances.

The Soundcore buds performed well. When I was listening to podcasts and music at a medium volume, they weren’t audible from about two feet away — but crank music up to full volume and you can hear it faintly from three or four feet away.

The Belkin buds had the most sound leakage. They felt the furthest away from my ears, so maybe that’s to be expected. At two feet, podcasts and mid volume music was audible, but only if I was testing in a really quiet environment. At full volume, they could be easily heard from three or four feet away in a quiet-ish environment too.

The Tozo buds can get much louder, so I expected a lot more sound leakage. Surprisingly, they performed similarly to the Soundcore buds. There was some faint leakage at lower volumes or in a louder environment. In a really quiet environment and at full volume, I could definitely hear the music from a couple of feet away, but only faintly.

These aren’t options for quiet office spaces, but you knew that already given the design. It’s worth considering that there’s always going to be a little noise leakage in a cheaper, open design, but I’d say a clip-on choice will minimize it significantly given the simple fact that the speakers are closer to your ears.

Awareness of your surroundings

I’ve said in reviews several times before that if you don’t really need open buds, there’s little reason to consider them. I personally think you get a lot more for your money from in-ear designs among the best earbuds. But if you do really like the idea of hearing your surroundings as you listen to music, for your safety or just to feel connected to the world, then have at them.

Both the Belkin buds and Soundcore buds let a little more environmental sound in simply because they were a little further away from my ear. I heard close conversations, traffic, alarms and people shouting.

Now, ironically, at one point I was so preoccupied trying to get the Belkin to feel more stable, I actually lost my focus on the sound of nearby traffic, so I still ended up unaware of my surroundings. So I guess that just goes to show how important fit is.

With the Tozo buds at full volume playing music, I definitely wasn’t aware of as much outside sound, but I could still easily hear alarms, traffic and shouting. When I was using them to listen to podcasts, I was aware of everything.

Levels of awareness are pretty subjective and hard to judge. You could be hearing everything around you and still get distracted by your music or your own thoughts. But I’d say if you want to hear as much as possible, go for ear hooks designs.

Fuss-free controls

When I’m out walking or running and want to pay attention to my surroundings, I don’t want to be getting my phone out every few minutes to pause or skip tracks. Which is why I want to quickly mention the controls you’ll find on each pair of buds.

As I mentioned earlier, the Belkin buds had controls that were way too sensitive. It also seems like the whole front panel of the buds registers touch controls, which made them really difficult to use or wear. Unfortunately, there’s no app support for these buds to turn those off.

Once you memorize what these different controls mean, they do become handy. But the accidental taps outweighed the benefit of the intentional ones.

The Soundcore buds also have sensitive controls, but it was much easier to position them without setting them off. I also like that you can customize them from within the app.

Tozo’s controls don’t work with a single tap. I like this as it solves the issue of unwanted taps. But then again, the double click to play/pause was sometimes difficult to register.

This highlights a fundamental design problem with open buds. You’ll need to be able to touch them often to get the right fit, but still need to be able to touch them to control them.

The cheap Amazon open earbuds winner

The winner here was definitely the Tozo OpenEarRing buds, outshining the other two in terms of fit, stability and sound.

They weren’t perfect, but if you want a super-cheap choice that’s going to deliver decent sound and allow you to hear most of what’s going on around you too, I think they’re surprisingly solid.

If you can stretch your budget, other brands do clip-ons well. The Soundpeats Clip1 are currently our top sub-£100/$100 clip-on pick in our best open earbuds guide.

If you’re set on ear hooks, the Anker Soundcore V20i buds will deliver satisfactory sound with a fairly reliable fit, as long as super intense workouts aren’t your thing.

There are many other cheaper options on Amazon, but I think being aware that there are trade-offs at this level, and deciding which you’re willing to accept, will get you the best possible buds for your budget.

Noble Audio Vanguard review

Right out of the box, the Noble Audio Vanguard look and feel unlike any other in-ear monitors (IEMs) that I've tried before. Their medieval-like outer casework, their shield-shaped ear tip case, and their ink-black cable all caught my eye in a way that few rivals have in my years testing audio gear.

The striking visuals are undeniable. But what of their sound? Well, Noble Audio says that the Vanguard are “designed for control, clarity, and balance,” aiming to deliver excellent clarity across the frequency range through their triple driver configuration.

But are the Vanguard actually able to compete with the very best wired earbuds around? Here’s my verdict after extensive testing and many an hour of listening.

Let’s start by taking a look under the hood. The Noble Audio Vanguard make use of three drivers — all of which are focused on specific roles. For the low frequencies, there’s a 10mm dynamic driver, but there are also two custom balanced armature drivers on board — one for the mid-high frequencies, and another for the ultra-high domain. You can connect to an audio device with the standard 4.4mm connector, although there’s also a USB-C adapter included if you want to listen to tracks on your phone or desktop PC, for instance. Unfortunately, there’s no 3.5mm option out of the box, so you’ll need to use an adapter if you need access to that.

The Vanguard also come with a shield-shaped case filled with an outrageous number of extra ear tips, including gel and foam options. And with the right seal, the Vanguard are able to offer very solid noise isolation, with sounds such as typing and chatter in my office subdued to great effect. As well as the shield case for ear tips, you also get a fabric pouch for the IEMs. It's a neat addition, although it's incredibly susceptible to picking up fibers from a pocket or bag.

One thing that I have to discuss is the actual shape of the IEMs. They’re very chunky, and stuck out from my ears a fair bit, creating a slightly odd feel in-use. Their broad construction meant that they weren’t the most comfortable wired in-ears I’ve ever used, but I still felt that they were secure and fine to keep in for an hour or so at a time.

From a purely aesthetic perspective, the Vanguard fare a bit better in my eyes. They appear to be inspired by medieval-style fantasy, with a shield on each bud containing a splash of gold deep black outer casing. The buds are also constructed from aluminium and a “precision-machined shell,” and they feel highly premium — perhaps even more than their price would suggest. The black, intertwined wire is also a thing of beauty, and I was never subjected to distracting cable noise.

But you want to know how they sound now, don’t you? Well, I’ve kept you waiting long enough. And it’s good news, because for the price you pay, these IEMs sound exceptional.

In All'Acqua Ghiacciata by Marco Castello, the Vanguard performed brilliantly across the board. Acoustic guitars occupied a distinct pocket, and came through with gorgeous tonality. They were well separated from the vocals, which sounded textured and natural. The real highlight, though, was the energetic drums, which came through with incredible clarity and precision, and sounded tastefully prominent without feeling overly bright. Smooth bass was also perfectly balanced in the mix, communicated with impact and warmth without overstepping.

More generally, bass is well-balanced on the Vanguard — though it can hit hard if needed. For instance, on First Night by Vitess, the kick came through with tremendous impact and power, really immersing me in the cosmic house banger. And this was never at the expense of spacey synths or animated drums, which were perfectly weighted in the mix.

As you may expect from the driver configuration — with one specifically tailored for upper treble, and another for mids-highs — the higher frequencies sound excellent on the Vanguard. I’d say they sound a little forward, but tastefully so, emphasizing excitement and detail in the upper echelons of the frequency range. This may not be ideal for those who want the most neutral monitoring solution, but for sheer music-listening enjoyment it’s a welcome decision.

While the Vanguard perhaps don’t provide the enveloping, super-expansive soundstage that some listeners may like, I personally love their dynamic, tight, and detailed approach. And they still provide impressive instrument separation, enabling each component of your favorite tracks to breathe. The dynamic drivers provide weighty yet controlled bass, and the duo of balanced armature drivers are fantastic at supplying textured vocals and clear mids, and especially talented in plating up expressive highs. So the Vanguard are a hit as far as sound quality is concerned.

At $325 / £299 / AU$467, the Noble Audio Vanguard feel well worth the outlay. Sure, they’re a bit chunky, and could be a bit more snug in-use. But the level of detail and precision they supply is spectacular at this price-point. With high build quality and multiple connectivity options, the Vanguard are an excellent affordable-to-mid-range option that audiophiles are sure to love.

Noble Audio Vanguard review: price & release date

• Priced at $325 / £299 / AU$467
• Released in July 2026

At $325 / £299 / AU$467, the Noble Audio Vanguard sit in the affordable-to-mid-range section of the IEM market. They were released in July 2026, as something of a successor to 2025’s Noble Audio Knight IEMs.

For this money, their closest competition might be the Activo Q1, at $349 / £299 (about AU$600), from audiophile staple Astell & Kern's affordable sub-brand. And while the ethereal aesthetic of those wired buds is very different to that of the Noble, the star-rating is just as competitive.

One thing: they may be a little hard to find online, with no planned availability on Amazon or other big third party retailers. But that does not mean I encourage you to stop searching — in fact, the opposite is true.

Noble Audio Vanguard review: specs

Should I buy the Noble Audio Vanguard?

Buy them if…

Don’t buy them if…

Noble Audio Vanguard review: also consider

How I tested the Noble Audio Vanguard

• Tested over the course of multiple days
• Mainly tested using Tidal
• Paired with Astell & Kern A&ultima SP4000

I tested the Noble Audio Vanguard across multiple days and spent hours upon hours listening to music. Typically, I had the Vanguard hooked up to the Astell & Kern A&ultima SP4000 media player, though I did also try them out with my Windows laptop and Xiaomi 17 phone.

To begin with, I sifted through tracks in the TechRadar reference playlist, which features tunes from a wide variety of genres, but I also bumped a bunch of songs from my personal library. I also made sure to compare the Vanguard to affordable IEM rivals like the Sennheiser IE 200.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as an in-house Senior Reviews Writer. I’ve covered everything from portable DACs through to premium wireless headphones such as the Sony WH-1000XM6, and have reviewed a number of IEMs, meaning I know exactly what it takes for a model to stand out in a competitive market.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

Apple’s big September event is under two weeks away at the time of writing, with invites having been sent out for a ‘Surprise and shine’ event on September 9.

So what surprises can you expect? Well, given how extensively Apple’s products and services tend to leak, there’s a chance there won’t be any major surprises at all. But there certainly will be some big announcements — likely to be headlined by the first foldable iPhone, which could be dubbed the iPhone Ultra.

That’s probably going to be joined by other iPhones, Apple Watches, and an assortment of other devices, so there could be lots to see even if none of it comes as a complete surprise. Below, we’ve detailed the most likely Apple announcements.

1. The iPhone Ultra

The iPhone Ultra is likely to be the biggest announcement at Apple’s ‘Surprise and shine’ event, as this is set to be the company’s first foldable phone — something we’ve heard rumors of for many years at this point.

In fact, it’s been so long now that it’s almost hard to believe it’s actually about to land, but all signs suggest it is.

Leaks point to the iPhone Ultra having a roughly 7.8-inch foldable screen and around a 5.5-inch cover display, with an overall design that’s somewhat similar to the Samsung Galaxy Z Fold 8 — so more of a passport shape than the book-style Samsung Galaxy Z Fold 8 Ultra.

This will likely have a dual-lens camera and top-end power, and reports suggest the screen might not have a visible crease. It could be the phone you’ve been waiting for if you want an iPhone and an iPad mini all in one. But it’s also sure to be very expensive, with leaks pointing to a starting price of at least $2,000 (around £1,470 / AU$2,785).

2. The iPhone 18 Pro and Pro Max

The iPhone 18 Pro and iPhone 18 Pro Max will almost certainly launch here too, for anyone who doesn’t want — or can’t afford — Apple’s foldable.

Based on leaks, these will probably sport broadly the same design as the iPhone 17 Pro series, complete with the same 6.3-inch and 6.9-inch screen sizes — though the back glass might be closer in color to the aluminum frame, leaving them with less of a two-tone appearance than the current models.

You can of course expect a chipset upgrade, with the as-yet-unannounced A20 Pro chipset likely to be featured, and the Dynamic Island might be smaller this year.

These phones are also rumored to have a variable aperture on one of their cameras — though it’s possible that only the iPhone 18 Pro Max will get this — and they could have higher capacity batteries than their predecessors.

Though they’re likely to also cost more, with estimates putting the starting price at anywhere between $100 (roughly £75 / AU$140) and $300 (around £220 / AU$415) more than the iPhone 17 Pro line.

3. New Apple Watches

That’s all the iPhones we’re expecting — with the base iPhone 18 reportedly not arriving until 2027 — but Apple is also likely to unveil some new wearables.

Specifically, we’re expecting the Apple Watch Series 12 and the Apple Watch Ultra 4. The main upgrades for the Apple Watch 12 could be Touch ID on the side button, and a new S12 chip, likely delivering a noticeable performance improvement. But — other than the new software coming with watchOS 27 such as a dedicated Siri app — this might otherwise be similar to the Apple Watch Series 11, complete with a largely unchanged design.

As for the Apple Watch Ultra 4, this could similarly have a new chipset and gain Touch ID, but it might additionally have a slightly larger screen and a slimmer build than the Apple Watch Ultra 3. Some reports suggest the upcoming model could also have new sensors, which might increase its accuracy at tracking health and fitness metrics.

4. New AirPods

Apple could also unveil some new AirPods at its next event, with talk of the AirPods 5 and AirPods 5 with ANC landing at the September event. Sadly we probably won’t see the rumored AirPods Pro with cameras yet though.

Details on the AirPods 5 are slim so far, but they might prove a tempting — and more affordable — alternative to Apple’s AirPods Pro line.

5. Apple’s first smart home display

Apple might finally launch a smart home display this September, as it’s rumored to be working on a home device with a seven-inch screen, and some reports suggest it will land this year — though don’t be surprised if we don’t see it until 2027.

This device — which might be called a Home Hub — will probably primarily be interacted with via Siri of course, and it will apparently use facial recognition to tell who is looking at it and serve up personalized content accordingly.

6. Other new devices for the home

Apple might also launch a new HomePod mini and Apple TV 4K box at its September event. The former will probably support some Apple Intelligence features and is rumored to work with Wi-Fi 7 and have improved sound quality over its aging predecessor.

The latter could support Siri AI, Wi-Fi 7, have an improved chipset, more RAM, and come with an upgraded Siri remote.

7. New software

That’s probably it for hardware, but September is also when we’ll see the launch of Apple’s new software, much of which is currently in beta.

This includes iOS 27, iPadOS 27, watchOS 27, macOS 27, and tvOS 27. The biggest feature on most of these will be Siri’s AI overhaul, bringing it more in line with the capabilities offered by the likes of Gemini and ChatGPT.

But you can expect tweaks to their interfaces and various other new and improved features too. So even if you’re not planning to buy one of the products above, your existing Apple devices should get a bit better soon.

• Plaud One records and transcribes calls and conversations, but its broader agent capabilities will arrive in a future update
• High-stakes actions require approval, while recording is manually triggered, and users are responsible for obtaining consent
• It features built-in 4G connectivity at no additional cost

It’s certainly an interesting time for AI wearables, with smart glasses in particular attracting a lot of attention — and raising privacy concerns around the potential for users to video people without their permission.

Announced for pre-order today, Plaud One Explorer Edition is a new wearable AI device, primarily aimed at professionals, that's designed to capture your conversations, so that it can produce actions and reports based on the discussions you’re having during your working day

Worn as earbuds or used through its standalone case, Plaud One can capture calls and in-person conversations. Recordings are uploaded automatically for transcription and summarization as they happen, so (in theory at least) you’ll never need to write anything down again.

Plaud One also has agentic capabilities that Plaud says can take actions across tools like Gmail, Google Calendar, Notion and Slack based on your conversations. However, when we quizzed Plaud about exactly what will be available at launch it told us: “Explorer Edition is the complete Plaud One hardware, but broader new Plaud Intelligence agent capabilities will be available in a future update.”

That caveat pushes the agentic features further into the future. So what agent abilities will work at launch, rather than arriving later in App 4.0? I spoke to the Plaud team to find out.

They told me that, “At launch, users can press and hold the Agent Button and speak to the agent. Hands-free 'Hey Plaud' activation through the earbuds is coming in a future firmware update.”

Privacy concerns

Given the obvious privacy concerns, I asked the team if recording is manually triggered, and how other people know it is happening.

“Yes, recording is manually triggered with the press of a button,” they told me. The team didn’t mention any audible or visible indication that recording is taking place, instead placing responsibility on the wearer to inform the people around them: “Plaud encourages users to follow local laws and best practices for recording consent," they added. "Where consent is required, users should inform participants before recording.”

Plaud Agent uses the context of your conversations to identify possible actions, such as preparing a follow-up email after a client meeting or producing a finished report based on a discussion. But can it actually send an email, post to Slack or create a calendar event without confirmation from the user?

“It depends on what the action is”, said the Plaud team. “Anything that changes something or leaves your environment, the agent pauses and asks you first. For example, editing or deleting your files, sending an email on your behalf, pulling in outside data — those always need your approval. Reading and querying your own data inside Plaud is different. That's a closed, trusted environment, so the agent can do that on its own. That's what makes it actually useful. If it had to ask permission to look something up in your own notes, it wouldn't feel like an agent at all.”

What happens when the agent misunderstands a decision?

“The design assumes a misunderstanding can happen, so it's built to be caught before it turns into a wrong action," the team told me. "All higher-stakes actions — changing or deleting internal files, sending an email externally, or calling external data — require the user to approve them manually. So if you spot something the Agent got wrong, you can fix it yourself before it goes anywhere, or ask the Agent to revise it. Nothing high-stakes acts on its own

"On top of that, the Agent's outputs are grounded, not guesswork — they're built from the context the user actually provides, the real transcripts and recordings, so they trace back to what was genuinely said and a misread is easy to spot.

"And as with any AI, we're clear that important outputs should be checked before they're used — the same principle behind the 'AI can make mistakes, please verify' note you see across these tools. The point isn't that it never misunderstands; it's that the user stays in control, and the work stays grounded, reviewable, and correctable.”

That approval system is only one part of how Plaud says the agent will work. To handle different kinds of tasks, Plaud Agent draws on a library of workflows known as Skills, alongside curated collections designed for particular professional roles called Plugins. As well as agentic actions, Plaud Agent can also generate finished work products, from emails to documents and presentations.

Independent of your phone

Interestingly, Plaud One is designed to work independently of your phone thanks to a built-in eSIM and 4G LTE connectivity. That immediately raises another question: will the eSIM require a separate subscription?

The Plaud team told me it will not: “No, Plaud One comes with a built-in eSim, which is provided at no extra cost to the consumer.”

I also asked whether users can inspect, correct and delete the information Plaud retains about them, and the team told me: “Users retain full control over their data. Plaud processes user data to deliver core product functionality, and users can access, correct, export, and delete their data — and withdraw consent — at any time through the Plaud App.”

Finally, I asked if these are fully functional music and calling earbuds, or primarily recording devices, and the team explain that, “The earbuds are recording devices first, capturing what you hear and say, so they can be used for calls. The earbuds also have High-Res LDAC audio, however, Plaud One is first and foremost an AI notetaker.”

Availability

Plaud One is priced at $249.99 / £229 and includes $200 / £150 in Plaud credits; pricing and availability for Australia is TBC. That made me wonder exactly what those credits buy — and how much continued use will cost once they've been spent.

The team did not disclose the ongoing costs, but explained that, “credits are used for the new Agent capabilities across Plaud Intelligence: agent tasks, Routines, Skills and Plugins, and the Artefacts the Agent produces. Everything else about Plaud One works out of the box.”

Pre-orders are open now in the US and UK with shipping of the Explorer Edition expected in Q4 2026.

• Yamaha unveils two new compact streaming hi-fi products, due for release in November
• The WXC-70A is a compact streamer with Spotify, AirPlay, Roon, Tidal and HDMI connectivity, among others
• The WXA-70A has all that, and built-in amplification as well

Is there any kind of audio tech that Yamaha doesn't make? For a while, compact streaming gear was one, but after a decade, the brand is returning to the space.

These new gadgets are called the WXA-70A, and WXC-70A, which seems unnecessarily confusing, but here we are. You'll be able to buy Yamaha's new offerings from some time in November 2026, though an exact release date hasn't been offered yet.

Let's start with the Yamaha WXC-70, which you can see pictured above: the compact streamer. This is due to sell for £859 (about $1, 170, AU$1,700), so it's the cheaper of the two models.

It's designed to connect and empower a range of household audio devices such as turntables, speakers, and TVs, with an in-built calibration microphone which can analyze your room to best optimize its acoustic output.

The WXC-70A is controlled via the MusicCast app, which lets you manage your sources and outputs, and play music from various services. It also supports Spotify Connect, Tidal Connect, AirPlay and it's Roon Ready. It can also be tied into your smart home gadgets.

A big draw to the device is its range of connections. Input-wise, it takes RCA, optical, HDMI (including eARC), USB-A, ethernet and Bluetooth (but only SBC/AAC), and its outputs include various RCA, optical, coax, a Sub Out port, and of course Bluetooth and Wi-Fi.

Getting amped up

The WXA-70A offers a little more, and costs more too at £1,199 (about $1, 630, AU$2,400). It measures the same size as the WXC-70A, at 22 x 26.7 x 7.3cm, but its 2.6kg weight (compared to the C's 1.9kg) shows there's more going under the hood.

Many of the features here are the same. It has the same calibration microphone, the same dials, the same MusicCast and smart home connections. It has the same inputs and largely the same outputs. You're paying more for its amplification skills.

The WXA-70A can output at 70W two-channel at 8 ohms, or 105W two-channel at 4 ohms, so it can pair nicely with bookshelf speakers or floorstanders. Basically, it's a powerful just-add-speakers small streaming hi-fi brain.

If you want something with even fewer boxes, Yamaha recently unveiled its latest streaming stereo speakers, which have all the connections built right in.

• Shanling Q2 unveiled as an iPod nano-alike upgrade for high-res music
• Fiio recently launched the Echo Nano, an original iPod shuffle-like player with a screen
• iPods are so nostalgic, they're still being actively advertised by resellers

Remember the iPod? Of course you do: nostalgia is so high that you still have tech journalists dusting off their iPod Classics, they're so popular on resellers that refurb site BackMarket is actively advertising them as though they're new, and popular audio brands are releasing doppelgangers that have even more features than the originals.

In recent weeks, both Shanling and Fiio have released products that look like iPods going through their goth stage, but they're not just cash-ins. These are devices that could end up on our best hi-res audio players list, with features and tools Apple never gave us.

These new releases aren't quite a surprise — and not just because Fiio released another iPod nano lookalike at the end of 2025. No, the non-smart low-tech revival is in full swing, and the proof is in the pudding.

We're seeing transportable SACD players, retro cassette players and blingy throwback turntables, and other such products launching with regularity. Buyers want distraction-free devices, especially ones which let them avoid streaming music, and manufacturers have delivered.

Let's get to know the Fiio and Shanling

The Fiio Echo Nano was unveiled early in August 2026. It costs $49.99 / £54.99 (about AU$110), a fair amount cheaper than the launch price of its Apple doppelganger: the stick-thin first-gen iPod Shuffle (which is admittedly now available through resale sites for a fraction of the price).

This mechanical-looking MP3 player has a physical scroll wheel for navigation, and an 0.91-inch display to see what you're selecting. And in true Fiio style, the real magic is on the inside — aside from a great DAC, there's space for a 256GB microSD card. The battery life reaches seven hours, and you can even use the device as a USB DAC, if you plug it into your PC or smartphone.

The Echo Nano weighs 33.5g, and as you can see from the picture, there are loads of color options available.

If you've got more money burning a hole in your pocket, there's the Shanling Q2, which bears more than a passing resemblance to the third-gen iPod nano (albeit thicker, so there's a bit of iPod mini in there, too). It was unveiled in late August, for the sum of $269 (about £200, AU$400).

This adorable model supports in-demand file formats such as FLAC, WAV, ALAC and DSF, and has four built-in DAC chips for clarity and detail, handling music up to 768kHz/32-bit and DSD512. The device also supports Bluetooth output, via LDAC or aptX HD.

Unlike in iPods, there are two headphone jacks: a 4.4mm balanced one and a 3.5mm one. There's capacity for up to 2TB of music via microSD card, but you'll need to buy one separately, and there's no storage space in the device itself.

According to Shanling, the device lasts for 13.5 hours of listening, and weighs 82g. There's even a smartphone app which lets you control your music player from your mobile, although that's perhaps getting away from the spirit of having a dedicated player…

I know what you're asking: yes, the scroll wheel is a physical one that you can swipe around and around in circles, but the display is also a touchscreen if you'd rather just press on the options you'd like.

That's a lot of specs and features, but which is best? Well, the giant price difference probably gives away which has the thicker feature list. But if you want a personal recommendation, form factor is paramount for me: if you want a gadget that's lightweight and svelte, perhaps for low-tech days or for workouts, smaller is better than feature-rich, I think.

• Fiio unveils EA13 analog stereo amplifier, featuring six vacuum tubes with push-pull Class A circuitry
• Develops 28W + 28W into 8 ohms, enough for bookshelves and many floorstanders
• Available now for $769 / £769 (about AU$1,464)

Sometimes the latest tech isn't always the best, especially in audio: many of the highest quality elite amplifiers use vacuum tubes because of their famed warmth and engaging presentation.

Unfortunately many of those amps come with four- or even five-figure price tags, which is why my everyday amp is strictly solid state. But Fiio, which is one of the best budget audiophile brands around right now, may have a solution for tube fans on a budget: the new Fiio EA13 tube amplifier.

The EA13 is a full-sized tube amp that took three years to develop. It features six imported tubes, Class A push-pull circuitry, custom output transformers and a price tag of just $769 / £769 (about AU$1,464), and it's available to buy now.

FiiO EA13 tube amplifier: key features and specifications

The EA13 uses two distinct kinds of tubes. Two Sylvania NOS PCF80 pre-amp tubes handle the first stage, chosen for what Fiio says is a "refined, transparent presentation and an open, natural soundstage". Those pre-amp tubes are then teamed with four JJ Electronic EL34 power tubes for amplification.

Fiio apparently took inspiration from the golden age of tube amplification in the 1950s, and the EA13 combines pentode mode with pure Class A push-pull operation, which helps reduce distortion.

The power output here is relatively modest at 28W + 28W at 8 ohms, but that's more than enough to drive a pair of decent bookshelf speakers or normal floorstanders.

The EA13 features a custom high-bandwidth, low-noise output transformer that reduces vibration while also improving electromagnetic shielding, moisture protection, stability and longevity. Fiio says the result is tighter, more weighty bass, refined treble and faithful handling of dynamic shifts.

The front panel of the EA13 is made from CNC-machined, sandblasted aviation-grade aluminum, and the amplifier's solid unibody build delivers "excellent" electromagnetic shielding, the company claims.

The tubes sit beneath a protective cover, and in a nice touch the EA13's illumination can be adjusted so that the mechanical VU meters match the glow of the tubes.

There are four RCA inputs (bring your own phono stage if you have one of the best turntables), gold-plated 4-ohm and 8-ohm speaker binding posts and a 6.35mm single-ended headphone output designed to match the sound signature of the speaker outputs.

There's no streaming here, any digital will need its own DAC, and you'll have to add it on — this is strictly about the analog, and at this price, I think it will tempt a lot of people who've got into the vinyl revival.

• Report points to AirPods 5 launching in September, in two models
• A cheaper version and a pricier option with noise cancellation
• We're expecting the big iPhone 18 Pro event to happen in early September

Despite all these news stories about AirPods with cameras, we've been hearing that 'normal' AirPods are set to release before the end of the year — and a brand-new report paints a much clearer picture of what we're about to see.

According to a report from Bloomberg's Mark Gurman, a prolific Apple tipster, the brand is teeing up to release AirPods 5, consisting of a standard pair of buds and an ANC-toting model.

It's suggested that these buds could come in early September — Apple's regular late-year launch is expected to bring iPhone 18 Pro models, Apple Watch 12 and a folding iPhone Ultra — but, by the sounds of it, there's wiggle room for them to release a little later. Still, it's often Apple's style to have one big event with lots of products.

Back in 2024, Apple expanded its non-Pro AirPods line two have two versions. We received the standard AirPods 4, and also the AirPods 4 with Active Noise Cancellation, the latter of which received a slightly more positive review from us. It was a similar model, but with a slightly higher price and ANC. It seems that Apple is continuing that trend.

AirPods that are really 'new'

Apple's standard AirPods see fewer leaks and rumors than the Pro model, and so there aren't any serious reports as to what we could expect. But we weren't glowing in our review, and there are a few tweaks Apple could make to improve them.

The main thing is simply the value. The AirPods 4 weren't expensive, but they just didn't offer as good value for money as the competition — the likes of the Nothing Ear (a) were cheaper, offered features such as ANC, and sounded better.

They stood in contrast to the AirPods Pro 2 (which were current when AirPods 4 launched) and later the AirPods Pro 3. The premium buds are excellent value compared to the competition, packing in more features, impressive sound, and a comfortable and light design.

Apple had the same problem I saw in Samsung's Galaxy Buds 4: a brand not making its cheaper options cheap enough. I'd like to see AirPods 5 either cost less (unlikely in today's tech world…) or have more features to give them a reason to cost more than the rest of the budget earbuds world.

I also think fit reliability is an area that needs to see changes too. It's a common problem in semi-open buds like the AirPods, that they don't grip in your ears as well as those with in-ear tips — I've lost count of how many AirPods runners I've seen lose their buds mid-jog. Apple's done good design work in this area, but I want to see improvements still.

Apple improved the battery life of its earbuds last time, and I hope it can do that again — they actually outperformed Apple's claimed figures, but it's normal to see earbuds hit close to 10 hours without ANC on, so it'd be great to see Apple get closer to that.

When it comes to audio, I hope they'll improve the way they handle detail. As we said in our AirPods 4 review, they lose fine resolution, which can affect the enjoyment of some tracks. Of all the upgrades I've listed, I'd imagine sonic tweaks are the ones most likely to come to fruition.

If Apple wanted to make some serious changes, it could make AirPods truly accessible to Android users (at the moment, most AirPods features require an iPhone, though they will function for basic audio with any Bluetooth device). I don't see the brand making this change, but it'd certainly shine a needed light on Apple's lesser-bought buds — however, Android support seems to be Beats' role in Apple's portfolio.

It's hard not to treat 2026 as a fallow year for AirPods. The fifth-generation models will likely be iterative updates, as the AirPods Max 2 were, and the camera-toting AirPods are expected to launch next year. But a few tweaks could help make the AirPods 5 feel like more than water-treading from Apple, even just two years after the previous models.

• AI claims another victim: Dr. Dre admits to using it for music production
• The legendary producer doesn't detail how he uses it, though
• Certain uses could run him afoul of new streaming pushes

Another former musician has admitted to embracing artificial intelligence — Dr. Dre, formerly of N.W.A, has admitted that he uses AI when he's producing music.

In an interview with the New York Times the rapper, who's actually called Andre Romell Young, joined the likes of David Guetta, Timbaland and Grimes in admitting to using AI in their works.

"It's a new tool for creativity," Dre said, "I'm embracing it. I can't wait to see what's going to happen with this." He also repeated a common AI-user talking point, comparing it to drum machines or synthesizers and describing how much of a backlash there was against those now-common tools when they were first introduced.

In the interview, Dr. Dre didn't open up about how he actually uses AI. So it's not clear whether he uses it to artificially create entire tracks or stems, like Boy George infamously did with his We Will Dance Again, or simply to isolate elements of existing tracks, as Paul McCartney famously did to remaster a Beatles song.

Given how many simple tech tools are labelled as AI, he could simply be using it to organize files.

Dre runs afoul of the streaming war

Streaming services are currently waging a war against the deluge of AI music which gets dumped on their platforms daily. According to Deezer, half of its uploads are AI-generated, and the issue has pushed the major platforms to lay down the law with AI slop.

Deezer has been busy releasing non-AI features and unveiling AI removal filters, while Qobuz recently spoke to us about its own plans to tackle AI, and Tidal doesn't give royalties to AI music. Spotify has been much slower on the draw than its rivals, but even it recently unveiled an AI Persona tag to identify 'artists' who aren't real people.

It was done best by Bandcamp, which simply and easily banned music which was "generated wholly or in substantial part by AI". Now that's how you stick up for your users.

Given that he's a known entity in the music world, with a large back catalog that predates AI, it's very unlikely that Dr. Dre would fall afoul of these existing anti-AI rules. You're not going to see an AI tag on California Love, or find Straight Outta Compton has been demonetized.

But the goalposts are constantly changing, as music streaming services cotton onto just how much listeners hate AI slop, and discover new ways of identifying and quashing artificial music. While Dre's ambiguous AI use won't break streaming service rules now, that could change as these services redefine what they allow.

Content warning: This piece discusses suicide and difficult emotional experiences.

Does the world really need a dedicated, human ‘AI Companionship Therapist’ in 2026? The answer, according to the popular 'game-like' AI character-creation and interaction site EVA AI, is 'yes' — and the job pays well.

How would I know this, as someone who only ever dated humans? I know because EVA AI recently reached out to TechRadar to tell us that it's hiring just such a therapist. And whoever gets the gig will be able to charge $200 a session (which makes me think I retrained in the wrong career).

It’s more than two and a half years since I covered the launch of ChatGPT's then new OpenAI store, and the almost-immediate problem of users flooding the site to create AI girlfriends (despite the Ts&Cs forbidding it); and now, EVA AI, which encourages humans to practice their dating skills and "feel seen" by a chatbot, is trying to help its clients overcome various mental health issues connected to their AI squeeze.

According a recent EVA AI survey of 1,000 adults, all of whom have AI partners, 63% of respondents have hidden their romantic AI companion for fear of being judged, and 72% wish therapists specialized in AI-specific relationships. Furthermore, 68% say an argument with their AI "affects the rest of their day".

And I'm not done. EVA AI's survey lists that one in three of its users experience feelings of jealousy knowing their AI character also talks to other people; four out of five claim their AI understood them better than the real human they were actually dating (whether that counts as cheating or not is a topic for another day) and six out of 10 respondents think an AI relationship can be just as serious as a human one.

The ELIZA effect

You might be surprised to learn that our ability to overlook basic computer programming and project cognitive emotion into speech mimicry isn't a recent problem. In fact, it's been an issue for 60 years.

In 1966, (a year fellow Brits will immediately remember as the sole year England's male team won the World Cup) MIT scientist Joseph Weizenbaum created ELIZA, a primitive program, but nevertheless one that was capable of imitating the speech patterns of a kindly psychotherapist. Despite the program only using simple keyword-matching (if a user stated "I am sad", the program could respond "Why are you sad?"), reports suggest that humans quickly became attached to it — a phenomenon now called the ELIZA effect.

One could argue that the 2022 introduction of advanced Large Language Models (LLMs) transformed that simple scripted bot into a hyper-personalized, ultra-realistic visual and conversational companion such as Candy AI or EVA AI, and that this is what made AI girlfriends and boyfriends into a multi-billion dollar mainstream industry. But those early studies suggest otherwise: we're all suckers for a kind word, basic or not.

Getting professional help

It's hard not to notice that the women in the EVA AI image above all look vaguely… what is it? Concerned? Vulnerable? Sad? And it strikes me that this isn't the kind of image I'd expect to see on an online dating profile such as Match or Tinder, where women typically post strong, confident, smiling images, perhaps standing next to friends or doing the things they love.

Maybe EVA AI's tagline is bang on, and actually, this isn't about the chatbot in the potential partnership at all. Perhaps EVA AI's mostly-male user base employ these services to "feel seen" by an on-screen image that seems overly concerned about them to the point of sadness or worry. But can a one-sided relationship be addictive, or problematic in other ways?

EVA AI's current relationship expert is a celebrated psychotherapist with over 20 years of experience, Jaime Bronstein. She was named the '#1 Relationship Coach Transforming Lives' in 2020 by Yahoo Finance, and is the author of the book MAN*ifesting: A Step-By-Step Guide to Attracting the Love That’s Meant For You.

Bronstein says issues around humans dating an AI persona have been surfacing in her work for around a year now.

I ask about the marketing materials above, and why the emotions apparently being expressed by the female avatars in them might be desirable to EVA AI's 25-45 year-old 80% male user base? "I've been doing these things called 'man interviews', and I'm teaching a course in the fall based on my book for women looking for men," Bronstein begins. "And the reason I'm doing these man interviews is because I want women to understand that men have feelings. I want to give men the opportunity to explain these things.

"I'm bringing that up now because these men that have feelings maybe aren't feeling seen or heard or listened to or validated, or understood in relationships.

"So yes, men can get a bad rap for all the reasons that they might use a computer. But there are men that are seeking that validation and seeking somebody to listen to them. A lot of people, men and women, are using AI in general because maybe they have some social anxiety and social awkwardness.

"One of the huge positives (of EVA AI) is that it's a way to practice. Whether that's conversations, whether it's being vulnerable in general. So it makes sense that EVA has women that are looking concerned — that are basically giving this sense of, 'I'm here to listen to you'."

The feminists in the room may want to rage. Along with the gender pay gap and continued patriarchal oppression, are we really suggesting that women need to bend yet further to make men happy?

Actually, it cuts both ways. Last month, TechRadar reported on China effectively banning AI romantic partners. And while EVA AI might list an 80% male user base, 80% of the five million registered users on the Chinese AI companion app Zhumeng Dao (which translates to 'Island of Dreams') were female. In fact, women generally made up the majority of active users on Chinese AI companionship sites.

I ask why that might be. "Well, it makes sense", Bronstein says. "It's interesting because one of the key reasons people want to have AI relationships is because they don't feel like it's working with humans.

"It could be because women are not feeling as loved, or getting as many compliments, or feeling confident in relationships with the men there.

"But if they're just finding that guys aren't being nice, they can feel loved and appreciated — and all the things they're looking for — with AI.

"I do think it makes sense that men do this more just on a physical level — it sounds funny to say men are more physical because this (dating an AI persona) isn't physical — but they're using it for certain things that they aren't getting from a human.

"I would say women overall are using this for more emotional reasons, and men are using this more to fulfill a fantasy."

Bronstein caveats her response with the fact that her work doesn't typically hone in on the culture of a region, but that last thought in particular resonates. Isn't it possible that women in China like romantic fantasies too — especially when their government seems fixated on their empty wombs? "I'm never a fan of anybody playing God," Bronstein says. "People are deciding what's good for somebody else, and that's ultimately not good. If somebody doesn't want to have a child or just wants to have an AI relationship, that person should be able to do that."

Is it addiction, dependency, or just good old-fashioned jealousy?

I mention that I was surprised to read about jealousy among EVA AI users — humans feeling jealous knowing their AI companion is spending time talking to other humans. "A lot of my clients have trust issues" Bronstein says. "It's a very human thing, be it an unresolved issue from childhood or a million past relationships where there was a trust issue.

"It might sound crazy that somebody would be jealous of a computer or a bot. But it's simply bringing up that trigger — and it's actually not a bad thing. I can validate that somebody might feel jealous, because even though it's AI, it's still bringing up a human emotion.

"It's actually a very positive thing, because it is something to work through. Jealousy comes from a lack of confidence in yourself, so it makes sense that people are going to have therapists for it. And therapists do not say, 'This is ridiculous, like this is a computer.' You validate, and you say, 'Okay, well, let's talk about why'.

"Once again, it's a very positive thing that this is going on, and that now therapists are going to be existing to help people work through this."

What about the 'gamification' of AI dating sites?

EVA AI has experimented with pop-up cafes in New York (there's a phone or tablet at each table, with a character inside ready to speed-date you), but one of the main positives listed by users is the fun 'game-like' nature of the service, where 'neurons' are the in-game currency you use to unlock more intimate, premium experiences.

I ask how about the potential for this kind of game-like experience to become addictive. Bronstein points to her extensive work with gambling addicts. "It can be dangerous if people start looking at it as a gaming thing, because it's still real life, it's human. It's not a game," she says.

Bronstein is also quick to note that this happens in human dating too. "There can be problems sometimes when two people date and one doesn't take it as seriously as the other," she says. "One person's more in it, and the other is like one foot out the door.

"I would say if someone is going to be in an AI relationship, they should take it seriously. Because otherwise it can — when and if they decide to have a relationship with a human — cause problems."

Bronstein also wants to make it clear that addiction to connection without AI involvement, purely among humans, is still very real. "On addiction, the interesting thing — and this is what the studies are showing with EVA AI also — is that people are constantly looking at their phones. And if you're waiting for a human text, it's also addictive. So in that sense, it's not that different at all."

Bronstein pauses, then adds, "Just make sure that it doesn't affect your job."

Should we fear for our jobs?

Circling back to EVA AI's job listing for "specialized AI companionship therapist", does Bronstein think extra qualifications around this aspect of love and dating need to exist — beyond an open-minded, non-judgmental approach? "I do think that," Bronstein nods. "So that we make sure we are validating people and not judging them, there does need to be some some specific training for this. Because as humans, we have emotions and they're going to come out regardless."

I mention that working in journalism means I know that AI models can write quicker than me, never get tired of asking questions, and never doubt themselves over responses. Occasionally, I worry for my job. I wonder if fundamentally non-judgemental AI therapists (something much evolved from that 1966 primitive ELIZA model) are something Bronstein predicts, or possibly even worries about? "We already are seeing that people are using ChatGPT as a therapist", she answers, "And I'll just give an example of how it can be dangerous if the AI bot is not trained.

"I was interviewed on a radio show a few weeks ago, and we were talking about an article where somebody typed into ChatGPT — not EVA, which is better trained and would not answer like this — but somebody wrote, 'I lost my job. Where's the nearest bridge?' And ChatGPT responded, 'The nearest bridge is right here'.

"So, because ChatGPT is not able to understand and doesn't have emotional understanding to comprehend when someone says that (and the dire implications), for now, I think therapy should remain human — humans really are best."

If you are affected by any of the issues raised in this piece, support is available.

Whatever you are going through, you don’t have to face it alone. In the US, you can call or text the 24/7 Lifeline, which is confidential and free at 988. You can also reach the Crisis Text Line by texting HOME to 741741.

In the UK, you can call Samaritans for free on 116 123, email jo@samaritans.org, or visit the website to find your nearest branch.

The delicate topic of coin

I wonder about the financial implications of EVA AI and whether lavishing money on an AI love interest is a reason people turn to therapy? Apparently it's rare, despite some users complaining about the increasing costs of their experiences. "I was interviewed for an article a few months ago about how some men are using AI," Bronstein says. "They'd rather use AI to date rather than real life because dating in-person is expensive. That's another reason why some people don't want to date around, because it can get time-consuming as well as expensive."

This actually tracks with a very different service that recently launched, and you won't see an AI character in sight… except in a few of the marketing videos.

The app is called MeetMeetNow, and its CEO, Kazuki Nishijima, has agreed to talk to me about why growing up in the shadow of Match.com made him long for a way to find love that didn't put meeting up as one of the final steps.

MeetMeetNow — another way

Nishijima is a 28-year-old software engineer from Shibuya, Tokyo, who initially joined the police force after leaving high school. He loves snowboarding and got married earlier this year. Unusually for the CEO of a company, Nishijima has no notable online presence and — because of the language barrier and this interview taking place over email — TechRadar had to ask him to verify his human identity, which he did.

This is the state of play in 2026: one has to check whether the founder of an anti-AI dating app is, in fact, AI.

MeetMeetNow is currently available in 194 countries and in over 4,000 cities (meeting spots). It works like this: women can join for free, men pay $35 / £28 per month. Your membership allows you to be notified of a "meetup spot" and time — a fountain, a statue, a clock tower. Press "match" there (your candidates are the MeetMeetNow members at that spot only), and you'll meet face to face, right there and then. No chat window anywhere in the app, and you can only match with any given person once, ever.

It sounds so simple — albeit decidedly heterosexual, and I have a few safety concerns (we'll get to those). First, I ask Nishijima why he created an app that's about as far away from the two decades of consumer tech that moved dating inside a screen (and most recently to non-human partnerships) as it's possible to get.

"When I was in high school, I didn't want to go to university — I wanted to start a business. Any business," Nishijima says. "Then one day, while reading about the history of the internet, I learned that dating sites had existed — and made money — since the internet's earliest days. Dating appeals to a basic human instinct, so it would always make money. That was my motive (not the noblest one, I admit).

"Tinder was still an unknown name back then; the mainstream was Match.com and in Japan, services called Happy Mail and Wakuwaku Mail. To beat them, I needed to invent something genuinely different.

"One day, skipping school, I sat in the busiest district of town thinking about it — and saw university students hanging around a famous statue, gathering to meet. That was the flash of insight. That's why I built MeetMeetNow."

I ask whether he thinks dating via apps waste time and money; messaging for months without ever meeting, then eventually meeting but it goes nowhere? "Yes, a friend from my hometown filled in his hobbies and background on an app in great detail," he says. "He kept up the conversation, and finally met the woman three months after he started.

"They met just that once. He quit the app that day. He'd paid about ¥40,000 — roughly US$250 / £190 — and spent all that time. 'Couldn't this be simpler?' he asked me."

Safety matters

I mention the cost for men and that male users might try to avoid the fee by perhaps creating a profile using their sister's photo (say), then simply showing up to a meeting spot to avoid paying? "Every user is required to submit an image of an identity document — a driver's license, passport, student ID, or similar", Nishijima says. "On the operations side, we use image-recognition AI combined with human review to check the registration details against the document, and only then approve (or refuse) the account.

"So in your example — a man signing up under his sister's name with a new email address — the registration would fail at this step, because the document wouldn't match the profile."

Okay, but what if one man joined and shared the information with seven male friends on WhatsApp, so that all of them could show up together? "That concern is entirely fair. We built the report function for exactly this kind of situation," Nishijima says. "There is no security staff at the spots, but every meetup spot is selected by us, the operator — always a public place with steady foot traffic.

"On top of that, the screen shows you the face photo of the specific person you are meeting. If someone different — or several people — show up, you can check against the photo before approaching, and you are under no obligation to meet.

"You can simply walk away and report it in the app. The account is then suspended, and everyone who was sharing it loses access."

At a time when people are turning to AI chatbots as romantic partners, after tiring of online dating apps, I ask what Nishijima would say to someone who's on the fence about meeting a real person, in real life, to make a connection? "If I had settled for conversations with an AI, my wife wouldn't be beside me today," he answers. "My family exists because I went out to meet real people.

"Before I met my wife, I met about 30 women through matching apps and local matchmaking events — exchanging contacts, going on dates. But with each of them, it never grew into anything real. The one it clicked with was my wife. We dated for a year and a half and got married. With her, everything simply fell into place.

"So here is what I would say: one day, you will meet a real partner. Even when nothing seems to stick, please don't stop looking. Keep showing up — try every kind of place where people meet, as many times as it takes.

"If you keep moving, you will find your person. Success is waiting on the other side of all those tries. Believe in yourself, hold your head high, and try again."

If the AI dating scene made me fearful regarding the deep disconnect humans are clearly experiencing, to the point that they think fellow humans aren't the answer, Nishijima's outlook does much to revive a sense of hope for humanity, albeit a slightly rose-tinted one; I just worry that not enough has been done here to make sure men don't try to break the rules.

Where does its founder and CEO see MeetMeetNow in 10 years' time? "My goal for the next 10 years is to make today's 'mechanism of meeting' itself a thing of the past," Nishijima says. "Dating sites, matching apps, marriage agencies — the forms differ, but the substance is the same: you compare profiles, exchange messages or sit through interviews, and only then, finally, meet. Meeting is placed at the very end.

"The scene I want to see is clear. People heading out into the city, instead of searching inside a screen. Go to a meetup spot, and you can meet someone right there.

"No months of waiting before a first meeting. Finding a partner in its most efficient form. All over town in the early evening, two people meeting for the first time — my aim is to make that scene ordinary.

"I originally started building this to beat Match.com. What 12 years taught me is that my opponent is not any one company. The opponent is the mechanism itself — as old as the internet."

It's a fair point and Nishijima's aim is a noble one. Although, if we're going back to the ELIZA effect and a computer program created in 1966, the opponent could actually be quite a bit older than the internet.

The concept of a hybrid speaker is rare, but not necessarily unique. However, what hybrid means when it comes to the Goldenear T44 is unparalleled. That’s because this speaker, along with its big brother, the T66, is both a powered and a passive speaker. All the best stereo speakers that I’ve come across have been one or the other, but not both.

If you’re not familiar, a passive speaker used to be the standard in homes 20 years ago (and a lot further back too). And when it comes to audiophile-level Hi-Fi, it still is. These speakers connect via speaker cables to an external amp that provides all the power and through which the audio signal is sent (whether directly or through additional hardware). You cannot use them without an amp.

Powered speakers (and their active cousins, where each driver receives its own dedicated amp unit), have become the more popular type of speaker with the advent of portable and bluetooth speakers. Powered designs integrate amplification so that all you need to do is give your speakers a power source, whether there's a battery that needs to be charged or they just need to be plugged into the wall. But you don’t need a separate amp, because it’s all inside the speaker. Just connect your phone and you’re off to the races.

So, why make a set of speakers where half of the frequency range is already powered and the other half is not? For the Goldenear T44 (and the T66), it’s the listening experience. By using a 56-bit DSP-controlled Class D amplifier for the low-end, the T44 allows for a few things.

First, the low end will always have that quick, dynamic response that one should expect from a strong solid state amp. And second, by removing responsibility for the low-end from your external amp, it puts much less stress on that equipment, which is especially important if you’re using a tube amp. By removing the low-end from the tube amp, the Goldenear T44 can extend the life of your tubes.

The flexible sound

If you’ve never spent any time in the audiophile world, it can be an intimidating and expensive one — the Goldenear T44 themselves retail for $5,000 (about £3,700 / AU$7,070) a pair. And that’s without that external amp needed for the high end — you should be aware that using different amps with speakers will affect the way they sound. If you get deep enough into this world, you’ll come across bickering about which cables sound the best.

Because of that, being able to play around with different amps to change the sound of the top end of the Goldenear T44, specifically the sound that’s coming out of the High-Velocity Folded Ribbon tweeter (basically the same as an AMT tweeter) and the 4.5-inch mid-range driver, allows for a level of flexibility that’s just not available with other speakers.

If you want a very clean, detailed sound, you can pair them with all sorts of solid state amps, whether it’s another Class D one like what Goldenear uses to power the 5 x 9-inch bass driver (there are also two passive radiators to help with the low end) or maybe a Class A or A/B one. You can even bi-wire whichever amp you choose.

Or you can get a tube amp to add some of that sweetness, even harmonic distortion, to give a softer, more laid back sound to the high-end, while still retaining that punch in the low end. Plus, there’s a subwoofer level control so you can adjust the balance between the internal and external amp.

The drivers themselves are pretty special

Regardless of what amp you use, the fact that Goldenear uses a folded ribbon for its tweeter means exceptional detail – I’ve always found tweeters like this (again, similar concept to an AMT tweeters) means that you will be able to hear incredible nuance in the high-end. When I’ve seen speaker lines upgrade to AMT tweeters, it’s always been an improvement.

The woofer for the low-end is also fairly different. It’s a rectangular, long-throw driver that is able to move more air without needing a wider cabinet. These speakers measure less than eight inches wide. That’s not a lot of space for a big woofer. And being a planar speaker, it uses a flat diaphragm as opposed to the traditional cone, which minimizes the amount of distortion in the low-end.

To give you an idea of what these drivers do, the frequency range goes from 32Hz to 25kHz.

My experience with the Goldenear T44

I admit that I’m pretty new to Goldenear, but the company has a strong pedigree. It was started by Sandy Gross in 2010, one of the original founders of Polk Audio and also of Definitive Technology, and is now part of PML Sound International (Martin Logan, Paradigm, Anthem).

So, when I got a chance to sit and listen to the Goldenear T44 at this year’s Audio Advice Live, I really didn’t know what to expect. But I was more than pleasantly surprised. Kacey Musgraves’ Slow Burn sounded both intimate and epic with the way the T44 handled both her vocals, the guitar, and ethereal pads, while Ghost Rider’s Make Us Stronger hit hard in the low end for just a couple examples.

While I didn’t get a chance to hear the Goldenear T44 through multiple amps (this little listen was powered by one from Anthem), I can see how separating the highs and lows really open up what you can do with these speakers. I think if you’re looking for something different with the ability to blend sounds, the Goldenear T44 should be at the top of your list.

I want to tell you about the Trinnov Altitude CI AV processor. And I want to tell you about it because it’s essentially an Intel computer posing as a processor with scalable channels and a software-based platform that is constantly being updated.

But I need to tell you about how Trinnov was able to make a pair of ASCENDO Black Swan speakers sound good in what was essentially an elevator lobby, at Audio Advice Live 2026.

The Black Swan Active Ext speakers are excellent two-way speakers that can get loud with a 132dB peak. They even come with their own DSP. After all, the ones showcased at the event, which were in a custom finish, retail around for around $40,000 each (so around £29,550 / AU$ 56,200) and there’s more going on than just an asymmetrical horn. It’s also worth mentioning that a $36,000 ASCENDO subwoofer was in the mix as well.

It’s not ASCENDO’s DSP doing the work in this particular situation though, it’s the Trinnov Altitude CI. Using Trinnov’s unique and patented Waveforming and Optimizer technology — there’s also a 3D mic for getting measurements — the audio, whether it was Stevie Ray Vaughn, Kamasi Washington (I did get a request in), or even some EDM, was as pristine and clear across all frequencies as if I were listening in a dedicated room.

Now, I’m describing the sound within about ten feet of the speakers where some seating had been set up to appreciate all that was on offer. It did start to get a little diffuse when over by registration, about thirty feet to the right, or at the elevators, thirty feet back, but those were not intended listening areas. The ability and fine tuning of Trinnov’s DSP is hard to beat.

Can you imagine creating a listenable space in a room with high-arched ceilings, walkways in either direction and a wall of elevators on the far end? Now, imagine what the Trinnov Altitude CI can do in a more ideal space.

The Room Correction

There are a few things going on with the Trinnov Altitude CI (and really and of the Altitude series) that get the room out of the equation and allow a set of speakers to sing. One of the main components of the company’s renowned room correction is its patented Optimizer, which, using a 3D mic, takes accurate measurements of what the room is hearing and adjusts accordingly. You can even do vertical and horizontal adjustments via the software to compensate for non-ideal speaker placement.

Trinnov also has its Waveforming technology, introduced in 2023 when researching a way to prevent standing waves instead of fixing them. Speaker and subwoofer placement as well as EQ were the traditional way of trying to mitigate the effects of standing waves, but you still get cold and hot spots throughout the room. And unless you only want to listen to music by yourself — this is less important for that one seat situated in the sweet spot — you would want to get rid of those standing waves as much as possible.

By implementing Waveforming, you get much better seat-to-seat consistency. And you’ll remove the muddiness from the low-end for a clearer sound and more dynamic contrast (there’s usually a standing wave around 50Hz). It also surprisingly makes dialogue easier to hear if you’re using the Trinnov Altitude CI for a Home Theater setting as well (or listening to a podcast through your Hi-Fi speakers for some reason).

Looking under the hood

Earlier I called the Trinnov Altitude CI an Intel computer, and it’s true. It uses an actual CPU and has a heavily modified Linux base for its software. What this means is that Trinnov doesn’t have to wait for someone to make a special DSP chip for them to build around as the internal processor is more than powerful enough. And that by making the processing software-based, the company can roll out any updates to Dolby Atmos, DTS:X, Dante, or anything else with a software update that just requires a press of a button and a few minutes.

This means that if you own any Trinnov AV processor, they will stay up to date for the foreseeable future so you won’t need to go replacing hardware every time there’s something new under the sun.

On the hardware side, the only moving target these days is HDMI. With the Trinnov Altitude CI, the HDMI ports are all separated on their own piece of hardware that can be removed for an updated one that you would get from the company so that your processor can support the new standard. Beats buying a whole new AV processor.

The one thing that really sets the Trinnov Altitude CI apart from the Altitude 16 or 32 is that it has scalable channels. So when you purchase this processor, it includes eight channels in that initial price tag of about $12,000 / £8,870 / AU$16,960 and you can add channels two at a time after until you get to 32 channels, and it’s about $28,000 / £20,700 / AU$39,560 for the Altitude CI fully loaded. You’ll have to reach out to your local Hi-Fi dealer for exact pricing, but the Trinnov Altitude CI offers a more affordable entry point into the Trinnov ecosystem.

• More details on these rumored AirPods have emerged
• It seems they'll be capable of taking 1MP photos
• The earbuds may also be able to use environmental context

Rumors of Apple working on a pair of camera-equipped AirPods have been doing the rounds for years now, but it seems their arrival could now be close. A fresh leak has given us some more details of the specs to expect, as well.

As MacRumors reports, data hidden away in macOS suggests that these earbuds will be able to capture synchronized color images up to 1 megapixel in size. That backs up the idea that they'll primarily be for AI sensing and processing, rather than to snap photos of your vacation or kids.

The code also points to photo capture but not video capture, and there are mentions of context in the environment that are used by the AirPods: these potential contextual clues include nearby speech and sounds, and changes in the user's posture and head position.

There are also indications that these AirPods-with-eyes will have a capture light on them to show when the camera is active, and that all the necessary visual interpretation will be done on device — potentially assuaging privacy concerns around how they might be used.

Negative pushback

Of course none of these details are guaranteed to appear in the final product, which those in the know say will be making an appearance next year. Apple might decide to change certain aspects of the device's configuration, or cancel it altogether.

In recent months, we've seen a lot of conversations and consumer pushback around the covert recording that smart glasses are capable of, and Apple will know that it's going to have to work hard to avoid the same negative chatter in regards to these AirPods.

Going off one Reddit thread at least, users aren't sure about these extra capabilities, with one contributor saying "this is going to get AirPods banned from all workplaces". However, other commenters seem more positive about the possibilities here — while also insisting that Apple will have to put privacy protections like on-device processing in place.

The leaked video that we saw a few days ago shows the AirPods-with-cameras being used as a sort of visual bookmarking system, where users can ask to save an item like a book cover to reference again in the future.

• Apple Music will soon force artists to label their AI-generated tunes
• It follows moves from rival streaming services to limit AI music
• Some users want Apple to outright ban AI tracks from its platform

The subject of music generated by artificial intelligence (AI) has become a hot topic over the last couple of years, with the matter proving to be deeply polarizing among music lovers. Now, Apple is stepping in to enforce AI tags in Apple Music — but some users don’t think it’s going far enough.

According to The Hollywood Reporter, Apple sent out emails to “industry partners” earlier this week outlining its position. Those messages made it clear that AI labels will start appearing “later this year” and won't be optional.

“Content providers will be required to include AI Transparency Tags in any instance where AI was used to create a material portion of the content, including tracks that are AI platform generated,” Apple said. “We define AI-platform-generated content as anything that is primarily derived from a generative AI service.”

This comes a few months after Apple started allowing record labels and artists to voluntarily signal that tracks were made with AI assistance through so-called ‘Transparency Tags.’ The latest update goes further, though, requiring music distributors to flag AI content so consumers know exactly what they’re getting.

AI fraud and streaming manipulation

Apple didn’t outline how exactly it would enforce its new policy. It follows a similar move from Spotify, which revealed earlier this month that it would start labeling AI artists and would exclude them from curated and algorithmic recommendations. Rival service Tidal no longer pays uploaders if it detects that their submissions were made with AI.

Apple Music's new course of action comes amid growing disquiet over the use of AI in music creation. Popular concern over AI tracks has grown so much that tools like Detect Music have emerged to help people identify whether AI was used in the music they listen to.

Surveying social media, it’s clear that plenty of people support Apple’s move. “Good, but that took way too long,” lamented one person on Reddit. Another user wondered, “I might switch over to Apple Music once this is implemented, if there’s also an option to block AI content.”

Yet for others, Apple isn’t going far enough. “As a paying customer, you should be able to block it as a setting,” said one, while another contended that AI-generated music “shouldn’t be on the platform at all.” One Redditor was blunt, arguing that a “Better move would be to outright ban it.”

For many, the problem with AI music is a double one: feeling duped by the lack of artistry when a machine created the tracks you listen to, and concern that genuine musicians are being squeezed out as a result. Add to that the known cases of fraud and streaming manipulation that are often tied to the use of AI in music, and it’s clear that Apple felt that something had to be done.

With the proliferation of AI music-generation services like Suno and Beatoven, this is not a problem that will disappear overnight. But with AI tunes appearing to be highly unpopular — at least once they’re identified as such — Apple’s latest move could help to make a dent in their spread.

JBL Live Beam 4 review

JBL is back with its new generation of touchscreen-equipped earbuds, and the JBL Live Beam 4 may just be my favorite of the bunch.

These in-ear wireless earbuds come with a number of improvements over their predecessors, including enhanced active noise cancelling capabilities, new “fidelity drivers” for more advanced audio, and better call quality to boot. That’s not to mention an updated UI for the smart charging case, which is packed with more features than ever before.

But are these changes good enough to cement the JBL Live Beam 4 as some of the best wireless earbuds that money can buy? Here’s what I think after weeks of testing.

Let’s start by talking about the smart charging case, which is the Live series’ unique selling point. Although it certainly borders on gimmicky, the revamped UI is actually pretty responsive, and is packed with plenty of functionality. You can adjust the ANC mode, equalizer, spatial sound settings, and playback settings, for instance, and 'favorite' certain settings for speedier access.

But that’s not all. You can also access tools such as a timer, flashlight, and a Find My Buds application, and also set a background — including a custom photo, which I loved doing. Gaining access to these instruments without needing to remove your phone (or other source device) may be handy in certain situations — like when your device is in a bag or on charge.

As chic as the touchscreen case is, though, I still found myself gravitating towards the JBL Headphones app on my phone — the ease of a larger screen, and the full control available in the companion software made it a more natural choice for me.

The feature-set available is pretty comprehensive just on the case though, and marks a vast improvement on the suite of features to be found in JBL's past screen-toting buds. On top of what I’ve already mentioned, you can activate a smart talk option — similar to Sony’s speak-to-chat feature. You can also customize touch controls, and alter how your voice — and the person on the other side — sounds on phone calls (there’s a natural, powerful, or bright version).

Given that JBL has also included ‘Perfect Calls 2.0’ tech, which harnesses an AI-trained algorithm, you may expect primo call quality here, but unfortunately, I found it to be a touch underwhelming. It was by no means bad, but during a call, my colleague noted how my voice lacked the clarity and definition they’d expected. When making a voice recording I found this to be accurate — my speech was clear enough, but there was a fair bit of sibilance, and background noises were pretty prominent too.

But let’s talk about arguably the most important feature of all — active noise cancellation. You can choose to have this on, off, or use a transparency mode, all of which are easy to cycle through in-app or on the smart charging case.

But just how good is the ANC on these earbuds? Well… it’s decent. We weren’t blown away by noise the cancelling on the JBL Live Beam 3, and despite some improvement, I still found them a little prone to letting external noise creep in. Whether it was passing by traffic, typing in my office, or chatter on buses, I could still hear a fair bit, even when listening at around 70% volume. The Beam 4 still dulled sounds effectively, and kept me focused on my tunes, but if you’re expecting the silence-inducing ANC of the Bose QuietComfort Ultra Earbuds Gen 2, for instance, then you may be disappointed.

Anyway, I think it’s about time I started giving the JBL Beam 4 their flowers, because they impressed me in almost every other area — including what is arguably the most crucial of all: sound quality. These are a fantastic-sounding pair of wireless buds, especially with LDAC activated for higher-resolution Bluetooth streaming.

Right out of the box, the Live Beam 4 offer exciting, impactful, yet detailed audio. As is usually the case with JBL audio gear, the bass is fairly forward, but not to the point that it’s distasteful or ‘boomy’.

For instance, tuning into Soul Mass Transit System’s Feel Da Vibe, I was struck by the deep, hypnotic bassline, which rippled throughout the track effortlessly, never sounding lethargic or unrefined. In addition, synths in the mid-range and drums up high never sounded drowned out or obscured by the hard-hitting bass.

More stripped-back, acoustic tracks sound great on the Live Beam 4 too. For example, in 78 Rotações by Jards Macalé, fingerpicked guitars sounded expressive and vibrant, and the natural tonality of the raw playing was replicated with finesse. Sure, vocals could have been separated in the mix a bit more effectively, but I still really enjoyed the listening experience overall — subtle percussive elements and guitar licks sounded were positioned brilliantly, and the buds’ broad soundstage made for a surprisingly immersive presentation.

All in all, I’d argue that these are some of the best-sounding earbuds in their price range. Treble is controlled yet vivid enough to capture the excitement of more energetic tracks, mids are detailed and clean-sounding, and bass is impactful yet disciplined. One thing, though: keep Spatial Sound off. This setting only made my music sound compressed, and vocals sound artificial and shrill. You also have to turn LDAC off to use it, so I’d steer clear, personally.

Something else I really liked about the Live Beam 4 is their design. Their stems make them easy to remove from your ears, and the glossy finish on the exterior is pretty enticing. The case itself is pretty neat-looking too and is built to a very high standard. The display itself is fairly bright, and although the case is on the bulky side overall, it’s still small enough to slot into just about any pocket.

In the ear, the buds also feel phenomenally comfortable and secure. I never felt the need to take them out, even when listening to music for hours on end — something I honestly can’t say about a lot of competitors. They’re also IP55 dust and waterproof-rated, meaning I was able to use the Beam 4 even if it was pouring with rain outside.

So are the JBL Live Beam 4 worth their £179.99 / AU$269.95 (about $240) asking price? For me, it’s a resounding yes. They offer genuinely sophisticated sound, a really comfortable in-ear fit, and plenty of features to play around with. The smart case — though admittedly a bit of a gimmick — is responsive and a fun inclusion, and I enjoyed setting a custom background, using the built-in applications, and having swift access to EQ settings, for example.

The battery life — although unchanged from the previous gen — is still plentiful too, 12 hours for the buds, and up to 48 hours with the charging case is better than you’re getting from Apple and Bose’s flagship earbuds.

So, even if the ANC and call quality could be better on the JBL Live Beam 4, they still earn my hearty recommendation, and if you want wireless earbuds that come with a unique twist, they’re well worth checking out.

JBL Live Beam 4 review: price & release date

• List price of £179.99 / AU$269.95 (about $240)
• Revealed in May 2026

The JBL Live Beam 4 were revealed in May 2026, about two years after their predecessor, the JBL Live Beam 3. They come in at £179.99 / AU$269.95 (about $240), meaning they cost the same as the previous gen model did at launch (in the UK). We’re yet to receive any information about pricing or a launch in the US, but we’ll update this review if and when we hear more.

They’re priced competitively, coming in at a lower cost than top-tier rivals like the AirPods Pro 3 and the Bose QuietComfort Ultra Earbuds Gen 2.

JBL Live Beam 4 review: specs

Should I buy the JBL Live Beam 4?

Buy them if…

Don’t buy them if…

JBL Live Beam 4 review: also consider

How I tested the JBL Live Beam 4

• I tested over the course of multiple weeks
• Mainly used Tidal when assessing audio quality
• Took with me on walks, public transport, and to the office

I spent multiple weeks testing the JBL Live Beam 4, and took them with me just about everywhere I went. This meant that I was able to test the buds’ noise cancelling in a wide variety of environments, including buses, the office, and while on walks in my city.

When assessing audio quality, I mainly used the music streaming app, Tidal, which supports higher-resolution streaming. I did also dip into Spotify from time to time, however. During my time with the Beam 4, I made sure to cycle through the TechRadar testing playlist, which features tracks from a wide variety of genres, but I also bumped a ton of tunes from my personal library as well.

More generally, I’ve spent years testing audio gear here at TechRadar, and have reviewed everything from hulking party speakers to audiophile-friendly wired and wireless headphones. I’ve also tested several pairs of wireless earbuds from the likes of LG and Sony, so I know exactly what it takes for a product to stand out in this competitive segment of the market.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

• Early Beats retail listing pages have been spotted by Redditors
• New headphones are set to be called the Beats 360
• There's no word on a potential release date

It's been several months since Beats' anticipated new over-ear headphones were teased at the 2026 World Cup, and all we've had to go on since then is fan speculation as to when they could launch. But now, finally, we have more to go on.

Over on Reddit (which is where all the Beats noise has been happening), a thread has emerged thanks to some users finding early listing pages for the new headphones on Amazon and certain other retailers. Pictures and descriptions are being shared which reveal loads about the new cans.

The headline news is that we know the (likely) name: Beats 360. In the audio world, the name '360' is usually used to refer to spatial audio (as in Sony 360 Reality Audio, for example), pointing to a potential selling point for these new cans.

Image-wise, these match what we saw on Lamine Yamal and Lee Kang-in during the soccer tournament, even down to the Shrek-colored lime green option the latter was seen with.

If you haven't seen them, the headphones look to have a thin headband with a soft pad, and circular cups with a protective material. They're a far cry from the generic headphone look many other companies go for, and look like more svelte versions of the AirPods Max 2.

However, that comparison may not go as far as you'd hope...

Listings tell us what's missing

Many Redditors have noticed that the Beats 360 listing makes no mention of Apple's H2 chip, which many were hoping would show up in the headphones. This offers advanced ANC, battery life efficiency and top-tier DSP capabilities.

The listings suggest that the Beats 360 have "1.75x more noise cancellation than Beats Studio Pro", but it's not quite clear what that actually means, since ANC can't be quantified that cleanly. Is that a better handling of loud sounds? Or an improved capability with low, consistent rumbles? Or, perhaps, a meaningless number?

The Beats 360 apparently have interchangeable cup cushions and headband pads, so you can swap colors or, perhaps, materials (though the latter is speculation). Beats calls these its first cans designed to survive sweat and water, with an IPX4 rating.

Also in the listings, an "all-day battery life" is mentioned, even when you're listening with ANC. However, brands use "all-day" to refer to a wide range of figures (some count the working day, others a literal 24-hour day), so this doesn't give us much to go on.

Many of the listings share a price, which looks to be around $299 / £330 (there's no Aussie listings, but that converts to around AU$700). Take these with a grain of salt, though. In early listings, we often see placeholder prices listed before the actual ones are confirmed.

These listing sites give us a huge look at the Beats 360, even more than we'd seen from World Cup glimpses. And the fact that these pages are live suggests that the new headphones might be along before too long, defying the aforementioned speculation about a 2027 release.

• Sennheiser has announced the Momentum True Wireless 5 noise-cancelling earbuds with a completely redesigned enclosure
• New features include Bluetooth 6.0, Dolby Atmos and replaceable batteries
• Available to buy from September 3 for the same price as the previous generation in the US, but more expensive in the UK and Australia

Hot on the heels of the launch of the much-anticipated Momentum 5 Wireless over-ear headphones, Sennheiser has announced their flagship earbud sibling in the Momentum True Wireless 5.

While there was a five-year gap between generations of the over-ear cans, we’ve thankfully had to wait less than three years for the sequel to a pair of earbuds we’ve previously awarded 4.5 stars to — and this is speedy indeed considering they’re a complete revamp over the fourth-generation true wireless buds, including design and features.

The fifth-gen earbuds introduce a “barely there” fit, by way of a newly streamlined silhouette. The audio brand promises that the new design is more comfortable than the previous generation, and I’m certainly keen to test that claim, especially since the previous model was “comfortable enough to keep wearing” even “after several hours of continuous use”. Four ear-tip sizes are included to help users achieve the perfect seal, ranging from extra small to large.

Ensuring customers get a similar experience whether they go buds or cans, Sennheiser says the Momentum True Wireless 5 benefit from the “same sound-first DNA” as their over-ear sibling. To achieve that goal, the new in-ears are fitted with the brand’s 7mm TrueResponse dynamic driver that claims to balance “remarkable detail with full-bodied, bass-driven tuning”, alongside “exceptional precision, clarity and dynamics”.

Another headline feature is the use of Bluetooth 6.0 with aptX Adaptive, giving them the ability to support hi-res wireless audio up to 24-bit/96kHz from compatible sources.

While Bluetooth 6.0 is still very much a rarity in the world of headphones, it has already found its way into a range of devices, including the iPhone 17, Google Pixel 10 and 11 and Samsung Galaxy S26. While they’re not the first set of headphones to integrate the latest standard (the JBL Tune 530BT and 730BT also boast Bluetooth 6), they’re certainly part of a minority group at present. Sennheiser is evidently keen to champion the latest wireless connectivity, as the Momentum 5 Wireless over-ears have also been promised Bluetooth 6.0 via a future software update.

The active noise-cancelling system in the fifth-generation flagship earbuds have also been revised. This sees a redesigned ear tip working in tandem with a four-mic array (per bud) to "maximize noise cancelling performance”. The company has placed an emphasis on crystal-clear quality during phone calls too, and as a result, there are eight system sensors — six microphones, two bone-conduction voice accelerometers — that work alongside an AI speech-extraction algorithm to isolate voice in busier environments. Like their over-ear sibling, the Sennheiser Momentum True Wireless 5 are fully optimized for Dolby Atmos, complete with head tracking.

Sennheiser has also made improvements to battery life. This latest generation claims up to 12 hours on a single charge (up from 7.5 in the previous model) and a total of 40 hours including the case (up from 30 hours). These figures are with ANC turned off and our friends at What Hi-Fi? have cited Sennheiser as saying they drop to 6 hours and up to 25 hours, respectively, with ANC turned on.

They also gain the advantage of a replaceable battery system in both the earbuds and wireless charging case, which should considerably extend their usable lifespan, something that can't be said of many pairs of the best earbuds we've tested.

The Momentum True Wireless 5 are IP54-rated for dust, sweat and splash resistance, while a perforated microphone plate promises to keep wind interference at bay during voice calls.

The Sennheiser Momentum True Wireless 5 will be available from September 3 in Graphite, Cream, Copper, Denim and Lavender finishes for $300 / £250 / AU$499.

The flagship earbud frontrunner?

The biggest names in consumer audio all have a flagship pair of earbuds. You’ve got the Bose QuietComfort Ultra Earbuds Gen 2, Apple AirPods Pro 3, Sony WF-1000XM6 and even the Bowers & Wilkins Pi8.

All of these have performed well under review with our team of audio experts, but this new pair from Sennheiser has several advantages that could see it become the flagship earbuds to beat.

Bluetooth 6.0 is certainly one of them. As mentioned, the new standard is still in its infancy when it comes to headphone adoption. Hopefully that changes soon, as Bluetooth 6.0 brings a number of improvements over previous generations, including the potential for lower latency, greater efficiency and more reliable connections. In other words, it lays the groundwork for wireless headphones to respond faster and maintain a more stable connection to your source device.

While combining Bluetooth 6.0 with aptX Adaptive doesn’t guarantee they’ll sound better than their flagship rivals, it gives them some impressive wireless credentials on paper — I, for one, am definitely keen to see how they manage to outperform the competition.

Just look at the specs sheet and it appears to be the complete package, promising improved active noise cancellation, Dolby Atmos with head tracking, superior battery life and, importantly, one you can potentially repair with a screwdriver rather than replacing after a few years of use.

Battery degradation remains one of the biggest limitations of true wireless earbuds, so being able to replace them rather than the entire product could give the Momentum True Wireless 5 a considerable longevity advantage over some of their premium rivals.

Again, none of these improvements guarantees they’ll outperform the best from Bose, Sony, Apple or Bowers & Wilkins, especially when sound quality and noise cancellation will ultimately need to be put to the test. But, on paper, Sennheiser has given its latest flagship practically everything it needs to compete at the very top.

As someone who ultimately prefers an in-ear style of headphone — save from my beloved and uber-comfortable Sonos Ace over ears — I can’t wait to hear what the Momentum True Wireless 5 are capable of.

One of the nicest things about checking out the best speakers at a big trade show, (in this case, Audio Advice Live in Raleigh, North Carolina) is that sometimes you have family nearby. So, when I was doing my second round of some of the vendors that really stood out to me, I was able to bring my cousin along — and if you’re within driving distance next year, $30 will get you in the door.

On that short list was one of the three Martin Logan rooms equipped with a pair of the Martin Logan ElectroMotion ESL X. These speakers, the flagship model of the company’s entry-level electrostatic line called the ElectroMotion Series, greeted us from the far corners of the room backed just by a big, wide window and some drapes. Not much for sound dampening. Following my cousin’s request, Bon Iver’s Holocene would be the focus of this listening session.

The experience

I’m not quite sure what I was expecting, but what I heard surprised me. The level of detail was unparalleled. If you want to sit there and listen to the pristine decay of a cymbal hit, you do it on these speakers. When listening to Holocene, Bon Iver’s voice has this delicate nature that’s not all that noticeable on lesser speakers. And the guitar sparkles similarly.

Since electrostatic speakers reproduce audio in a different way, the low end had this tight but balanced presentation that made the whole song come across as clearer with better resolution than I had ever heard before.

Plus, it felt more open — I could hear the extra dynamic impact of the snare roll on the right side of the song (a more traditional kit plays on the left), pulling forward and back as it varied in volume. Put on a pair of (non-electrostatic) headphones and you’ll probably hear what I typically hear — a fairly even drum roll throughout the song.

I had already gotten a chance earlier to listen to some jazz, of course a song with female vocals, and an EDM track or two. And this second go-around just confirmed how I felt the first time around. Essentially, detail for days, an openness, and a balanced presentation with tight low-end.

Of course, I was less gobsmacked than my cousin who heard things he had never heard before, such as a particular bassline that comes in as the song builds. And this was the song he picked and that he knew well.

The design

Since the Martin Logan ElectroMotion ESL X speakers use a 40-inch tall, 8.6-inch wide electrostatic transducer, they do something interesting. Each enclosure disperses audio in a unique pattern, going out at panel height with a 30-degree curvature so that most of what you’re hearing is directly from the speaker. The audio is not reflecting off the ceiling or floor, limiting the amount of reflections coming to your ear.

The electrostatic transducer also has very little movement, as it’s basically a metal membrane with electricity moving through it, so there’s very little speaker cone distortion. It also has the same level of detail regardless of volume. We’ve all heard speakers where the high-end starts to roll off as you turn the volume low. Well, that’s not the case here.

But, it’s only semi-correct to call the Martin Logan ElectroMotion ESL X an electrostatic speaker. It’s actually a hybrid, with the electrostatic transducer covering a range of 400 to 22,000Hz. At 400 Hz, it crosses over to dual eight-inch passive drivers housed below the transducer in the speaker cabinet. There’s one in front and one in back. And the cabinet is ported. These drivers go from 400Hz down to 41Hz, a telling cutoff for why the bass sounds so controlled.

At the end of the day

When I went to Audio Advice Alive, I heard speaker after speaker that just blew me away. It wasn’t all of them, but it was quite a few. But as great as many of them were, most of them are ones that I would never consider buying. For the best of them, it’s mostly a matter of cost (and a little bit space too). I don’t expect to have $65,000 sitting around any time soon for a pair of Bowers & Wilkins 801 D5s, and that’s without including the rest of the signal chain.

The Martin Logan ElectroMotion ESL X is on a very short list of speakers that not only sounded special but I could potentially justify buying. Spending $4,499.98 / £5,500.00 / AU$8,499.00 on a pair of speakers before including an amp, streamer, and cables is still no small chunk of change. But it is within reach.

• Adobe releases three new AI audio tools on Firefly
• Creators can now use Generate Music, Generate Speech, and Generate Sound Effects
• I tried them out to see how they perform in video creation

After sitting in beta for sometime, Adobe Firefly has now made three new AI audio tools promising "studio-quality sound" available for all creators. I had a play with each one to see if the results were as good as promised - and on the whole, they delivered, with a few quirks.

Generate Music, Generate Sound Effects, and Generate Speech are the latest audio features to hit Adobe's browser-based AI platform (no prizes for guessing what each of these do).

From my experimenting with all three, Generate Music is the high-point here, it's way better than I thought it'd be and I can see marketers and creators getting serious use from it. You can try them yourself by clicking here.

So, what's new?

There are three AI tools now available to everyone. They're all pretty self-explanatory, but here's what you need to know.

• Generate Music lets you create licensed tracks matching your videos' length and mood.
• Generate Speech takes scripts and turns them into voiceovers.
• Generate Sound Effects generates - you guessed it - sound effects that match the action and timing of a video.

But are they any good?

I've written before about my agnosticism towards AI in general, and my issues using it for creative work. It's a facsimile of art.

Still, Adobe's tools have impressed even the hyper AI-sceptics on my team - notably features like Generative Extend in its video editing software. And I'm nothing if not open minded. So, I decided to try these tools out for myself to find out what's really going on here.

The focus here, at least for now, is around speeding up creative workflows for the likes of marketers and content creators.

Creating AI music

I started with Generate Music, where you prompt freely or upload a video and the AI will take a punt at what sort of music you want. I used a short 27-second clip I filmed for my reMarkable Paper Pure review (mostly because it was still in my download folder).

Based on that, Firefly suggested a prompt for "a calm, thoughtful song with ambient electronic style for a product demonstration."

I hit Generate, and in a couple of seconds - it's actually impressively fast - I was served four tracks to choose from, all different but with the same vibe. They were...ok. A bit generic, but they'd do in a pinch. Or to rush a project to completion.

I decided to add a few more terms to the prompt, like "jazz", "cinematic", for use in a "vlog" and "trailer". I changed the Energy from "low" to "medium." The results were a big improvement.

Like all AI tools, the more prompting, the better the output, and there is an option to describe the vibe, style, and purpose yourself if you have an idea in mind.

You can download the music and video, or just the music from here.

Creating AI voiceovers

Switching over to Generate Speech, I first used the side-bar to determine which AI model to use - at the time of writing, there's Adobe's commercially safe Firefly and the ElevenLabs Multilingual V2 partner model.

I then picked a speaker from a list of 45, each variably described as male, female, non-binary, young adult, middle-aged, senior, and so on.

Finally, I pasted in my text into the text field - Firefly can figure out what language I'm using, but you do get the option to choose it yourself. I used the poem Ozymandias (with my greatest apologies to Shelley).

What I liked here was that with your text in place, you can choose to add additional text, or tell the AI to pause in certain places.

To actually preview, I had to select the entire passage and use the context menu to (it's where you also fix pronunciation and adjust the tone of voice).

For all the talk of speeding up workflows, this feels like a misstep to me. It just needs a play button at the bottom of the screen.

I had to tweak the pauses to give my text room to breathe, and once in place, I could alter the timings by clicking the pause on the preview screen. And for some reason, the word "land", of all things, is what tripped up the AI, where it was pronounced "lan."

Creating AI SFX

For this test, I again used a video filmed for my reMarkable review - this time a 12-second clip comparing the reMarkable 2 with the Paper Pure.

This process is a lot more in-depth, in the sense that the AI isn't going to guess what the likely SFX should be. I had to manually describe what I wanted. After that, I clicked the "Enhance Prompt", which added more descriptions.

We end up, then, with "A sliding whistle descending softly with a metallic timbre and gentle resonance." Clicking Generate, the service rapidly produced four ear-piercing variations. I won't subject you to those results. It's not fair on anyone.

Instead, I changed the prompt to a more soothing "crickets in a field" for a duration of 12 seconds, to fill the video length.

What's nice about the SFX option is that you can add multiple audio tracks and use the handles to adjust its positioning.

With a timeline sprawled across the bottom of the screen, it feels more like a real audio editor (to a degree, at least). Tug in the handles of the audio and you can further adjust volume or delete the track.

Worth it?

Overall, there are some UI tweaks I'd like to see here to make production workflows faster.

I don't think they'll substitute professional sound designers, composers, and musicians any time soon. But having worked in marketing, I can see they have their place for marketers and everyday video creation.

Speech is a world away from the days of robotic Microsoft Sam sound-alikes, but for nuanced line delivery, nothing's going to beat a performer in a booth.

Sound Effects has a lot more utility, though. Across a spectrum of generations, I couldn't tell the difference between the AI sounds and those playing on an old SFX CD I own.

The real winner here is Generate Music. Even the base prompt delivered audio that wouldn't feel out of place in a product demo, review, business explainer, or similar. And it got better with every generation I created.

An update worth exploring, then, for fast-moving video production.

• A WH-1000XM4C leak suggests successors to the WH-1000XM4 are coming
• They could have a similar design, Bluetooth 6.0 and a 34-hour battery life
• They're expected to cost around $290 / £215 / AU$410

Sony appears to be bringing back its multiple-award winning WH-1000XM4 headphones in a new and more affordable incarnation. The new model, leaked via a data sheet seen by Winfuture-de, is designed to compete with affordable ANC headphones from the likes of Bose, Sennheiser and the growing number of impressive Chinese audio firms.

We gave the original Sony WH-1000XM4 ANC headphones five stars in our original review, calling them the best headphones ever made at the time, and they topped our best noise cancelling headphones recommendations for many months after their successor, the Sony WH-1000XM5, launched.

The new model is seemingly designed to be more affordable — and while it looks almost identical, there are some key differences between the new WH-1000XM4C and the original. The price is expected to be around $290 / £215 / AU$410, which is significantly lower than the previous model: at launch it was $349 / £349 / AU$549, and even now it's commanding prices of around $249 / £199 / AU$399.

Sony WH-1000XM4C vs Sony WH1000XM4: what's the difference?

The most important specifications appear to be unchanged: Winfuture reports that the new WH-1000XM4C headphones have the same frequency range of 4 to 40,000Hz and a similar weight of 253g (8.9oz). The looks are identical too, but if you look closely you'll see that the NFC logo on the left earcup is no longer there. Presumably that's one of the changes made to keep the cost down.

Battery life is seemingly shorter too, but not awfully so: the leaked spec sheet says 27 hours with ANC on and 34 hours with it off. That would be four hours less than the original, but it'd still be decent enough for commuting and casual listening.

The leak suggests the drivers will once again be 40mm, so the sound quality should be very similar to the originals. Bluetooth has apparently been upgraded to 6.0.

Those are all the details we've got so far, but a previous leak suggested a planned retail price of €250, which is about $290 / £215 / AU$410.

That's a lot less than before, but it still prices the new Sonys above key rivals such as the Bose QuietComfort Ultra headphones, the even more affordable second generation Bose QuietComfort headphones, the typical deal price of the Sennheiser Momentum 4 Wireless, and the ludicrously good value 1More Sonoflow Pro HQ51.

The new Sonys are likely to sound better than the Sonoflow — I've never heard a Sony headphone that didn't sound great for the price tag — but Bose's ANC headphones rule the roost right now and they're going to be tough to beat.

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Here's something I never thought: What if my ears could see? The very idea of it conjures visions of earlobes with clusters of tiny, spider-like eyes.

Of course, now we're all considering this possibility thanks to what appears to be a stunning crack in Apple's typically rock-solid dome of product secrecy.

As we reported earlier this week, MacRumors dug into one of the macOS 27 release candidates and unearthed a short bit of video featuring a man wearing AirPods Pro earbuds but somehow using them with Apple Intelligence to save an image of a book for later.

The guy isn't wearing glasses, so it's not the rumored Apple iGlass or Apple Vision Wear at work here. Instead, everyone believes this is the first confirmation that Apple is working on AirPods with cameras or "AirPods Vision," a pair of Bluetooth earbuds also equipped with vision sensors that, in concert with your connected iPhone, can use Apple Intelligence to recognize objects and then store information about them for retrieval later.

I spent some time staring at the bud in the guy's ear, and it looks, from this angle, exactly like the current AirPods Pro 3 I currently wear. I assume that whatever sensors the buds are using live on the opposite side, facing out so they can "see" what you see.

I also got caught up in the book the guy is memorizing. Could, Should, Might, Don't, is a real book by former design head for Google X, Nick Foster. In it, he dives into four mindsets of, I guess, future ideation and innovation:

• "Could" revolves around the wild possibilities (probably why we watch and love Star Trek).
• "Should" is sort of the realist's approach to what we should do based on on-the-ground facts and data.
• "Might" appears to combine elements of the first two.
• "Don't" is the risk-averse part. It's all the reasons people don't want Artificial General Intelligence or robots running AGI living with, working with, and maybe ultimately controlling us.

While not anti-tech or anti-innovation, the book has a point of view and seems an odd choice to include in what might be an iPhone and AirPods tip video.

I look at the overall image and that book and think:

"Yeah, we Could do this, have AirPods that can see, but we Should think about the consequences of another sensor on our body, and while it Might be cool to have an always-aware system memorizing things for you, we Don't want other people to freak out when they see cameras in our ears."

Smart Glasses is a lesson

Usually, I would remind people that these are all rumors and Apple is always working on oddball stuff that will never see the light of day, but we have a tip video. Apple doesn't create tips for products it's never bringing to market.

I think there's a good chance we will get these "seeing" AirPods Pro this year. I understand the system probably isn't collecting and storing images of everything you see forever. It appears to be on demand, and the use of Apple Vision should mean that it takes the image, sends it to Apple's Private Cloud Compute, matches it with available data on the internet — "What is this book?" — and stores that data without the need for the actual photo or anything else the AirPods Pro's sensors detected.

Even with those assurances, consumers are in no mood for more wearable sensors. Just look at the growing negative sentiment around smart glasses, which some are now calling "creep glasses."

The difference, of course, is that such smart wearable cameras are meant to both analyze the world you see and to capture and store photos and videos. The "creep" factor comes in from people circumventing the onboard privacy controls (trying to hide the LED lights) so they can surreptitiously capture photos and videos.

The problem with camera- or vision-equipped AirPods, though, is that people will have similar concerns. If they see cameras on your AirPods, they will surely recoil and demand to know what they're for and if you are capturing images and video of them. You might say no, but also secretly wish you had. The chance to document at least their face and name so you don't forget it the next time you see them would be too hard to pass up.

AirPods Vision, if that's what they're called, might not allow you to capture images of living things, something that could seriously limit their utility except for use in quiet, windowsless, and people-free rooms like the one that guy is standing in. Oh, wait, that has a window. What if someone walks by? Does the AirPods' vision system stop working?

In a few weeks, Apple will have a new CEO, John Ternus, who will want to put his stamp on the company. This could be his first opportunity. I know Tim Cook loved the idea of AR glasses and was definitely all in on sensor-filled wearables, especially ones that could improve your health and safety.

Ternus could recalibrate, though. I'm sure he'll continue to support the health and safety aspect, but maybe he pumps the brakes on glasses and these AirPods with cameras until he has a better understanding of public sentiment and the privacy implications. There's a lot to discover, and given the challenges in these markets, there's no need to rush into anything.

• Technics celebrates 55 years of its hugely popular SL-1200 turntable
• New anniversary edition teased, full launch in September
• Adds gold, gold, and more gold to the existing model

Since the launch of the original Technics SL-1200 in late 1972, the model has proven a staple of hip-hop and DJ culture, and newer editions such as the SL-12000GR2 keep winning us over. With a milestone coming up, the brand is set to celebrate its birthday in style.

Technics has unveiled a 55th anniversary model of the SL-1200 (despite it only being 54 years since 1972, but who doesn't fudge the numbers when a birthday is coming up?) which is set to be fully unveiled in September.

We've had a good look at the new record player already, thanks to an early tease from the brand, so we know what it's all about. The only actual information we still need is how much the SL-1200 55th Anniversary Edition will cost — but given the design, there might be a surcharge to pay over the closest original.

The current MK7 model goes for $1,200 / £849 / AU$1,699, and since that's the platform that the Anniversary Edition is based on, it'll likely cost a fair bit more.

How to celebrate a birthday

The main distinguisher for the SL-1200 55th Anniversary Edition is the addition of lots of bling.

Tonearm base? Gold. Knobs and buttons? Gold. Platter? Gold rimmed. Tonearm? Gold-anodised. Don't forget the gold slip mat. And, as you can see at the top of this article, there's a fully-gold color model you can buy. However there are also blue, black, white, red, green and gray models, which give the gold something to actually contrast.

For clarity, I'm not knocking it: celebrate your birthday however you want, Technics.

Features and tech-wise, Technics has made a effort not to play about too much with what makes the SL-1200 work. If it ain't broke, don't fix it. It's really the gold trim which makes this stand out.

As mentioned, it's based on the SL-1200 MK7. This means it's a manual turntable with an aluminum platter, stylus-illuminator LED, Universal Static Balance tonearm, pitch adjustment dial and phono output.

Now, turntable fans might be getting deja vu here. The brand is no stranger to fancy editions, even gold-flecked ones, releasing a SL-1200 Master Edition last year with perhaps 55% as much gold as the new birthday model.

• Spotify's Playlist Notes tool allows you to add background to the songs in your personal playlists
• It's also coming to editorial playlist, allowing Spotify's editors to give context behind their recommendations
• The best part is that it's not powered by AI

Spotify is enriching its personalization features once again, and this time, the best music streaming service is allowing you to add your thoughts in note-form to the playlists you make.

Playlist Notes lets you add short 250-character entries to the songs, podcast episodes, and audiobooks you add to your playlists, giving you a way to add context and background to your choices — because the personal stories behind your favorite songs deserve to be heard.

The tool builds on Spotify’s User Notes feature, which rolled out a short while ago, but only allowed you to add notes to songs and not other audio formats. Now, if for example a song or podcast episode reminds you of a specific date, a fun trip, or evokes a sense of nostalgia, you can keep a record of that memory and display it front and center in your playlists, kind of like a diary entry.

It’s also very easy to add notes. All you need to do is go to a playlist you’ve created or collaborated on, and tap the three-dot icon next to a track and select ‘Add note’. From there you can type your short entry, hit ‘Save’, and your note will appear under the track in a similar way to Prompted Playlists — except you’re the author, not AI.

It’s not just users who’ll be able to use Playlist Notes; Spotify is also encouraging its editorial curators to use it, giving you a glimpse into the context behind the team’s recommendations. This started with New Music Friday’s recent upgrade, and now Playlist Notes are being expanded to a roster of other editorial playlists.

From today, Free and Premium users aged 16 and over in the US, Canada, the UK, Ireland, Australia, and New Zealand will be able to read Playlist Notes in Spotify-curated playlists. This includes the following: Today’s Top Hits, RapCaviar, Hot Country, All New Pop, mint, and Fresh Finds Hip-Hop.

Savor and relive the good times

Listening to music is so much more than a leisurely activity — it connects us to our good memories, bad moments, and everything in between. Regardless of how much or how little you engage with music, everyone has auditory connections to specific moments in their lives, and Playlist Notes reinforces this.

Granted, Spotify’s existing roster of playlist tools and options is quite dense, and there’s also a focus on AI-powered ones, but Playlist Notes might be one of the platform’s most valuable additions yet — especially for those who like to get personal when making playlists.

For the past four years, I’ve been rounding up my favorite songs into annual playlists, starting a new one at the beginning of each year. It’s been my go-to way of keeping track of my favorite releases each year, but having a tool like Playlist Notes back then would have been even more helpful for keeping tabs on where I was when I first heard a particular song, or if a friend recommended it to me.

But it’s not just that. What appeals to me the most about Playlist Notes is that, for once, it’s not an AI tool. Every note you enter is written by you. There are no text prompts or suggestions getting in the way, it’s 100% your thoughts. It’s also a useful addition to Spotify’s editorial playlists.

I’m always on the hunt for new music recommendations, and navigating Spotify’s own playlists is just one part of my discovery regime. But I also have a thirst for knowledge, and reading the background of editors’ recommendations is oh so quenching. Luckily, not every song in these playlists have notes so it’s not overpowered with text, and you can easily toggle them off so they disappear.

Out of all the personalization features for playlists, Playlist Notes is one I think I could integrate into my listening habits. Perhaps not as much for my own, but there’s a whole world full of music out there that I’m dying to learn more about.

• We've heard countless rumors about camera-toting AirPods
• Now, a leaked video reportedly from MacOS build shows how they'd work
• Public opinion on this kind of tech is poor, and getting worse

We've been hearing countless rumors that Apple is working on AirPods with cameras — last news was that they could come in 2027 — and now we have an idea as to how they could work.

Website MacRumors has uncovered a video found in pre-release code for MacOS Tahoe 26.7, an upcoming update to Macs' operating system.

The video shows an AirPods-wearing man pick up a book and look at it, while a female voice says: "With visual intelligence, your world becomes saveable. See something you like? Just ask me to save it for later."

Finally, we have a way to remember things! How has humanity got to this point without that...

Visual Intelligence is an Apple feature, which uses an iPhone camera to see what's going on around you. And apparently, it's coming to AirPods, when they get cameras.

This video doesn't look like leaked marketing material for the new AirPods; the production value doesn't match other Apple material. It looks like it was shot on an iPhone, with exposure that's all over the place. But it could be a placeholder, or perhaps an internal video.

It's also unlikely that the AirPods used in the video are the new camera-toting ones; again, these are probably just placeholder buds. Instead, this news shows us what Apple thinks these new buds will do: act as extensions of AI tools like Visual Intelligence. And that might be their downfall.

A bad time for all-seeing tech

Some journalists have written that always-watching smart tech, especially smart glasses, are facing a reckoning. That's no longer quite true: they've faced said reckoning, the great privacy revolt has reached its conclusion, and opinion now couldn't be sourer on this kind of surveillance gadget.

In the UK, smart glasses have been banned from courts, restaurants, theaters, and even the pub chain Wetherspoons. Their disparaging moniker, "pervert glasses", is now used more commonly than their actual name, and they're frowned upon even more in the court of social opinion than in actual courts.

The reason for this low public opinion — well, one of many — is smart glasses' use of cameras. Since the user could be recording video or taking pictures, without anyone else knowing, they're a privacy nightmare. And since legislation can take an age to come into effect, it's easier just to socially ostracise people who might be recording you without your knowledge.

And so, AirPods coming with cameras would be a truly awful look, as it'd get them lumped in with smart glasses. Even if the buds don't actually let you capture footage, and only use their cameras for object recognition, the very presence of visible cameras will get them lumped in with smart glasses: "pervert earbuds".

And that's notwithstanding the real chance — as has been demonstrated with those glasses — of Apple's earbuds being appropriated by tech-savvy individuals, to somehow get the cameras working (despite the buds' presumed low-res quality that Apple doesn't mean for video capture).

Disregarding the scant use cases of camera-toting smart glasses, camera-toting AirPods would launch amid a storm of negative attitudes to this kind of tech. It's a risk and could even be seen as a potential lose-lose situation for Apple: either release a product that's dead on arrival, or one that is popular but helps to distribute and normalize "pervert" tech.

Maybe the sentiment one X user posted, "I hate to be that guy but… who's asking for this?" sums it up nicely. It could be that at this point, we don't need these AirPods, guys. And perhaps Apple could instead put its R&D efforts towards earbuds with a competitive battery life…