Here at Louder, we’re big fans of House Of Marley’s range of audio products – especially the company’s selection of turntables. And if you’ve been thinking about taking the plunge, now is a great time to do just that because there’s currently deals on two of their record players in both the US and UK.

The first is a brilliant saving of 30% on the Stir It Up Lux, which has been reduced on Amazon US by 30% – down from $399.99 to $279.99. And UK music fans haven’t been left out in the cold either, because you can pick up the same model with a 14% price cut, with Amazon UK taking the price down from £349.99 to £299.99.

The Lux was unveiled back in August 2023 and was introduced to the market as an upgrade to the original model. As you would expect from a House Of Marley product, the Lux has been crafted using sustainable and recycled materials. It has an elliptical stylus, an aluminium head-shell, a bamboo plinth and includes a glass platter along with an anti-skate mechanism, in-built phono pre-amp and Bluetooth 5.3.

However, if you’re looking to get your hands on new turntable with a pair of speakers included, then the original Stir it Up is also available at a reduced cost as a package with two bookshelf 10W speakers.

On Amazon US, it’s down 11% from $449.99 to $399.99, but the biggest saving is in the UK, with Amazon knocking the price down by 21%, slashing the cost from £379.99 to £299.99.

This is an easy to set up system, and is a great choice of beginner turntable. It’s a two-speed, belt-driven unit with Bluetooth 5.3 and in our House Of Marley Stir It Up review, we awarded in 4.5 stars thanks to its sound, eco-friendly design and overall performance.

House Of Marley was founded by Bob Marley's son Rohan and the audio firm's commitment to sustainability is one of their core values. They are linked with One Tree Planted and the Surfrider Foundation.

You can find out more about House of Marley's support for the drive towards global reforestation and ocean preservation on the Project Marley website.

I’m always on the lookout for new eye-catching, budget turntables, with one of my favourites, the super-affordable Gadhouse Brad Retro MKII record player, launching last summer.

But my loyalties to that particular player are being severely tested thanks to the colourful and smart-looking Majority Stylo and Folio turntables.

Let’s look at the Stylo first. Majority say the range has been designed for music fans taking their first steps into the world of vinyl, or those looking to upgrade their beginner turntable.

The Stylo is available in five distinct colours, making it stand out from the crowd: Blackout, Sol Yellow, British Racing Green, Blue Steel and Oxblood. The two-speed, belt-driven Stylo features Bluetooth 5.3, has a built-in preamp and RCA line and phono connections. There’s an adjustable counterweight, aluminium platter and has anti-skate control.

In addition, it boasts an Audio-Technica AT3600L moving magnet cartridge, carbon fibre tonearm and the stylus is replaceable.

The Majority Stylo is available right now for £159.95.

On to the Majority Folio and the main difference between it and the Stylo is that it features in-built stereo speakers. It’s also has Bluetooth and features USB recording so you can turn your vinyl collection into digital files through your computer. There’s also RCA output, AUX input, and a headphone connection.

The Folio also has s-shaped tonearm, adjustable counterweight, in-built pre-amp and the same Audio-Technica cartridge that’s in the Stylo.

Available in Plywood, Blackout, Sol Yellow, British Racing Green, Blue Steel and Oxblood, the Folio is priced a £169.95.

Specs

Majority Stylo

• Bluetooth 5.3 output for compatible Bluetooth speakers and headphones
• Belt drive turntable
• 33⅓ and 45 RPM playback
• Audio-Technica AT3600L moving magnet cartridge
• Replaceable stylus
• Carbon fibre straight tonearm
• Adjustable counterweight
• Anti-skate adjustment
• Aluminium platter
• Built in pre-amp
• RCA line and phono output
• Ground connection
• Pitch control
• Phono/Line switch
• Dust cover included

Majority Folio

• Bluetooth 5.3 input and output
• USB playback and USB recording
• Belt drive turntable
• 33⅓ and 45 RPM playback
• Audio-Technica AT3600L moving magnet cartridge
• Replaceable stylus
• S-shaped tonearm
• Adjustable counterweight
• Aluminium platter
• Built in pre-amp
• RCA output
• 3.5 mm headphone output
• AUX input
• Pitch control
• USB controls
• Dust cover included

Positioned between the affordable Major V and premium Monitor III A.N.C, Marshall’s new Milton A.N.C headphones bring adaptive active noise cancellation, spatial audio processing and a completely new driver platform to Marshall's on-ear head-fi family. With exceptional battery life, and a more refined sound than previous models, could these Marshall headphones be the cut-price cans you’ve been waiting for?

Design

Anyone with a passing knowledge of Marshall kit will immediately recognise the family resemblance. The textured leather-effect finish, brass Marshall logo and powder-coated metal arms all borrow heavily from the company's pro audio heritage. Look more closely, though, and you'll find this is not simply a reworked version of the best-selling Major V.

The ear cushions are thicker, softer and adopt a slightly tapered profile to increase the contact area around the ear. The result is a far better seal than I’ve typically experienced with on-ear headphones – which prove crucial to making adaptive noise cancellation work in this form factor.

Clamping pressure is about right and I found the headphones grip securely without becoming overly tight, although the faux-leather ear cushions inevitably become warm. The headband could use a tad more padding, too, but overall comfort remains high.

Connectivity is comprehensive. Bluetooth 6.0 brings support for LE Audio alongside SBC, AAC, LC3 and LDAC codecs. A traditional Marshall coiled cable is included for anyone who prefers (or needs) a wired connection.

Features

Topping the feature roster is Active Noise Cancellation. This is the first time we’ve seen ANC in an on-ear design from the brand, and the execution is reasonably effective – although if you really want to mute the outside world I’d still recommend an over-ear design. Naturally there’s also Transparency Mode when you need to hear exactly what’s going on around you.

Marshall's Soundstage spatial processing is the second feature attraction. The headphones may be oblivious to Dolby Atmos or 360 Reality Audio, but they can still create a greater sense of space.

Instead of delivering a binaural render of object-based spatial mixes, Marshall’s proprietary algorithm adds width and depth to ordinary stereo recordings, by applying a virtual room filter in the Marshall app.

When it comes to battery life, these headphones have plenty. You can get around 50 hours of playback with Active Noise Cancellation engaged, and an astonishing 80 hours when it’s switched off. A full recharge takes around two hours.

Sound quality

The Marshall Milton A.N.C may look like its cheaper Major sibling, almost everything responsible for how they sound is different. A new 32mm dynamic driver, developed specifically for this model and optimised to work with active noise cancellation, sits in a carefully tuned acoustic chamber. The result is tight bass, a gnarly mid-range that sounds great with guitars, and oodles of clarity to reward higher resolution streams.

The provision of LDAC is a welcome bonus as it allows compatible Android devices to stream Hi-Res Audio wirelessly, while USB-C digital audio offers playback up to 24-bit/44.1kHz. If you can take advantage of these routes, you should. Imaging and spatial placement is good.

Slipknot's Duality opens dead centre before staccato guitar starts to shred left and right. There’s a lot of movement, but instrumentation is precise and stable, making technical arrangements easy to unravel. Rather than compressing everything toward the centre of your head, the presentation retains convincing width and separation.

Marshall says the tuning of the Milton bridges the energetic personality of the Major V with the refinement of the Monitor III A.N.C, and that seems like an accurate description. Bass is reassuringly deep and heavy, but it’s not bloated or laggy.

Marshall’s Soundstage spatial processing is actually rather good. I preferred the default Small setting, which subtly disengages the music from the drivers without making everything sound artificially distant. Stereo imaging remains intact, there’s just more air in the tyres.

Nickelback's Rattle The Cage demonstrates this particularly well. The ping pong riffs that open the track are wide and spacious. The sound is still stereophonic, but it has more room to breathe.

That same processing lends welcome drama to Ice Nine Kills' Twisting The Knife. The theatrical production already carries plenty of atmosphere, but Marshall's spatial sauce expands the performance without introducing mood-killing artefacts.

The alternatives

The JBL Tour One M3 has many similarities to the Marshall Milton A.N.C. in so much as they also have very good battery life (40 hours with ANC) plus JBL’s own spatial sound processing, which is similar to Marshall’s Soundstage mode. However their over-ear design offers more effective noise cancellation. Bass also benefits from larger 40 mm drivers, but that extra girth comes at a cost to your pocket.

If you’re committed to the Marshall aesthetic but the Milton doesn’t quite work, then step up to the Monitor III A.N.C. These outstanding over-ears over 70 hours playtime (with ANC), have Soundstage Spatial Audio processing, and deliver marvellous Marshall-style sound.

The Rolling Stones and audio masters Technics have collaborated to release a new set of limited-edition True Wireless earbuds.

The EAH-AZ100E1K in-ear headphones will officially launch on August 28, but with only 5000 units available, you’ll have to be super quick to able to pre-order a pair before they’re snapped up.

The branding is on-point, with the band’s iconic lips logo used on the charging case, with the group’s name scrawled on top of the unit in red. As for the earbuds themselves, they boast a 10mm magnetic fluid driver and aluminium diaphragm which help deliver “high-quality sound full of realism and energy across a wide frequency range.”

You’ll be able to listen to 10 hours of music with ANC activated from a full charge, and they carry an IPX4 water resistance rating.

You can connect up to three Bluetooth devices to the earbuds so you won’t have to through the hassle of re-pairing them when switching between your phone, laptop etc, and you’ll be able to tweak your EQ settings when listening to the new Stones album Foreign Tongues through the Technics app.

The Rolling Stones x Technics EAH-AZ100E1K earbuds are priced at $299/£259 with limited stocks available via Technics and Amazon.

Marshall continues to find fans with its domesticated Bluetooth wireless speakers, but the Bromley 450 is something else entirely. Stablemate to the formidable Bromley 750, it packages the same party speaker swagger into a moderately more compact, and affordable, cabinet.

Design

Styled like a classic Marshall guitar amplifier, the Bromley 450 wears the company's familiar woven mesh grille, script logo and textured finish with obvious pride. A metal control panel offers an array of brass knobs and build quality is reassuringly solid. The plywood cabinet is protected by substantial over-moulded rubber corners. It’s as rugged as they come.

Weighing 12.3kg, it isn't a featherweight, but a sturdy carry handle helps when you need to move it around. Meanwhile, around the back is a concealed connection panel. USB-C joins stereo RCA inputs for DJ mixers or turntables, while 3.5mm Aux in/out sockets allows daisy-chaining with other Bromleys. We also get twin XLR/TRS sockets, for mics or instruments.

Fully charged, a removable lithium iron phosphate battery delivers an impressive forty hours of listening when you’re off the mains. The battery charges while in situ and can be replaced easily when required - just flip open the cover and ping it out. It’s also interchangeable with the battery used in the larger Bromley 750.

Fast charging on this Marshall speaker provides around six hours of playback from just 20 minutes connected to the mains, while a full charge takes around 3.5 hours. An IP55 rating means dust, drizzle and the occasional splash won't spoil proceedings either, making it well suited to outdoor use.

Features

Marshall has wisely avoided overcomplicating things with the Bromley 450; There’s no Wi-Fi, no Spotify Connect, o AirPlay or no network streaming. Bluetooth 5.3 provides wireless connectivity, complete with Auracast compatibility. Firmware updates arrive automatically over the air, with alerts landing in the Marshall app.

Operation is straightforward. Alongside the illuminated red power switch sit dedicated source selection, transport controls and Marshall's familiar customisable 'M' button, which here can be assigned to Low Volume, which drops the volume by 30dB so acts as a quick Mute, or Stroboscope, which gives a momentary light flash (not sure why). Brass bass and treble knobs provide satisfying tonal adjustment.

The integrated lighting deserves praise for what it doesn't do. Rather than mimicking a nightclub laser show, which can look a bit silly, Marshall nods to live stage lighting. White and amber LEDs pulse rhythmically across the front baffle in three selectable patterns. Presets one and two are fixed, while the third follows the beat.

Helpfully, you can also charge your smartphone from the speaker, via the USB-C port.

Sound quality

There’s no obvious sweet spot because there doesn't need to be one. Instead we get an implementation of Marshall's True Stereophonic architecture. Inside the cabinet are two 6.5-inch woofers driven by a pair of dedicated 90W amplifiers, four 2-inch full-range drivers, each with its own 55W amp, and two 8-inch passive radiators. Music is projected from all four sides of the cabinet, so the soundstage is basically omnidirectional.

Even at relatively moderate listening levels, the Bromley 450 sounds beefy. There's a physicality to its presentation; crank up the volume and it barely breaks a sweat. There’s loads of headroom.

The Bromley 450 invites me to turn up the volume, so I oblige. A rash move. Sabaton's ‘Templars’ storms my listening room. Power chords bludgeoned the sofa, and I'm pretty sure you could hear the massed choir half way down the street.

Low frequencies hit hard, but they stop just as quickly. The twin passive radiators have a fast, percussive character. Running through a playlist of favourites – Thunderstruck, Poison, Holy Diver, Immigrant song - my admiration for the Bromley 450 grows with every track.

But there are caveats. This isn’t a speaker that rewards close monitoring. Up close it can sound harsh. It needs space to perform. That’s when the novel Stereophonic design earns its keep. The 360 soundfield ensures everyone hears more or less the same thing. Walk around and the presentation barely changes.

How loud does it go? Considerably, I’d say. I've actually heard a Bromley 450 cranked up in Camden's legendary Good Mixer boozer, and it pretty much filled the space. It'll do much the same in a swish apartment, just don’t park one beside your bed.

The alternatives

The party speaker market is on a tear at the moment, and JBL is making most of the running. Its best-selling Partybox 710 comes with wheels and a grab hand for easy movement, is splash-proof and features a full colour LED lightshow. Sonically it boasts an 800W output and supports Bluetooth, wired inputs and microphone/guitar connections, making it suitable for karaoke, live performance or DJ sets. However it lacks a battery, so no off mains entertainment.

The Sony SRS-XV800 is rather more staid in appearance, although it still offers a light show. Features include Bluetooth, USB playback, wired input, along with an IPX4 splash‑resistance rating. Other attractions include omnidirectional party sound, and Sony’s Mega Bass mode. Like the Bromley 450 it can operate off the mains, but battery life is limited to 25 hours.

We Are Rewind are keeping cassette culture alive with their range of high quality portable players and boomboxes, with the French audio firm forging partnerships in the past with everyone from Duran Duran and the Elvis estate, to video game Fortnite and online music database Discogs.

Now they’ve collaborated with Pink Floyd to launch a limited-edition WE-001 cassette player inspired by The Dark Side Of The Moon - and the pack also comes with a specially remastered, high quality tape of the iconic album, which is exclusive to the box set.

On the collab, Pink Floyd’s Nick Mason says: “I still have enormous affection for the cassette. It really was a major breakthrough – not only with the Sony Walkman but with some of the more up-market recorders. I still have my Nakamichi on the shelf and look forward to testing it with the new The Dark Side Of The Moon cassette.

“Am I correct in assuming that the next major issue will be The Dark Side Of The Moon in a large package consisting of the album divided up into 78 RPM discs?”

The WE-001 cassette player is made from aluminium, features metal buttons, a rechargeable battery with up to 12 hours of playback, a 3.5 headphone output, and it also has Bluetooth 5.1 so you can connect a pair of wireless headphones. We Are Rewind also say that it’s “optimised for 2026 with true hi-fi sound” and “a unique headphone amplifier designed with cassette playback in mind.”

We Are Rewind founder and CEO Romain Boudruche adds: “To call The Dark Side Of The Moon a classic album is an understatement. In many ways, it set the tone for what an album experience should be as a continuous piece of sonic art but also used state-of-the-art production techniques and sounds which make it a true musical experience.

“We're happy that We Are Rewind can play a part in helping preserve the physical album experience.”

The limited-edition package is available to buy now from We Are Rewind, and is priced at $199/£159/€179.

The home hi-fi system has changed a lot over the years, from turntables and radio receivers to cassettes, CDs and wireless streaming – and right back round to turntables again. The vinyl revival’s old news by now, but turntables are still a new addition to many an audio set-up, from baby’s first hi-fis to well-established living-room stacks.

If you’ve been umming and ahhing about adding a turntable to your own setup, you can take a look at our guide to the best Prime Table turntable deals - but if you want something straight off the bat, there's money off both the Sony PS-LX3BT and Sony PS-LX5BT wireless Bluetooth turntables over at Amazon.

The Sony PS-LX series comprises two variants of Bluetooth-enabled automatic turntable. The LX3BT is the cheaper of the two and is a very user-friendly affair, with full auto playback controlled by some slick buttons at the front. It’s a functionally plug-and-play device, with no calibration or counterweighting necessary. Even the moving-magnet cartridge with which it’s equipped is a fully built-in thing, furnished with a warm-sounding replaceable stylus.

The LX3BT is the more expensive of the two but that extra dough buys you a few functional upgrades, a smarter-looking aluminium platter and a better tonearm, replete with a more detailed cartridge/stylus assembly. Both turntables share the same design language, and, more or less, the same essential features – features which make them extremely attractive for newbies to the vinyl revival.

The automatic mechanism is one such feature, as is the built-in phono preamp that makes plugging into existing hi-fi systems a breeze. More important, though, is the Bluetooth connectivity. Both the LX3BT and LX5BT support aptX Adaptive Bluetooth transmission, so you can cast hi-res audio of your records to a Bluetooth receiver of your choosing. It’s nifty stuff, and dynamite for the hybrid hi-fi.

I’ll be the first to admit that Sony’s prices are a little pricey, generally – and that here, the LX series faces stiff competition from a suite of the best budget turntables. But with Amazon Prime Day, Sony gets the upper hand thanks to these lovely deals.

Want more? Want something to play on your new turntable? Take a look at our Prime Day vinyl deals and for everything else, check out Louder's hand-picked Prime Day music deals.

Sharon and Jack Osbourne have discussed plans to reinforce Ozzy Osbourne's legacy by using technology to allow the late Black Sabbath frontman's likeness to engage in brand partnerships and appear in advertisements.

The pair were appearing at Licensing Expo 2026, an IP extension and brand collaboration event in Las Vegas this week, where they were questioned during a session entitled The Enduring Legacy of a Rock Icon and His Family: Ozzy Osbourne and The Osbournes.

Trade website License Global reports that the family has partnered with Hyperreal, a company who describe themselves as "award-winning innovation leaders" in several entertainment fields, including "immersive avatar concerts", to work on what Jack calls "the digital DNA of Ozzy Osbourne, voice, image [and] movement."

"It's kind of scary how it's really very accurate," says Jack. "He will exist digitally as himself for as long as we have computers. Technology has come such a long way that it's almost drag-and-drop. You could shoot a template for a commercial... literally prompt what you want Digital Ozzy to do in that commercial, and you just drop it in. It's that simple now."

"You can ask Ozzy anything, and he will answer you in his own voice – and the answers will be what Ozzy would have said," says Sharon. "We're going to take it all around the world. People can talk to him, and he will talk back."

The pair also discussed how important it is that any digital version of the Prince of Darkness remain true to Ozzy's real-life personality.

"I don't want to pretend that Ozzy Osbourne was this refined poet," says Jack. "We know who he was. Everything the family does with Ozzy's name and likeness has to reflect who he really was. It's crucial to ask, 'What would Ozzy do?'"

"Elvis died 50 years ago, and everybody knows Elvis," adds Sharon. "I just want that for Ozzy."

At the same event, Japanese toymaker Epoch Company, Ltd announced the launch of an official Mötley Crüe trading card collection. The collection will include cards "celebrating the legacy and impact of Mötley Crüe, along with highly sought-after chase elements, including authentic hand-signed cards and rare memorabilia inserts featuring concert-used items such as guitar picks, drumsticks, and lanyards connected to the band."

Example images sent to the press, which show the band circa 1983's Shout At The Devil album, did not include a card bearing the likeness of founding guitarist Mick Mars, who left the band in 2022. The collection will be available in December.

Just days after announcing the release of the Jimi Hendrix 60th anniversary collection, Marshall have wasted no time in introducing more hardware to their 2026 lineup - this time in the shape of the Milton A.N.C. wireless on-ear headphones.

The latest in the Marshall headphone range are available to buy right now for $229.99/£179.99/€199 direct from the official Marshall website, the headphones will give you more than 50 hours of listening with adaptive noise cancelling enabled, and a huge 80 hours with it switched off.

The Milton A.N.C. are foldable and the ear cups feature memory foam for comfort during long listening sessions. They're wrapped in a traditional Marshall design featuring textured leather, powder-coated arms and a brass logo.

Marshall Group’s Senior Manager, Audio & Acoustic Nicolas Pignier Delafontaine says: “If you compare Milton A.N.C. with our other on-ear headphones, like the beloved design of Major V, you’ll notice a few big differences. We’ve increased the ear cushion size to help keep the sound in and improve passive noise attenuation.

“Larger ear pads and softer memory foam also mean the headphones are more comfortable to wear over longer periods. We've introduced an entirely new driver system tuned to improve bass and treble extension, delivering dynamic Hi-Res audio with rich details.

“On top of that, six microphones optimally placed for ANC and call complement the acoustic design for highly effective noise reduction.”

The Milton A.N.C also feature Adaptive Loudness, which adjusts the audio to your environment, and Marshall’s own Soundstage spatial audio.

Evelina Lindström, Product Manager at Marshall Group concludes: “With Milton A.N.C. we have created a premium, yet durable headphone that is easy to bring with you wherever life takes you.

“Our design and engineering teams have worked for years to bring the immersive feeling of Adaptive ANC into our beloved on-ear form factor, and we couldn’t be more proud of the results. Its portable design makes it a sleek contender to heavier over-ear alternatives, without compromising on features.

“The combination of adaptive ANC with 80 hours battery life is guaranteed to take on the go music listening sessions to the next level.”

The Milton A.N.C. will be available from third-party retailers from May 27.

Rock icons Deep Purple have hooked up with renowned Swiss audio equipment manufacturer Revox to produce a limited range of products to mark the band's upcoming Splat! album.

The range includes a limited run of 25 B77 MK III reel-to-reel tape machines, 50 T77 turntables, and 200 Studiomaster A20 wireless speakers. All the products have been signed by the band members – Ian Gillan, Ian Paice, Roger Glover, Don Airey and Simon McBride – who will be appearing in person at this year's High End audio show in Vienna, Austria, on June 4. The band will be at the Revox booth between 2-3pm.

Prices for the three products place them firmly at the wallet-pummeling end of the market, with the wireless speaker retailing at €586.55 (£508/$686), the turntable at €5,878.15 (£870/$1176), and the reel-to-reel machine at a mortgage-wrecking €16,802.52 (£14554/$19,662). Although, to be fair, that's roughly ten thousand euros cheaper than the similarly-specced Alice Cooper machine Revox produced last year.

“The musical experience with these limited-edition products, combined with the unique music of Deep Purple, is pure and offers a clarity that only analogue sound can provide,” says Christoph Frey, CEO of the Revox Group.

In addition to the three pieces of equipment, which can be pre-ordered from Revox now, the company is selling four different varieties of Splat! on 1/4” 2-Track analogue tape, with prices ranging from €595 to €1498.

Splat! is released via earMUSIC on July 3. The band released a single, Arrogant Boy, earlier this week, and will embark on a European tour in June, with North American shows scheduled for August and September. Further European dates follow, climaxing in a run of UK shows in November. Full dates below.

Deep Purple tour dates

Jun 11: Espoo Metro Arena, Finland
Jun 12: Tampere Nokia Arena, Finland
Jun 14: Kristiansand Dirty Old Town Live, Norway
Jun 18: Clisson Hellfest, France
Jun 20: Meppen Emsland Open Air, Germany
Jun 24: Mönchengladbach SparkassenPark, Germany
Jun 27: Coburg Open Air, Germany
Jun 28: Ulm Klosterhof Wiblingen, Germany
Jul 04: Gredos Músicos en la Naturaleza, Spain
Jul 05: Pamplona Navarra Arena, Spain
Jul 09: Málaga Starlite, Spain
Jul 10: Cádiz Tío Pepe, Spain
Jul 16: Pisa Summer Knights, Italy
Jul 17: Este Music Festival, Italy
Jul 19: München Tollwood Festival, Germany

Aug 04: Raleigh Red Hat Amphitheater, NC
Aug 08: Clearwater The BayCare Sound, FL
Aug 09: Hollywood Hard Rock Casino, FL
Aug 12: Wantagh Jones Beach Theater, NY
Aug 13: Mansfield Xfinity Center, MA
Aug 15: Halifax Scotiabank Centre, NS
Aug 17: Laval Place Bell, QC
Aug 18: Toronto RBC Amphitheatre, ON
Aug 19: Ottawa Canadian Tire Center, ON
Aug 21: Detroit Pine Knob, MI
Aug 22: Salamanca Seneca Allegany Casino, NY
Aug 24: Indianapolis Everwise Amphitheatre, IN
Aug 25: Highland Park Ravinia, IL
Aug 27: Prior Lake Mystic Lake Casino, MN
Aug 29: Winnipeg Canada Life Centre, MB
Aug 31: Calgary Scotiabank Saddledome, AB
Sep 02: Abbotsford Abbotsford Centre, BC
Sep 04: Lincoln Thunder Valley, CA
Sep 05: Mountain View Shoreline Amphitheatre, CA
Sep 06: Highland Yaamava Theatre, CA
Sep 08: Chula Vista North Island Credit Union Amp, CA
Sep 10: Las Vegas Planet Hollywood, NV
Sep 11: Long Beach Long Beach Amphitheater, CA
Sep 12: Sparks Nugget Event Center, NV

Sep 29: Sofia 8888 Arena, Bulgaria
Oct 01: Cluj BT Arena, Romania
Oct 02: Budapest Laszlo Papp Arena, Hungary
Oct 04: Bratislava Tipos Arena, Slovakia
Oct 05: Vienna Stadthalle, Austria
Oct 07: Prague O2 Arena, Czechia
Oct 08: Lodz Atlas Arena, Poland
Oct 10: Belgrade Stark Arena, Serbia
Oct 11: Skopje Boris Trajkovski Arena, Macedonia
Oct 13: Athens Telekom Centre Arena, Greece
Oct 16: Zurich Hallenstadion, Switzerland
Oct 17: Milan Unipol Forum, Italy
Oct 19: Barcelona Sant Jordi Club, Spain
Oct 22: Paris Adidas Arena, France
Oct 23: Antwerp Lotto Arena, Belgium
Oct 25: Copenhagen Royal Arena, Denmark
Oct 26: Stockholm Avicii Arena, Sweden
Oct 28: Oslo Spektrum Arena, Norway
Oct 29: Gothenburg Scandinavium, Sweden
Oct 31: Leipzig QI Arena, Germany
Nov 01: Hamburg Sporthalle, Germany
Nov 03: Dortmund Westfalenhalle, Germany
Nov 04: Berlin Uber Arena, Germany
Nov 06: Frankfurt Festhalle, Germany
Nov 07: Nuremberg Arena, Germany
Nov 09: Amsterdam Ziggodome, Netherlands
Nov 10: Strasbourg Zenith, France
Nov 12: Bordeaux Arkéa Arena, France
Nov 13: Nantes Zenith, France
Nov 15: Lyon LDLC Arena, France
Nov 18: Newcastle Utilita Arena, UK
Nov 19: Glasgow OVO Hydro, UK
Nov 21: Birmingham BP Pulse Arena, UK
Nov 22: Manchester AO Arena, UK
Nov 24: London Eventim Apollo, UK
Nov 25: London Royal Albert Hall, UK

Find Deep Purple tickets.

Getting into vinyl isn’t so much a single event as it is the start of a long, sometimes-expensive, and often-obsessive journey. This journey is punctuated by graduations. You might start with a budget hi-fi speaker, and move up to a fuller-sounding hi-fi stack; you might start with charity-shop bookshelf speakers, and graduate to richer-sounding floorstanders; you might start with a budget turntable cartridge, and graduate to something altogether better.

Each kind of upgrade you bring to your home listening setup provides a different kind of benefit, all of which work together to pull the very best out of your physical media. I would argue, though, that the single biggest material impact you can make to the sound of your records (at least, outside of jumping from a portable party speaker to a serious hi-fi setup) is right at the end of your record player’s tonearm.

So what difference could a new stylus really make to the quality of your listening experience – and is it worth it? Read on!

What’s in a cartridge?

The turntable cartridge is a treasure trove of clever engineering moves, which collectively make it possible for you to extract highly-detailed audio information from the bumps and notches in your hard-won Record Store Day purchases. These can be boiled down to three key components: the stylus, the cantilever, and the pickup.

The stylus is the bit that actually touches your record; it follows the bumps and notches in the groove closely, using a gem tip (typically diamond), communicating the information held within as motion. This motion is passed through the cantilever, to which it is attached.

On the other end of the cantilever, in the body of the cartridge, that motion is communicated to an electromagnetic pickup, which turns it into electrical information – the very same information that leaves the turntable for your phono preamp or integrated amplifier.

Most cartridges you’ll come across are moving-magnet (MM), which means the cantilever is outfitted with magnets that move relative to static coils, thus disturbing the electromagnetic fields they create. At the top end of the cartridge spectrum, you’ll find moving-coil (MC) cartridges, which work the opposite way. These are far more delicate, and often attributed to much more detailed results.

My experience with both styli was, to say the very least, remarkable. For the AT-VMN95EN, the jump from bonded to nude is a lot more impactful than you might expect; it gives a whole new feel to your record collection by virtue of quicker transient response and an altogether more robust, structured low end.

If you like listening to the heavy stuff, you’ll find guitars and drums are treated far more favourably here than with the less-detailed VMN95C or -E. Transient sounds are so much quicker off the mark, and there’s so much more rewarding weight to strums, plucks or whacks.

As for the VMN95SH, that fine, edged tip does an incredible job of extracting high-end information. Instruments sound glossier, glassier and much more three-dimensional. Cymbals and percussion shine brighter than ever, while transient information is given the presence and texture it truly deserves. The soundstage is so much easier to parse, with well-separated instruments and crystal-clear articulation.

Another advantage of line-contact styli like this one is that the deep-penetrating tip often eliminates a great deal of surface noise; it gets past the dust that would otherwise interrupt blunter implements, making for an altogether cleaner listen. My Queens Of The Stone Age records have never sounded so pristine!

Generally, my suggestion would be that it isn’t worth jumping to a line-contact style of stylus if you’re still using entry-level hi-fi equipment. The AT-VMN95SH commands a relatively high cost, for fidelity benefits your budget speakers might not have the capability to properly realise. Still, the reduced surface noise is a hard benefit to overlook – and sonically, for my better-than-budget hodge-podge hi-fi system, the AT-VMN95SH was an unmitigated joy.

As a first upgrade, though, the AT-VMN95EN is a no-brainer improvement well worth your time and money. It unlocks so much more of your records than you might expect; a great leap in quality for a not-too-unreasonable price.

How do I replace my stylus?

Upgrading an Audio-Technica VMN95 stylus is incredibly simple. All you do is slide the stylus cover back on, under the cartridge body, then gently pull down with a rocking motion. If your turntable, like mine, has a removable ½” headshell, you’ll find it easier to do this with the headshell off and in your other hand.

If you have Audio-Technica’s AT-LP70XBT, with its built-in cartridge body, you won’t be able to do this, but that’s fine; just secure the tonearm to its rest, and carefully wiggle the old stylus down and out.

Installing the new stylus is even easier. With it safely nestled in its cover, line up the tab with the opening on the cartridge body and press in. It’ll click in, and you’re done! A painless process, and one which requires much less fiddling than replacing your cartridge completely.

Also consider

The VMN95 series of stylus upgrades is comprehensive and, in my mind, brilliant. It isn’t the only option on the block, though. Upgradeable styli are catching on elsewhere, too.

Rega’s entry level Planar 1 and Planar 2 turntables, for instance, ship with the Rega Carbon cartridge as standard; once you’ve gotten comfortable with your Rega turntable, you can upgrade the sound without replacing the cart by buying a Rega Carbon Pro stylus replacement.

Ortofon’s OM-series cartridges enable you to upgrade their styli, too, with a big roster of their own: the OM 3E, 5E, 10, 20, 30 and 40 respectively, which range from basic bonded elliptical styli to nude fine-line styli and beyond.

For the real newcomers amongst us, using an Audio-Technica AT-LP60X, an AT-SB727 Sound Burger or a basic suitcase player, you’ll be listening to your records through the ubiquitous entry-level AT-3600L and its conical stylus. Now, you actually stand to experience one of the bigger quality jumps of all of us, with the AT-3600LE elliptical upgrade.

Read more

• How to clean your record player and vinyl collection
• Best vinyl record cleaners: Keep your vinyl in prime condition
• How to calibrate your turntable: A step-by-step guide
• Cool vinyl record storage ideas
• How to store vinyl: Tips on keeping your collection in great condition

Marshall has announced a limited-edition range of hardware to mark the 60th anniversary of Jimi Hendrix plugging into a Marshall amp for the very first time.

The products are all designed with a purple “cosmic oil on water aesthetic” and features a new Acton III Bluetooth speaker, alongside a JMH Half Stack amp and Fuzz Face distortion pedal.

The iconic music brand say: “Marshall built the amps, Hendrix made them scream. From the moment Hendrix plugged into a Marshall guitar amplifier in 1966, they became an unstoppable creative force. Now, both paths are aligning once again, this time to celebrate the 60 year anniversary and lasting impact of Marshall and Hendrix.”

The Acton III Bluetooth speaker is said to be influenced by Hendrix’s love of velvet, silver jewellery and science fiction and is coated in crushed velvet with a silver control panel with purple controls and matching lights.

The 1959 JMH Half Stack cabinet has been hand-crafted in the Bletchley Marshall factory in the UK and is presented with a black and purple cosmic swirl effect and features a purple LED indicator and silver detailing. It’s said to deliver “tight low-end frequencies, a mid-range punch and stunning highs” thanks to the 1960 AJMH 4x12 handwired angled cabinet which combines with a 1959 handwired head.

The Dunlop Fuzz Face distortion pedal, meanwhile, is available exclusively with the stack and features the same oil on water design seen on the speaker and cab.

Marshall Group’s senior industrial designer Emma Rydahl says: “From his fashion to his lyrics and of course, his music, there are so many differen stories we could tell when it comes to Hendrix.

“We started with materials and pattern exploration, looking at different fabrics and running test prints with a psychedelic track in mind. We spent a lot of time adjusting the final design to get it just right across the whole collection.”

Marshall Amplification co-founder Terry Marshall concludes: “Jimi was a formidable musician, a real force of nature. He took everything to a new level and carried everybody with him.

“When he played, it was an emotional time for everybody because everyone was thinking: ‘If he can do it, I could maybe do it.’ And: ‘He's using Marshall, therefore we want Marshall.’ It was a really special time for us all and there’s no doubt that we grew with him and his fame, it was a natural tie-up. The rest is history, as they say.”

The Marshall Acton III x Hendrix 60th anniversary edition is available to order through the official Marshall website for $299.99/£259.99, while the Half Stack and Fuzz Face combo is priced at $4999.99/£3799.99. The speaker is available right now, while the cab and pedal will begin shipping from June 1.

Getting started with vinyl is a heady and exciting thing. Every new 12” you buy is an absolute thrill, and that never really goes away; there’s the immediate joy of having a physical thing that represents your love for a band or genre, then there’s the slow-burn warmth of watching your wider collection grow with your tastes.

The annual spectacular that is Record Store Day only fuels this flame, whether it’s rare represses or exclusive new stuff. But, as with all collections, your records need maintenance. And, as with all household trinkets, tchotchkes and artefacts, your record player needs occasional attention. Without this, dust and dirt can make a great thing sound clicky, scratchy and weird – or even damage your hard-won collection.

Listening to vinyl records was never going to be as convenient as digital streaming, and, by virtual of being physical, it can never be as theoretically ‘clean’. You’re a wax-head now – and keeping your turntable and record collection clean is all part of the fun.

Why clean at all?

Keeping anything vinyl-related clean is, effectively, a never-ending and wholly Sisyphean struggle against one main villain: dust. It's the bane of any vinyl enthusiast’s life, and now it is the bane of your life too; congratulations! Dust is, thankfully, largely harmless. But letting dust accumulate for any length of time can lead to bad results down the line – and even failing to deal with dust in the short term can present serious issues for your records.

Indeed, the biggest reason for which you want to keep your record player clean is, in fact, your records themselves. These plastic discs are notorious dust magnets, and determined to pick up dust from wherever they can, be it in the air or off your record player’s platter.

This dust settles quite happily in your record’s grooves, and is then smushed yet further in by the stylus as your record plays. All the while, your stylus is detecting the dust in the groove, on top of the audio information it’s actually trying to hear; this is the source of most pops, crackles and surface noise when you’re listening to a vinyl record. And it’s not good for your record, or for your stylus.

Meanwhile, with respect to record players, the accumulation of dust can certainly be a threat to regular operation. Automatic turntables can see their mechanisms getting gunked-up and slow; record players with button-operated active electronics can get unresponsive. It’s all bad beans.

Dusting your record player

Thankfully, cleaning your record player, and keeping it clean, is not a difficult task. It’s simply a matter of keeping the dust off where possible, via regular dustings using a cloth or brush. Of course, record players are ungainly things to dust, with lots of irregular surfaces and sticky-out-y bits – some of which are, of course, extremely sensitive and prone to damage.

My personal life-hack for keeping a record player dust-free is to use a fine-bristled brush. It handles irregular surfaces elegantly, and poses far less risk to your stylus and tonearm than a heavy hand wielding a microfibre cloth. If you’re a dab hand, though, a microfibre cloth can work wonders in picking up dust without just redistributing it.

Even clean houses are surprisingly dusty places (and we, surprisingly dusty people). So, this should be a regular endeavour for you, even if you don’t see that much visible dust on your turntable. Most of the work is more or less done for you if your record player has a dust lid pre-installed on it; keep it shut between uses, and you’ll find far less dust to dust overall.

Cleaning the stylus

Your record player’s stylus is the single most delicate aspect of your whole hi-fi, and should always be treated with the appropriate level of care, respect and/or fear. It also loves to accumulate dust, particularly from deep within your records’ grooves.

When cleaning your record player, take care not to bump or knock the cartridge or stylus, as you could bend or even break the cantilever; an expensive mistake, to say the least. Treat it separately, and give it a gentle tickle from beneath with a carbon-fibre stylus brush. You can also get stylus dips (which are not as tasty as they might sound) – little gel-filled pots that clean off your stylus for you. Two or three light dunks, and your stylus is clean as ever.

Deep-cleaning, and removing grime

Turntables aren’t immune to the grossnesses of everyday life, and can accumulate grime in the places we regularly interact with them – especially the tonearm, tonearm lever and buttons or switches, where our fingers are most consistently grabbing at things.

Household sprays or detergents could risk either the finish of your record player or its mechanical or electrical operation, so avoid these altogether. Instead, clean your tonearm and any touch points using localised applications of high-concentration isopropyl alcohol (IPA – not the delicious beverage), spritzed or dabbed on to a microfibre cloth.

For your platter and for any rubber mats provided, you can keep things clean with some distilled water and a mild detergent; legitimately, washing-up liquid is the ideal for this. If you use a felt slipmat (like my charming custom “Sick Sad World” mats at home), a handheld vacuum or even a lint roller can do the trick.

It’s also good practice, once in a blue moon, to lift off the platter assembly altogether and examine what lies beneath. Belt-drive turntables can sometimes grab dust and gunk, even though they’re typically covered over; Most rubber belts are safe to clean with IPA, so use it judiciously when cleaning around under the platter.

Keeping your records clean

Your record player isn’t the only victim of dust and grime; indeed, it isn’t even the main character. What we’ve done is establish good practice to keep things clean, so you can focus on the real protagonist: your records.

When you play a record, it’s customary to give it a cursory wipe with an anti-static brush or velvet pad first, to remove surface dust added from within the sleeve or picked up from the platter. It’s an important step, and one that significantly reduces the potential for pops, clicks and the accrual of gunk on your stylus during play.

I’m afraid to say, though, that cursory wipe-age is most certainly not enough for the sanctity of your dear records. No amount of velvet paddery can completely exorcise your vinyl of caked-in dust and gunk – and the more you play your Record Store Day holy-grail finds, the more your stylus pushes said gunk into the groove.

Dirty grooves are a common reality for second-hand records, of course, but new records aren’t immune. All manner of particulates can get into the grooves from the manufacturing and packaging process, including fibres from paper sleeves. As such, every record in your collection stands to benefit from a deeper, and even slightly extra, form of preparation: vinyl cleaning.

There are many systems and devices out there for proper wet-cleaning of vinyl records, but I think the easiest and most accessible is the Spin Clean. This quintessential manual record-cleaning system is very beginner-friendly, and involved enough to get a majority of the gunk out of your records. Simply assemble it according to the manual, add distilled water into the well and two capfuls of the provided detergent over its cleaning pads and you’re ready. Records are cleaned one at a time, by manually rotating them three times each way; they’re dried using the supplied cloth, and the results speak – or, at least, sound – for themselves.

Vinyl enthusiasts with a little more time on their hands might find more gratifying results from motorised, ultrasonic record cleaning baths, which can clean multiple records at a time and with deeper, safer groove penetration. Others still, with a little more to spend, might find great convenience in automated record-cleaner/vacuum systems, like the Pro-Ject VC-E Mini. But for you, starting out on your vinyl journey and with a preference for spending your hard-earned on more records, the Spin Clean is exactly what you need.

These are the building blocks for an exceedingly tidy life when it comes to your record player and record collection. With these tools at your disposal, you’re in the best possible position to move forward clear of clicks and pure of heart. Your records and your ears will thank you!

Read more

• Best vinyl record cleaners: Keep your vinyl collection in prime condition
• How to calibrate your turntable: A step-by-step guide
• Cool vinyl record storage ideas
• How to store vinyl: Tips on keeping your collection in great condition
• Direct-drive vs belt-drive turntables: What's the difference?

When it comes to buying a new record player, your options have never been broader. This is both a blessing and a curse for the newer vinyl enthusiasts among us, as it creates a double-edged sword of potential; newer technological crammings have made today’s turntables more versatile than ever, and the jumping-on of dozens of budget brands has made it harder than ever to pick between them.

There is, of course, a rich central seam of reliable turntable manufacturers in the midst of this particular field, among which is much-lauded Austrian brand Pro-Ject.

Since the ‘90s, it’s been the word when it comes to sleek, minimal turntables that deliver the goods – and at tantalising price-points, too. The Pro-Ject T1 EVO BT is one such tantalising prospect, albeit at the upper bounds of what might be considered a budget turntable. Is it worth your attention?

Features

The key selling point for the Pro-Ject T1 EVO BT is, true to the name, its Bluetooth 5.0 connectivity. It’s wireless-capable, with aptX HD transmission – guaranteeing (at least, for compatible receivers) a base level of wireless fidelity that more-than passes the sniff test for casual hi-fi applications.

Though it’s named for its wireless connectivity, the Pro-Ject T1 EVO BT is a highly connectible piece of hi-fi brilliance. Not only is there an RCA phono out, for conventional connectivity to a phono preamp stage, but there’s also an RCA line output. This makes it even more beginner-friendly, enabling newer converts to the vinyl cause to hook up to a hi-fi amp without needing to spend more on a separate phono stage.

There’s something here, though, that Pro-Ject don’t shout about – and which other turntable manufacturers fall shamefully short on. The T1 EVO BT provides simultaneous output to both its wired outputs and to its Bluetooth output, meaning you can effectively play a record on three systems at the same time. This is ideal household stuff; you can be listening to the same vinyl in the kitchen, living room and outdoors, provided you’ve got one long-enough cable to reach the farthest wired destination – and without needing to buy fancy multi-zone hi-fi systems. I’ve not seen this elsewhere, and, to be honest, I’m a little stunned.

The sound fed to these various outputs comes via an Ortofon OM 10 cartridge, a decent enough moving-magnet cart from the entry-ish level of Ortofon’s OM series. The beautiful thing about it is that, like with Audio-Technica’s VM95 series cartridges, the styli are upgradeable.

If the OM 10 starts to show its flaws before long, particularly with an upgrade to your speakers, you’ll be able to buy the next one up for better sonic performance without having to replace the whole cartridge. As it stands, though, the OM 10 is comparable, if a little inferior, to the VM95E – a decent starting point, if a little underpowered for the price.

Design

Visual design is, really, where Pro-Ject excels. It’s a winning formula across Pro-Ject’s product range, of sleek plinths, sharp vertices and smart materials – and a formula which wins again here, thanks to the T1 EVO BT’s fancy frosted glass platter. I love this as a material decision; it’s equal parts aesthetic gloss and sheer practicality, being both high-mass and highly fetching.

The T1 EVO BT comes in three variants: black, white and walnut. I’m not the biggest fan of wood-veneer turntables – I think they’re inescapably dated, as far as design goes – but here, with my walnut-variant review sample in my room among my mid-century things, I don’t mind it so much. That austere design approach lends it a degree of gravitas, of which other turntable designs aren’t quite capable. But it’s not all about looks.

Despite the T1 EVO series still being very much in Pro-Ject’s budget-turntable bracket, I had some hopes that it would harbour some more, well, evolved design choices than those of its even-budgetier sibling which I reviewed last month, the new Pro-Ject E1.2.

Unfortunately, it seems the E1.2 series actually borrowed from here, with a lot of specs being actually quite comparable – and with the T1 being in possession of that same unsure three-footed base, that tips easily with upward force. That tri-foot design is meant to make levelling easier, but for my money it just makes using it harder. And for the money the T1 EVO BT commands, one essentially receives a glass platter and some slightly pricier electronics. At least installation is just as easy as the E1.2.

Sound

The first impression you get from the Pro-Ject T1 EVO BT is, unfortunately, not amazing. The motor has a quiet, but steady and quite whiney hum to it – one that’s worse on start-up, where it pitches up and then back down a bit, demonstrating the small struggle it seems to face with that glass platter.

We’re not here for torque, though – and fortunately, it’s sunlit uplands from here. Though it takes a moment to get up to speed, the T1 EVO BT’s motor is stable throughout, if left undisturbed. The Ortofon OM 10 is a perfectly capable little cartridge too, and even-handed enough to be fair to any of the heavier stuff in your collection.

I started out listening from the phono out, through my Vestax mixer’s phono stage and into my Cambridge Audio integrated amp. I was feeling uncompromising when I started my review, so first on the roster was Silver Mt. Zion Memorial Orchestra’s Fuck Off Get Free We Pour Light On Everything, the much of which is a blooming mass of fuzzed-out guitars and insistent saturated violins. This is not a ‘high-fidelity’ record; it’s protest music, raw and fulsome – and the OM 10 handles its un-sanded edges uncritically.

Throughout, there is an impenetrable fug of low-end information, from blown-out bass and deep-dead drums, rendered in fullness. The quieter back-half of second track Austerity Blues is a quiet-clatter of choired voices, driven violins and saturated loops, and illustrates the T1’s simultaneous keenness for higher-end information.

For something a little more pristine, I gave Queens Of The Stone Age’s …Like Clockwork a crack. Josh Homme’s voice is a crooner’s delight throughout, revealing some great depth in the cart’s mid ranges. Drums are pleasantly thocky without being to emergent or sharp, as best evidenced by The Vampyr Of Time And Memory; transients settle, here. My God Is The Sun is a hugely impactful listen, if a little crammed in places.

Bluetooth took a little while to engage, but when it did, I was pleasantly surprised. Many analogue-forward folks have gripes with the idea of Bluetooth for vinyl transmission, but when it sounds as decent as the aptX HD transmission does here, I don’t think they have much to stand on. Even with less-saturated moments on Fuck Off Get Free, like the genuinely-upsetting Little Ones Run on the B-side, I couldn’t detect any undue colouration.

While we’re here, I had the opportunity to A-B the line and phono outputs using a DJ mixer, and giving me a chance to test that built-in preamp with a little more closeness. I will say it sounds to be a little on the brighter side, but this is by no means a bad thing; it just lends a little more to the slight treble preference the OM 10 cart professes – and perhaps even tames some of that uncritical low-end reproduction, particularly on thuddy masters like …Like Clockwork.

There are aspects to the Pro-Ject T1 EVO BT that I’m not the biggest fan of. The three-footed base is more nuisance than nous, and, despite being partial leg-up from its little-sibling E-line price-wise, it shares some construction and key specs in common. That said, its techy improvements are inarguable – and I can’t lie about how good it sounds when it’s left to its own devices, through any of the outputs you deign to use.

It’s audiophile-adjacency at its near-best; a strong performer, and one I was glad to get Homme-y with, but one likely to be overshadowed by turntables either side of its price.

The alternatives

If you’re cash-strapped, the Pro-Ject E1.2 series presents a similar value prospect to the T1 EVO BT; there’s not much practical difference, outside of certain individual downgrades. If you’re not altogether fussed about a built-in preamp, let alone an Ortofon cartridge, you stand to save a bunch on the base E1.2.

Elsewhere, Audio-Technica’s AT-LP70XBT is, again, cheaper. Though you lose in visual design smarts and overall mass, you gain an automatic mechanism, and a built-in cart that takes AT-VMN95-series cart upgrades. For the same as the T1 EVO BT, you could have a solid player with a top-flight micro-line stylus.

The Record Store Day 2026 hype is ramping up, and by now you've probably got your wishlist locked in ahead of the big day.

But have you thought beyond the records themselves? Sure, picking up a bunch of rarities and exclusives is going to deliver the biggest buzz and fuel your VAS (vinyl acquisition syndrome) the most, but it's important to understand the need to protect your records for their long-term survival and optimal audio; and that's why I've compiled this quick guide to the essentials every vinyl collector needs: a vinyl rescue kit, if you will.

Below, you'll find everything from tried-and-tested vinyl cleaners and a vinyl brush for eliminating dust-gathering static from your records, to storage units to prevent grime or warping and inner sleeves to ensure your records are well looked after and stored correctly. You're welcome!

Here at Louder, we also have guides covering portable record players, budget turntables and record players for beginners. And, if you want to listen to your records in private, we also have a list of the best headphones for vinyl listening.

Record Store Day 2026 is practically upon us, bringing with it the opportunity to lay your mitts on a load of exclusives, rarities and one-offs, whilst also supporting your local record store. What could be better?

Now, if adding some new RSD picks to your collection means your vinyl pile is set to topple, it's high time you explored some proper vinyl storage solutions, or expanded your existing storage to accommodate all your new acquisitions; you do know the importance of storing your records properly, right?

Thankfully there are some seriously neat (and surprisingly affordable) options to keep your records in check and to add a deluxe twist to your music listening space.

Here, I've uncovered smaller desktop solutions for easy access to your latest finds, to storage for up to 200 records if your collection is forever growing. I've even found options that integrate your turntable and speakers with your records for some true feng shui.

Got some cash left over from your RSD shopping? These are some cheap upgrades to improve your vinyl setup, that start from as little as £9.

Easter chocolate treats are all well and good, but if you really want to treat yourself this year, then a new set of headphones could be the way to go - especially as Amazon is selling some of Sony’s best cans on the cheap right now as part of its Big Spring Sale event.

I've highlighted a few of my favourites Sony discounts below, but my top pick goes to the often overlooked Sony WH-CH720N wireless noise-cancelling headphones, which have been reduced from $179.99 to $98 - a huge 46% saving.

These are Sony’s lightest wireless noise-cancelling headphones and weigh in at just 192g. However, they still manage to deliver a heavyweight listening experience with Sony’s Integrated Processor V1 and Digital Sound Enhancement Engine (DSEE) combining to produce crystal-clear audio that’s just as the artist intended. With up to 35 hours of battery life, and superb hands-free calling, these headphones are the perfect accessory for those long journeys.

Sony has a reputation for making exceptional headphones, so any opportunity to grab some on the cheap is worth taking. While the discount on the SonyWH-CH720N is perhaps the most eye-catching in the Amazon Big Spring Sale, there are other discounted Sony headphones that are well worth a closer look.

The audio firm's flagship Sony WH-1000XM6 have a nice $62 saving, with the price reduced from $459.99 to $398 in four colors: Black, Midnight Blue, Platinum Silver and Sand Pink. There's also 31% knocked off the price of the Sony WF-C510 earbuds - down from $69.99 to just $48 in their White and Yellow configurations.

I own a pair of the Sony WH-1000XM5 over-ear headphones and they're still my go-to for late night, on the sofa listening - and they've also had a price reduction in the Big Spring Sale: Down from $399.99 to $298.

Meanwhile, the Sony ULT WEAR over-ear noise canceling Bluetooth headphones can often be overlooked in the sheer number of Sony headphones, but with a 41% discount, they are definitely worth a closer look. They've had a price cut and are now $148 rather than the usual $249.99.

My final pick is in the earbud category with the Sony WF-1000XM5 reduced from $329.99 to $248.

Soundboks' range of heavy-hitting speakers just got a little more noisy thanks to the brand new Soundbok Mix - a Bluetooth party speaker that can crank out thunderous audio of up to 121dB.

The Danish firm are known for their rock-solid speakers, with the Soundboks 4 featuring in our guide to the loudest Bluetooth speakers.

The new Soundboks Mix features the recognisable Soundboks design, but this unit is light enough to transport between locations and has a battery life of up to 40 hours from a full charge. It also carries an IP65 rating, meaning it’s water-resistant and dust-proof.

Then Soundboks app lets you tweak the EQ settings and sound profiles on the fly - and you can also change-up the customisable front grille to make it stand out from the crowd.

Best of all, you can also (if your ears can take it) hook the Mix up to five devices including the Soundboks 4 and the Soundboks Go for massive, marquee-filling sound.

Soundboks CEO Jesper Theil Thomsen says: “Amongst the inconsistent, one constant remains: everyday life requires a speaker to sound great, whatever the situation. Soundboks Mix is perfectly placed to do just that, balancing audio quality, power, battery life, durability, and portability.”

Thomsen adds: “The party speaker market is one-dimensional, forcing a choice between power and portability. With Soundboks Mix, we’ve eliminated the need to choose between the two. This speaker strikes a perfect balance without compromise, offering a level of versatility unlike any other.

“We didn’t just make this for hosting and partying - Soundboks Mix was designed to fill your everyday life with better sounding music.”

The SoundBoks Mix will hit retail on March 26 priced at $799/£599 and will be available from the official SoundBoks website.

Austrian turntable brand Pro-Ject is one of the key poster-children for affordable performance when it comes to record players – and a highly deserving one, to boot. In its 35-ish years, Pro-Ject has pushed the envelope not just for good sound at a good price, but also for good style. A trademark minimalism, stripping the turntable back to its elegant essentials.

Pro-Ject has a wide range of record players to offer you, and one of them has to be the cheapest. Right now, it’s the E1.2: a re-do of Pro-Ject’s entry-level flagship, the E1, and an extremely enticing one at that. Not only does it improve heavily on Pro-Ject’s budget offering, but it elevates expectations for entry-level turntables across the board. Let’s find out how.

Features

The Pro-Ject E1.2 is, true to type, a relatively bare-bones affair, and to its credit. It’s a manual belt-drive turntable with little in the way of modern conveniences, beyond a rocker switch for powering the turntable into 33 1/3 or 45 RPM operation.

The E1.2’s two key improvements on its predecessor are a new platter, and a new supplied cartridge. The E1.2’s platter trades polymer for die-cast aluminium, making for a comfortingly weighty piece of vinyl-hosting paraphernalia that adds more stability to the playback of records. The cartridge, meanwhile, is Pro-Ject’s own design, the Pick It MM E; a conical moving-magnet cartridge with a warm sound profile, and a serious leg-up on the entry-level (but nonetheless surprisingly good) AT-3600L that shipped with the E1.

In the box, you get: the turntable itself; a lid for said turntable; a power supply; and a box of accoutrements, including the belt for the belt drive, a 45 adapter and some calibration tools to make setup as easy as possible out of the box. No RCA cables here – because the E1.2 comes pre-outfitted with a permanently-attached one. In the short term, I don’t mind this at all, but in the long term it can make dealing with a potential cable fault a little bit more arduous than it needs to be.

The built-in cable is partially a function of the E1.2’s lack of built-in phono preamp – another potential sticking point for newer turntable converts. You’ll need one (or a hi-fi amplifier with one built in) to get anything out of this; if you don’t fancy this extra little hunt, you’ll be glad to learn that E1.2 is one of three variants – the others of which offer a built-in preamp, and also trade the hardwired cable for conventional RCA sockets.

Design

The most striking thing about the E1.2, as with anything from Pro-Ject’s oeuvre, is its simplicity. The visual design is clean and uncluttered, matte-black mechanisms and an austere obelisk of a plinth signalling the E1.2 as, at once, a plainly practical utility and living-room artwork. Mine is, to coin a phrase mid-centurily walnut in finish, but you can get a much cleaner white or black variant too.

As far as setup is concerned, the Pro-Ject E1.2 is delightfully easy to get up and running – for a turntable that takes any degree of getting-up-and-running. Whether a newer arrival to the world of vinyl, or a recent convert from the cheaper, come-as-they-are automatic or suitcase turntables at the entry level, you might find this amount of assembly daunting anyway. Worry not, though; it’s as simple as wrapping a belt around a wheel and capstan, then placing the platter on top. Plug some stuff in and get it calibrated, and you’re away!

On the calibration front, Pro-Ject even supplies you with the tools necessary to get your record player set-up and playing at its best – something you don’t see with a lot of other brands catering to the sub-$/£250 price point. There’s no adjustable anti-skate, but this isn’t for lack of anti-skate at all; it’s pre-calibrated for the Pick It MM E cart, at the factory.

This might present frustrations for those hoping to make some serious cartridge upgrades in the mid-to-distant future – but when most popular carts ask for 2-ish grams of tracking force, it’s not all that much of a big deal. Besides, if you’re in a position to worry about anti-skate on an expensive new cartridge, you’re also in a position to afford an expensive, better-specced new turntable too.

Speaking of easily-forgettable nuisances, there are some other small ways in which the Pro-Ject E1.2 demonstrates its low price. For one, there’s the austere three-footed chassis, which makes the E1.2 feel a little easier to disturb than other players. A single, central back foot means you can’t lift the dust lid with one hand when you want to use it, lest the whole thing tip back and potentially dint a precious corner of the plinth. This never realistically impacts the playing of records, but it does present a minuscule vexation when you’ve your record of choice in one hand already.

For another, there’s the tonearm rest, a tastefully minimal arm with a clip on the end. The arm moves in its socket, and can sometimes pull out enough to swivel a little with the tonearm; again, two hands are sort-of necessary to keep everything where it needs to be when setting a record to play. But this isn’t a grab-and-go record player for those short of time or patience; these paltry pains can surely be forgiven.

Sound

Pro-Ject isn’t lying when it describes the sonic profile of its Pick It MM E cartridge as “warm”. There is a phenomenal weight to the lows and mids, as capably demonstrated by my turntable-testing mainstay (and rare candidate for “best album ever made”), Queens Of The Stone Age’s Songs For The Deaf. No-One Knows is tight and controlled, despite those stacked guitars and that rollicking runaway bass. The kick is delightfully hoofy without ever losing definition, and there’s growl aplenty atop the weightier qualities of the heft on display.

‘Control’ is a great word by which to describe the Pick It MM E more generally, the cart being a great example of controlled sound reproduction in action. Transients sound natural and unforced; there’s no unnecessary reinforcement of bassy frequencies, meaning often-muddied instruments and parts come through with distinction. The drums on First It Giveth and A Song For The Dead are a rare three-dimensional delight.

The word ‘warm’, meanwhile, can be a double-edged sword, as realised by a slightly less-focused engagement with the upper reaches of the treble range. Cymbals are there and proud, but there’s a slight, perceptible high-end roll-off that has a habit of turning ‘s’es into ‘sh’es. Natural as the transient response is, it doesn’t extend up to the tinkier, tiss-ier elements of the kit.

Sometimes, though, this is to the Pick It MM E’s credit. Brighter, more obnoxious instrumental mixes like that of Mitski’s addictive runaway Where’s My Phone, from Nothing’s About To Happen To Me, benefit greatly – that lack turns into control, again. Meanwhile, Mitski’s rich, “warm” voice fully shines against an ever-crescendo-ing band threatening to break out of the record itself.

Besides which, that general preference for lower-end representation doesn’t mean the E1.2 can’t handle brightness altogether. My Bloody Valentine’s Loveless is a cavalcade of sounds, remembered more for the chaotic sound-tapestries of Kevin Shields than anything else; album opener Only Shallow is more straightforward than the album’s reputation, and exceedingly bright, from telephonic lead vocals to high-tuned snares and piercing drum overheads. All of this, rendered clearly and exuberantly (if a little “sh”-y in places).

Mitski’s bar-lounge ballad I’ll Change For You is a brilliant conduit by which to understand the E1.2 and its cartridge at their best. Those tight snare rim-shots poke up through a plucky, woolly bass; strings sear silkily atop, and Mitski’s well-controlled voice is articulated with striking, affecting presence. A smooth croon-y heartbreaker for the modern age, presented impeccably.

The E1.2’s specs with regard to wow and flutter could be better on paper, but to my ears there’s very little sonic instability to speak of. Everything is smooth and buttery, playback consistent and tonearm quite happy handling whatever record deformities my aging collection had to throw at it. I will say that the motor can be a little noisy when getting up to speed, but that it quietens down quickly enough; it could be quieter, but it’s not noticeable at any distance.

The Pro-Ject E1.2 undoubtedly wears its budget price point on its sleeve in places, but it doesn’t do so with any sense of shame. These simple mechanisms and austere design choices are made mindfully, and with pride, in service of a phenomenal-looking manual record player that just works. And really very well, at that. As far as the cheaper turntables go, it’s hard to imagine getting a better base sound out of the box from anything else.

4. Alternatives

The Pro-Ject E1.2 is one of three entry-level variants, the other two of which are: the E1.2 Phono, which comes with a built-in phono preamp for even more plug-and-playability (and RCA ports, as opposed to the hardwired cables of the E1.2 reviewed here); and the E1.2 BT, which features separate Line Out and Phono Out ports as well as a Bluetooth transmitter for wireless playback on any receiver of your choosing. If these conveniences appeal, you may consider paying that little bit extra to avail of them.

If adjustability and customisability are both high requirements on your list, you might look to the Audio-Technica AT-LP120XBT – a much larger, much more maximalist turntable, but one with lots of adjustability (right down to the supplied VM95E cart, which can be upgraded via a range of styli for much less than a new cart altogether).

The Audio-Technica AT-LP70XBT is a neat little upgrade to a pre-existing entry-level record player in the Audio-Technica turntable roster – the darling of budget turntable guides the world over and probably one of the most-recommended “first turntables” in history. This gold-standard starter turntable is still very much available, and very much one of the best bang-for-buck turntables you can buy in the beginner price range; the LP70XBT, quite simply, is better.

Features

This is a fully automatic turntable, designed to take all the tremulous fiddlings of playing your precious records in its own stride. No shaky hands scraping styli across the grooves here; just the dependable figurative hands of the Audio-Technica AT-LP70XBT, placing and removing the tonearm calmly on your expectant behalf.

Using this mechanism, by the way, is gratifying to say the least. The start and stop buttons press in with thick, chonky feedback, and the tonearm moves with a slow sureness that puts me well at ease. When the record ends, the stop mechanism plays out automatically too, so you don’t have to worry about wearing either your stylus or your inner groove when you leave a record on while doing other bits. There’s a slider at the base of the tonearm so you can select the size of record you’re playing (7” or 12”), which sets the sensitivity of this stop function; your singles won’t be stopped prematurely this way.

The ‘BT’ in the turntable’s title points helpfully towards its Bluetooth functionality – transmission, more specifically, and using the Qualcomm aptX Adaptive codec where devices are set to receive it. That’s some supple-sounding wireless connectivity, further simplifying any first forays into spinning plastic. Using it is as simple as pressing the dedicated button on the face of the unit – it’s one-touch, and no-fuss.

This wireless connectivity is serviced, also, by a built-in phono preamp – which you can also use for wired connectivity to a variety of sources. As we’ll discover, this phono preamp is surprisingly good.

As for the standard in-the-box gubbins, there’s an RCA cable with earth terminals supplied, a plastic 45 adapter for your older 7”s and a lid for keeping dust (and cats) out of the equation.

Design

The Audio-Technica AT-LP70XBT’s visual aesthetic also gets a considerable upgrade from the LP60XBT, with a smart plastic chassis in possession of some very pleasing vertices. In comparison to the LP60XBT, it’s sleeker, slimmer and much better-looking atop your sideboard/record shelf/hi-fi unit of choice. I like the thin silver band that that runs around the lower edge, giving it a bit of visual lift.

I’m a big fan of the elegance on display here, particularly with the execution of some record-player essential mechanisms – like, for instance, the tonearm lift. It’s a sleek design, where a flush platform rises out of the tonearm base to lift the tonearm via a ball-ended foot. It looks cool, and it’s smooth as anything too. Little details like these make me happy, and they’re everywhere.

If I were to gripe about anything design-wise, it would be the weight of the LP7070XBT overall. It’s light and plasticky, which immediately makes one think “weak” and “unstable” – even though it’s neither of these things. The turntable is designed to play stably, and it does; for someone used to dense blocks of record-playing goodness, it’s initially unnerving.

Others with more turntable experience might bemoan the lack of counterweight adjustability, but it’s actually great – being perfectly balanced for the tracking-force requirements of VMN-95-series styli and fuss-free for the beginner.

Sound

The star of the show, really, is the LP70XBT’s sound, made possible by the new AT-VM95 cartridge system. The VMN95C stylus supplied is the cheapest of the bunch, a conical stylus that, naturally, doesn’t quite penetrate to the deepest details in the groove. Nonetheless, there’s some remarkable detail, and dynamic range too, with thanks to the moving-magnet assembly behind that built-in-cartridge curtain.

Land Of Talk’s Applause Cheer Boo Hiss is on full and frenetic display here, and a great demonstration of the AT-LP70XBT’s handling of higher-end information. Trebly guitars crash wave-like (and enjoyably) against trashy hi-hats throughout the record, but especially in the aptly-named Sea Foam; the near-telephonic vocal mix of Summer Special is delicate and peaky, giving way to the febrile drums of its interstitial phrases.

I found, anecdotally, the low end to be a little less-defined with the conical VMN95C stylus than with leg-up elliptical sibling, the dependable VMN95E (the green one you’ll see shipped on many other entry-ish level turntables, and which I use at home on the daily). But there isn’t that much in it. Land Of Talk’s kicks remained hoofy, and the bass had huge punch when it needed to be.

To get a better handle on that low-end performance, I stuck on Queens Of The Stone Age’s Songs For The Deaf. And when the mix opened out into full-bore glory in …Millionaire, I gawped a little. There’s some very impressive heft here, full and wide and deep (if a little pillowy in the lower extensions of the bass guitar).

In fact, it revealed the high-end shortcomings of the VMN95C stylus more so than any low-end lack, namely a roll-off at the highest highs that softens some more direct elements. Transients aren’t as immediate as they could be, but that – and all other sound shortcomings – is easily fixed by simply getting a new, better AT stylus at some point.

All this, it’s worth saying, while using the LP70XBT’s built-in phono preamp, which, itself, sounds surprisingly great. I didn’t miss my other preamps at all when testing this with the onboard preamp switched in, which says a lot for the viability of this record player in the long term.

I will acknowledge one of my bigger beefs with the Audio-Technica AT-LP70XBT: it’s a bit noisy in the room. Whether or not you deign to engage the automatic starter mechanism, the sound of the turntable in operation is undeniably louder than it probably ought to be. It’s not audible over records, if you play them at the minimum volume they deserve to be played, but it’s a small nuisance besides.

All told, I think this is a phenomenal piece of entry-level equipment, that punches well above the expectations of that same entry level. The fact you can upgrade the stylus is such a boon, too, and something you don’t tend to find on other budget turntables.

Between this, the surprisingly stable playback and the incredibly decent built-in preamp, you have a reliable starter turntable that’ll last you so, so much longer than the rest.

Alternatives

The Audio-Technica LP60XBT is the closest alternative you’ll find on the market, being the predecessor unit with much of the initial DNA. It’s cheaper and just as handy with your precious records, even if its cartridge is a slight downgrade.

If you don’t mind ditching some of the modern conveniences that make the AT-LP70XBT such a great all-rounder, then you might look instead towards something like the Pro-Ject E1.2. This is a manual entry-level turntable, but one which looks more to your potential future curating a home hi-fi stack to end all home hi-fi stacks.

As Amazon's Spring Deal Days UK sale enters its final hours (the sale comes to an end just before midnight on March 16) there's just enough time to save a bundle on a whole range of Amazon's very own devices, ranging from speakers to TVs, video doorbells to e-readers.

But to get you started, you can get your hands on the latest generation Amazon Echo Dot Max for 30% less, because the price has been cut from £99.99 to £69.99 making this the perfect time to pick up this smart speaker with Alexa functionality in a choice of three colour varieties: Amethyst, Glacier White or Graphite.

There’s a whopping 48% off the Amazon Fire TV Stick 4K, giving you access to a mammoth range of content for just £25.99 - that's down from £49.99. And if you’re looking for a new TV to watch this summer’s football World Cup on, how about the Amazon Fire TV 50” Omni QLED Series – an awesome panel that’s had 40% shaved off its price, with the price smashed down from £649.99 to £389.99.

I've already mentioned that the Echo Dot Max is going cheap, but this isn’t the only Echo device that appears in the sale. You can also get 38% off the latest version of the Echo Spot smart alarm clock - down from £79.99 to £49.99. There's 28% off the Echo Show 11 multimedia display, down from £219.99 to £159 and a nice 16% saving on the latest Echo Studio compact speaker, with the price cut from £219.99 to £184.

Home-security gadgets also feature heavily in the sale, and apart from the Blink camera and video doorbell set that’s had its price cut by 71%, you can get 44% off the Ring Battery Video Doorbell Pro (£179.99 to £99.99) and 20% off the Ring Floodlight Cam Pro (newest gen.), the latter dropping from £249.99 to £199.99.

With the big Spring sale coming to a close, it's your last chance to save, so if you see something you like, grab it.

And don't forget to take a look at other Amazon Spring Deal Days price cuts on CDs and vinyl, vinyl storage, Audio-Technica turntables - and this sweet deal on NordVPN complete with Amazon gift card.

It's the final day of Amazon's Spring Deal Days event in the UK and if you’re looking to buy a great-value record player to spin some excellent vinyl, there's money off two brilliant Audio-Technica turntables right now.

First up is 24% off the Audio-Technica ATLP60XBT - down from £199.99 to £152.99. The deal covers both the black and white versions of the wireless, belt-driven automatic turntable.

Next up is the silver edition of the Audio-Technica ATLP120XUSB, which is down 20% from £299.99 to £239. If the black colour variant is more your style, you can also pick one up with a discount as it's been reduced from £299.99 to £245 - that's 18% off the RRP.

The name Audio-Technica is synonymous with listening quality – a fact that’s reflected by the many awards the Japanese company has picked up over the years. So I'm always excited when we see its products going for much less than the usual price. This Amazon Spring Deal Days sale sees not one but two record players going cheap – and both of them are very capable machines.

First up, there’s the ATLP60BXT - an entry-level turntable that not only looks sleek and stylish, but it delivers a satisfying user experience, too. It’s easy as pie to use, thanks to its fully automatic, belt-driven operation, while a choice of 33 ⅓ and 45rpm speeds enables you to switch from playing albums to singles without fuss.

An integral dual moving magnet phono cartridge with replaceable diamond stylus adds a touch of class to the turntable’s sonic performance, and there’s wireless capability, too, meaning you can easily hook it up to Bluetooth speakers or headphones. With a choice of black, white or gunmetal colourways, you should have no trouble blending this baby into your home set-up.

Sitting slightly higher up the price scale, the ATLP120XUSB has a broader set of features than its stablemate. It's included in our guide to the best Audio-Technica turntables for good reason. It's a manual, direct-drive turntable that offers three speeds (78rpm being added to the aforementioned two), adjustable dynamic anti-skate control; a professional anti-resonance, die-cast aluminium platter; and – as the name suggests – the ability to convert your records to digital files via USB. Again, there’s a choice of colours here, with both the black and the silver giving off a fun yet sophisticated vibe.

With just hour to go until Spring Deal Days is over, you'll have to be quick to grab these discounts - and don't forget to check out a number of vinyl storage discounts that are available in this year’s Spring Deal Days sale too.

Audio-Technica: outside of DJ-mainstay brands like Technics, probably the most dependable turntable brand in the world. If you’re getting an Audio-Technica record player, whether it’s a bare-bones budget spinner or a full-featured direct-drive workhorse, you’re guaranteed to be getting something somewhat good. It speaks to the brand’s storied history with turntables – one of tradition, innovation, and… burgers?

The Audio-Technica ‘Sound Burger’ (sold in the US as the ‘Mister Disc’) was a 1983 invention, a short-lived but surprisingly good portable record player, doomed by coming along just as other, infinitely more portable audio formats started to take the centre stage. Despite this relative impracticality, the Sound Burger gained a cultish fandom of its own in the intervening years – a combination of its strikingly ‘80s design and trademark Audio-Technica smarts. And now it’s back.

Initially revived as a limited-edition anniversary celebration in 2022, the new and improved Sound Burger was an instant hit. Enough so that it found a permanent place in the Audio-Technica roster in 2023, as the AT-SB727. It’s old-school and new tech in a very compelling portable package – but how good is it?

Features

The Audio-Technica AT-SB727 Sound Burger is a techy rework of the original AT-770, keeping everything that made it great while adding some extremely welcome quality-of-life improvements. It looks and acts practically the exact same way it did in the 80s – but now there’s: a better Audio-Technica cartridge; a USB-C rechargeable battery with 12 hours of life in it; a built-in phono stage; Bluetooth connectivity; and a multi-purpose line output for wired connectivity to most things audio-receiver-y.

The main event here is its portability, of course, something achieved by the very clever system by which it earns its fast-foody name. The device is one large, long clamshell, that makes a given vinyl record the meat in its proverbial sandwich. Place your record in, clamp it shut and you have a remarkably sturdy portable record-playing device.

Such portability necessitates some smart compromises. There’s no platter to speak of, meaning much of the record is suspended in mid-air by its own integrity. Despite this lack of surface area, the record receives torque aplenty from a nifty spindle assembly, assisted by a 7” adapter that doubles as a clamp-helper and a tonearm rest when the Sound Burger isn’t in use. Due to the light weight and platterless design, you can expect a bit more needle-jumping than usual if you’re banging around on the same surface; don’t do that, and you’ll be fine.

Portable record players writ large have a poor reputation, owing in large part to the heavy-handed, record-damaging nature of the OEM tonearm assemblies used by the vast majority. Looking at the Sound Burger, with its light tonearm and spring-assisted counterweight, you’d be forgiven for thinking it could pose the same risk to your precious Black Sabbath discography.

Since the Sound Burger has no conventional platter, I tested this, albeit imperfectly, by measuring the tracking force with a scale perched on a sacrificial record. For the nerds: the AT-3600L stylus with which the Sound Burger is furnished asks for 2.5-3.5g of tracking force to perform optimally; I measured 3.64g.

This figure is undoubtedly higher than the true measurement, owing to the extra height of the scale atop the record. With this, then, I think I’ve loosely illustrated that the Sound Burger is most definitely not going to carve up your records. In fact, it’s pretty well calibrated to perform at its best.

Design

Really, the design of the Audio-Technica AT-SB727 is a feature in and of itself. It’s a stunning piece of portable equipment, with a pleasingly retro aesthetic and some clever user-friendly flourishes to its name. As far as portable players go, it couldn’t be much easier to use.

There’s an ‘off’ position for the tonearm, at the furthest extent of its sweep; you put it here while putting your record in place. The 45 adapter is also a spacer for the lid, and goes over your record (or, for 45s, simply does its job as an adapter). With the Sound Burger on, moving the tonearm into place activates the motor – so click the lid shut, place the stylus and you’re away. There’s no auto-stop at the end, but I’ve never been huge on them as a feature anyway.

Bluetooth is one-touch and automatic; I connected the Sound Burger to my Kanto Ren active speakers with one press of each Bluetooth button for each device; a healthy white-flashing LED tells you when it’s pairing, and when it’s paired. Pretty much everything is one-touch operation; there’s no rocket-science here, just good design.

Sound

Here, the fundamental reason for which the Sound Burger is, above all, a surprise: it actually sounds good. Not fine, not decent, but good. Actually good.

There’s no reason it shouldn’t spec-wise, of course; its AT-3600L cartridge is a gold-standard budget cart that outshines pretty much all competition for sound-per-pound. That platterless design, as expected, does rob the Sound Burger of some stability, but the 7” adapter does a great job of putting some back.

Idles’ Brutalism sounded every bit as throaty as you’d expect, imbued with all its expressive, febrile, brittle angst. Queens Of The Stone Age’s Songs For The Deaf was a dense delight, every honked-out guitar riff a fulsome thrust of low-middy heft. It’s good. It’s good.

So surprised was I at the fullness of Sound Burger’s sound representation, that I AB-ed it with my workhorse Vestax turntable, through a DJ mixer. The difference was minor. Unsurprisingly, better cartridges sound better; surprisingly, the Sound Burger’s playback more or less kept up with a quartz-controlled direct drive, and the phono stage sounded just about as good as my mixer’s.

I momentarily left the heft behind, in favour of my current favourite DJ-secret-weapon 7” – a repressing of Master Plan, Inc’s energetic shot-glass of optimist funk, Bright Light, Big City – to test the 7” adapter properly. It was a reassuringly snug fit, and played back sturdily, revealing a crystal-clear remaster with no single detail missing. It sounded better than it sounds played out, on knackered Technics 1210s through a club sound system.

Here, I’ll venture that it’s a small shame Audio-Technica haven’t plumped for slightly better Bluetooth transmission than the perfectly cromulent SBC codec. Practically speaking, though, using this with a fair-to-middling Bluetooth speaker or daring to take it to the park with you, you aren’t going to notice at all.

Besides, if you’re going to use this at home, you might as well just plug it straight into to something. Which you can do easily, with the 3.5mm line out, and with the handy 3.5mm-to-RCA breakout cable Audio-Technica so kindly provide. And which I did, when listening to QOTSA. It was mega. Realistically speaking, the bigger potential issue – and again, not much of one – is the volume of the Sound Burger’s needle talk.

Needle talk is the sound that comes directly from the needle vibrating in the groove, a tinny acoustic phenomenon that offers an exciting glimpse at the science of analogue sound reproduction, but that also impacts your enjoyment of records played at low volumes or in small rooms. This minor nuisance is amplified (figuratively speaking) when using Bluetooth, which comes with no small degree of latency; hearing hissy, trebly moments of high energy from your record before they’re genuinely reproduced in your hi-fi makes for a slightly distracting experience.

Of course, this is a function of a few things endemic to the Sound Burger, from the platterless design to the spring-assisted tonearm. And it’s a problem easily solved by a) turning it up, and/or b) moving the Sound Burger away from your listening position. Small beers, really, in something that’s clearly not designed to be the next audiophile turntable du jour. And even then: it’s good. So good. It’s Actually Good.

It’s a portable turntable that weighs as much as a loaf of bread. And it’s good.

I love it.

The alternatives

The Audio-Technica Sound Burger AT-SB727 is easily the best-performing portable record player on the market, and is likely to be for some time to come. As such, I can’t really recommend anything in the way of a direct alternative to the Sound Burger. Cheaper suitcase-style players are just that – cheaper – but also bring some risk to the safety of your record collection.

The Sound Burger is roughly equivalent in spec to the Audio-Technica AT-LP90XBT – a full-fat record player that also benefits from a full platter. So, if you want a cheaper beginner turntable with a bit more stability, and don’t mind losing the design and aesthetics of the Sound Burger in the process, the LP60XBT is the way to go.

If you’ve a little more in your budget, you might consider the Audio-Technica LP70XBT; a leg-up automatic turntable that marries plug-and-play-ability with upgrade-friendly longevity.

With the sheer amount of Bluetooth headphones available and the seeming demise of the humble 3.5mm audio jack on some devices, it's easy to assume that the days of wired headphones is numbered. However, with the resurrection of portable CD players, MP3 players and even cassette players, it's possible that you just might be in the market for a new pair of wired headphones.

I remain a fan, and I still regularly use my precious (and sadly now discontinued) Oppo PM-3 over-ear headphones, which I hook up to my slightly battered 160GB iPod Classic through a portable Oppo HA-2 amp. Wires? Yes, a few - but the sound is wonderful and crystal clear.

Below, you’ll find nine pairs of wired headphones which I think are worth a closer look. Some are wired only, while others have the option to whip out the cable and go fully wireless. The choice is yours. Some of the headphones I’ve chosen might not be the latest models - such as the Sony WH-1000XM5 - but I think they still stand up remarkably well, and as an added bonus, they’re also cheaper to buy.

Read more

• Our pick of the best budget wireless headphones
• The best kid's headphones: Cans that are great for children
• Loudest headphones: Volume and lots of it
• How to clean your headphones and keep them in top shape

If you're just starting out on your vinyl journey or are looking to bolster your collection with some of the best albums of 2025, I've picked out a selection of records covering rock, metal, prog and alternative that have lit up the music scene over the last 12 months.

Below you'll find everything from Ghost masterpiece Skeleta to Classic Rock's album of the year, The Overview by Steven Wilson, with several other crackers in-between that'll make your record player sing.

We also have guides covering portable record players, budget turntables and record players for beginners. And, if you want to listen to your records in private, we also have a list of the best headphones for vinyl listening.

The Melomania A100 are the most accomplished True Wireless earbuds yet from Cambridge Audio. Engineered and tuned by the same London-based team behind the brand’s celebrated separates, the A100 aims to deliver a listening experience that bridges the gap between portable convenience and high-fidelity sound.

With support for LDAC and aptX Lossless, Adaptive Active Noise Cancellation, plus Class A/B amplification, they’re built to appeal to those who take their music seriously.

Cambridge Audio Melomania A100: Design

Available in matte black or white, with subtle silver detailing, the buds adopt a sculpted stalk style, with a smooth, pebble-like finish that sits comfortably in the ear. If the choice of a black or white finish doesn’t hit the spot, there’s also an olive green special edition, produced in collaboration with streetwear fashion house Maharishi.

The charging case is reassuringly compact (45 x 61 x 25mm), with rounded edges and neat LED battery life indicator (30%, 60%, or 100%). Removing the earbuds from their snug dock requires a modicum of perseverance though.

Connectivity is good. Bluetooth 5.4 and Multipoint pairing make for easy switching between two devices. A pairing button sits neatly beneath the case, if the auto routine doesn’t work straight out of the gate.

The earbuds are IPX5 rated, so they’ll withstand light rain or gym sweat, however these buds are clearly designed more for everyday listening than marathon training.

Cambridge Audio Melomania A100: Features

The A100 arrives packed with features designed to enhance both usability and listening quality. Active Noise Cancellation (ANC) is handled by a six-mic system combining feed-forward and feed-back microphones, effectively reducing general environmental noise without compromising fidelity. There’s a Transparency mode for when you want to remain aware of your surroundings.

Tap and touch controls cover playback, volume adjustment, call handling, and ANC toggling. They can also be customised via the Melomania Connect app, which offers an impressive level of sonic control. You can choose between six EQ presets - Flat, Natural, Rock, Blues, Voice, and Electronic - or create your own using the 7-band equaliser.

Opt for Rock and bass gets a lift and treble gets a trim. Natural stays flat, bar for a last minute treble slope.

For those who like to experiment, personalised presets can be saved and named. My self-made Metal mode was a tweak to the Natural preset, with a one step bass boost for extra heft. The system is nice and easy to use.

Need more? Cambridge’s proprietary DynamEQ adjusts bass and treble balance as you change volume, maintaining tonal consistency, even at lower listening levels. Wear Detect automatically pauses playback when you remove an earbud, while a Low Latency Game Mode reduces delay for video and gaming.

There’s also a Sleep Mode that disables touch inputs for uninterrupted listening. If you misplace the buds, Find My Headphones will help locate them.

Battery life is solid: up to 11 hours per charge (or 6.5 with ANC on), with an additional 28 hours available from the case. Fast charging provides a three-hour top-up, from just ten minutes of power.

There’s even a hidden flourish revealing the brand’s more playful side: in the app’s Audio Feedback settings, you can replace the standard voice prompts with Matt (Toast Of London, What We Do In The Shadows) Berry’s unmistakable tones.

To find this Easter egg go to the ‘audible feedback’ section in the app where you’ll find various languages to choose from - the last is labelled ‘Southwark,’ which swaps the voice assistant to Berry. His booming declaration of “Noise Cancelling!” might not improve fidelity, but it certainly adds charm.

Cambridge Audio Melomania A100: Sound

There’s no doubt in my mind that the Melomania A100 have been tuned with care. The secret sauce is the inclusion of Class A/B amplification, lifted directly from Cambridge’s full-size amplifiers. Combined with custom 10mm neodymium drivers and dual-core Qualcomm Kalimba DSP, it produces a rich, articulate soundstage.

Streaming LDAC or aptX Lossless files, the A100 is expansive and controlled. Play Parkway Drive’s Carrion, and the brutal breakdowns retain bite and clarity, without descending into chaos; transients are sharp, bass is muscular but not overblown.

Epica’s Cry For The Moon showcases composure under pressure - symphonic arrangements stay distinct. Simone Simons’ operatics rise above the mix, while sweet strings counterpoint Mark Jansen’s demonic growls. The buds depict all this, clear as a bell.

Not only are they energetic and agile. They’re gentle too. Yungblud’s version of I Was Made for Lovin’ You confirms excellent balance, keeping vocal sibilance in check while preserving intimacy and grit. There’s no smearing or stereo disconnection, just a faithful rendering of the recording.

The alternatives

Sony WF-C710N earbuds
Slightly cheaper than the Melomania A100, these Sony noise cancelling earbuds boast excellent active noise cancellation with customisable EQ via the Sony app. They’re available in a unique translucent Glass Blue finish, as well as standard black and white. Features include 360 Reality Audio support, but no LDAC or proprietary Sony DSEE audio upscaling.

Bowers & Wilkins Pi8 earbuds
For those prepared to invest more, Bowers & Wilkins flagship in-ears boast exceptional clarity and detail, with advanced codec support (aptX Adaptive, aptX Lossless) and strong Active Noise cancellation. They also come with Wireless Audio Retransmission functionality in the charging case, should you want to couple them to an in-flight entertainment system.

The dust has settled after four frantic days of Black Friday and Cyber Monday deals - but even though the sales are officially over, there are plenty of excellent bargains to be found in the US and UK.

I've been searching though the remaining online discounts and posted them below - just in case you missed anything over the long Cyber Weekend. And there's everything from turntables and CD players, to vinyl box sets, Iron Maiden collectables, Bluetooth speakers and streaming service discounts.

While these deals are still going at the time of writing, they could come to an end at any moment, so if you see something you like, grab it before it's too late.

US deals

UK deals

While the last big sales day of the year is coming to an end, there are still some spellbinding Cyber Monday music deals out there, and I think I’ve just found the biggest percentage discount of the day - a whopping 88% off a this portable Bluetooth speaker by Cascho at Walmart - down from $189.99 to just £22.99!

The Bluetooth speaker market is highly competitive and I didn’t think I see a price lower than the JBL GO 4 over Cyber Monday - but here we are.

This speaker has 30W of power, has a battery life of 24 hours from a full charge and caries an IPX7 waterproof rating. It also has flashing disco lights for parties on the patio (for when the weather warms up a bit) making this the price point very hard to beat.

If you fancy getting one, then you’ll have to move fast because Cyber Monday is into the home straight - and I don’t know if this Bluetooth speaker will still be on sale after midnight. Go!

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As any passionate record collector will tell you, sometimes you've just gotta pay for quality. But that doesn't mean you can't still grab a great deal on a high quality turntable system this Cyber Monday.

We've got a whole range of hubs you can browse, covering everything from turntables and CD players, to vinyl and merch, we've got round-ups for just about every bit of music deal you could hope to find.

But some deals deserve a little extra attention. Currently at its lowest-ever price with Sevenoaks, the Technics SL-1500C Direct Drive Turntable is a great deal for someone looking for a top-quality turntable set-up without breaking the bank.

It’s hard to talk about portable media players without invoking the word ‘Walkman’. Sony’s Walkman series of commutable devices were ever-definitive in a fast-changing landscape of portable listening - and now the brand has evolved from humble cassette player to full-blown MP3 player - and there's a trio of devices on sale for Cyber Monday - just part of the Cyber Monday MP3 player deals currently doing the rounds.

Each of this trio of have something serious to offer the audiophile-about-town. Even at the lowest end of the budget, you find incredible sound-processing internals, WiFi functionality for streaming, and multi-faceted connectibility.

At the higher end of the spectrum, you get all this plus bees-knees performance and balanced outputs too. All this, in service of better audio on the go – because there’ll always be a Walkman for every era.

If you'd like to find out more, don't forget to check out our guide to the best MP3 players around - and fore more discounts, take a look at all the Cyber Monday music deals.

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Cyber Weekend is in full swing and there are savings galore just about everywhere you'd care to look. Vinyl, speakers, band merch... Pretty much everything you could think about. So you've got yourself a killer CD collection - but what are you listening to them on?

Whether you've already got a set-up and want to upgrade, or a first-timer looking to get a good audio set-up, there's plenty of deals to dive into.

Speaking of which, both Amazon UK and Amazon US are currently offering savings on Philips Stereo HiFi Systems. Read more about the deals they're offering below.

Black Friday might be over, but the deals certainly aren't. This weekend you can still bag some massive savings on all things music, with deals to be found on everything from speakers and headphones to MP3 Players and turntables.

"But how do I find the best deal?" We hear you cry. Well, we have a whole bunch of handy hubs to help you on that, regularly updated to help you snag the best deal.

Speaking of, if you're in the market for a new turntable, you'd do well to check out Amazon this Cyber Weekend. They're currently offering some big savings on the PS-LX310BT (try saying that in a hurry) with deals for both US and UK consumers. Check out those deals below!

Myself and the Louder team have been keeping tabs on piles of Black Friday record player deals and I had to double-take when I saw that Amazon had lopped an astonishing $300 off the price of the Victrola Stream Onyx. It’s down from a hefty $899.99 to $599.99 - a Black Friday-busting 33% discount.

The two-speed, belt-driven Victrola Stream Onyx is available in both matte blue and matte green and is designed to pair seamlessly with a Sonos set-up, but it’ll also connect to other Bluetooth speakers.

It has a light, aluminium-cast tonearm, a built-in phono pre-amp, a removable head shell, adjustable counterweight and Audio-technica At-VM95E or Ortofon OM5E cartridge.

It’s easy to set up and using the dedicated Victrola Stream app lets you adjust the settings to help you get a brilliant audio performance.

Victrola say: "Whether streaming wirelessly in up to 24-bit/48-kHz lossless FLAC or using the RCA output for a traditional setup, the Stream Onyx offers a seamless blend of modern technology and classic vinyl performance."

For more discounts, don't forget to check out our favourite Black Friday music deals page, which we're updating regularly.

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I’ve put it off for too long: it’s time for a new portable speaker, and right now I’m planning on diving into Curry’s enticing Sonos Black Friday sale, which is packing savings of up to £200 on Sonos gear.

My beloved UE Boom, which I bought back in 2018 and is becoming cracklier than a smashed bag of crisps, just doesn’t cut it anymore, so I’m going to bite the bullet and invest in a nice upgrade for Black Friday. While I was originally just going to pick up the latest version of the UE Boom, I had a read of this positive review my colleague Paul gave of the original Sonos Move portable speaker while browsing other options.

Lo and behold: Currys have the newer version of the Move, complete with Amazon Alexa, on sale for £359, down from £449 – that’s a saving of £91. To be honest, that’s still a little out of my price range, but given the decent reviews for Sonos products generally, I’m thinking about jumping in on the Sonos Roam 2 portable speaker instead, priced at £139 for Black Friday, down from £179, a saving of £40.

Both the Move and Roam speakers are available in classy black or white editions. It’s always nice to have a choice, right?!

If you’re generally in the market for new speakers and have more cash to splash than I, you can always go big and go home with the Sonos Arc Ultra Sound Bar, on sale at £799, down from £999, a cool saving of £200. I can’t lie: it looks gorgeous and would be the ideal centrepiece to a home theatre setup, but it’s just way out of my price range for now. One day…anyway, you can also get the Arc in black or white, though surely you’ll go black - who has a white TV?!

Whether it’s speakers, headphones or turntables you’re looking for to boost your music listening experience, or if you’re after deals on tech, vinyl, collectables, merch or booze, don’t forget to check out Louder’s extensive Black Friday music deals hub, curated lovingly by us to give you the savings you need.

The MP3 player is very much back in the spotlight after years in the music wilderness. There's a few reasons for this, from streaming-service fatigue to the greater control MP3 players give you over audio quality and playlisting. And if you're interested in joining the renaissance, Amazon have a brilliant Black Friday deal on the Activo P1. It's down 38% from £399 to £249.

If you want to attach a few extras such as Volcano in-ear headphones and a custom protective case, Amazon have cut the bundle price from £499 to £299 - a nice way to have everything you need right out the box with a 40% saving.

Want more? Then don't forget to check out all of Louder's favourite Black Friday music deals for loads more excellent discounts.

The Activo P1 earned a rightful spot in our guide to the best MP3 players, beating out some stiff competition as best-in-class for design. It’s a visually striking piece of contemporary tech, blending some tasteful curves with a subtle two-tone from its brushed aluminium body and polycarbonate upper grip.

There’s a lot more going for the Activo P1 than its aesthetics, though. The star of the show, internally speaking, is its Astell&Kern-designed Teraton Alpha sound module, around which the entire device effectively revolves. Thanks to this forward-thinking tech from a top-flight hi-fi manufacturer, the P1 is blessed with some incredible dynamics hitherto un-experienced on similarly-priced devices.

This excellent performance can be enjoyed in a plurality of ways, including via one of two analogue outputs – a 3.5mm headphone out, and a balanced 4.4mm out for the true audiophiles among us. The USB-C port is there for more than charging the battery, too; the P1 can act as a standalone DAC for other devices. Add in some comprehensive Bluetooth connectivity, including AptX HD and LDAC, and you’ve a portable hi-res system with more up its sleeve than most hi-fi devices full-stop.

There’s a lot to love about the Activo P1, but the £400 RRP – even if a steal for the tech that lies beneath – is enough to give any consumer pause for thought. Luckily, it’s Black Friday and Amazon’s got a deal to answer that sole, specific concern: 38% off, amounting to a discount of £150.

A 38% discount on any price is enough to sit up and take notice, but here it amounts to a truly astronomical saving. Tech like this at a price like this doesn’t come along often! If you’re thinking of taking your portable listening seriously, there are few better places to start.

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Protecting your hearing at a rock show doesn’t need to be the fun-robbing experience often delivered by those free foam earplugs you begrudgingly collect from the venue bar. Better, safer gig experiences are possible, and it’s brands like Loop leading the charge.

Loop’s Experience 2 earplugs topped Louder’s list of the best earplugs for concerts – and for Black Friday you can save 25% on these excellent earplugs, along with almost everything from the official Loop website just by signing up. It's as simple as that and it means the Loop Experience 2 are down from $34.95 to $26.21 in the US, while in the UK, the've been discounted from £29.95, to £22.47.

Loop’s Experience 2 earplugs are purpose-designed for hearing protection and experiential clarity at live gigs – but they’re not the only option for prospective hearing-protectors. There are various different Loop products on offer here, each of which bring their own benefits to the party.

Another favourite of mine, for instance, would be the Loop Engage 2, which are designed with conversational focus in mind. Having all-but destroyed my own hearing through a series of poor gigging decisions, I struggle with tinnitus and hyperacusis – which, together, make discerning voices in a crowd difficult, as well as properly comprehending speech the first time round. Lightweight earplugs like the Engage 2 enable better focus by addressing the background noise that gets in the way.

If not every gig you’re attending is fully loud, then you might be better served by a set with switchable attenuation – more specifically, the Loop Switch 2. These ‘plugs have three switchable options for sound attenuation, ideal for a flexible approach to managing your hearing whether at a festival with changeable sound levels, or at a regular concert venue.

Another pair that jumped off the Loop website are the McLaren F1 Team x Loop Switch 2, presented in the team's official McLaren Papaya colour scheme. They've been designed for every day use and have three volume modes and you can switch between Quiet, Experience and Engage modes using the in-built dial. The eye-catching packaging is also worth noting, and these would make a cracking gift for the McLaren fan in your life.

Whatever your own ideal approach to mitigating the effects of harmful sound levels, there’s a Loop for that – and with 25% off almost everything in the range, there's no excuse for not looking after your hearing health.

If you're after more bargains, don't forget to take a look at Louder's guide to the best Black Friday music deals which is being updated regularly with fab discounts.

Marshall’s a household name for good and noisy reasons. The British guitar amp brand, typified by its elegant white-script logo and black-and-brass aesthetic schema, is the powerhouse air-pusher behind AC/DC, Led Zeppelin, Jimi Hendrix and so many other quintessential loud bands.

And if you want to recreate some of that magic at home, then there's good news, as Marshall's official Black Friday sale is continuing in both the US and UK.

My first pick goes to the excellent Stanmore III Bluetooth speaker, which has a $100 price drop - down from $399.99 to $299.99. And if you're in the UK, you can save £114.99 on the same unit, with Marshall kicking the price down from £349.99 to £235.

The Marshall Monitor III ANC are a five-star pair of over-ear headphones and they're down from $379.99 to $279.99 - a sweet-sounding saving of $100. In the UK, you can grab a pair with £70 off the RRP, with Marshall knocking the price down from £299.99 to £229.99.

If in-ears are more your bag, you’ll love the Marshall Minor IV earbuds – which bagged the ‘best budget’ spot in our round-up of the best Marshall headphones. They’ve even budget-ier than before with the Marshall Black Friday sale, having seen their price slashed from $159.99 to $99.99. Meanwhile in the UK, they're down from £119.99 to just £79.99.

Back to speakers, and Marshall have also decided to shred the price of their hugely popular Emberton III Bluetooth speaker in the US from $179.99 to $149.99 and this deal applies to the portable unit in its Black & Brass, Cream, Sage and Midnight Blue colour variations.

UK music fans can get a whopping 46% off the excellent and highly portable Emberton II speaker - with the price tumbling from £149.99 to just £79.99.

My final pick from Marshall's Black Friday sale goes to the Motif II A.N.C. earbuds - a pair of in-ears that give the Apple AirPods a run for their money, and in the UK, you can grab a pair for £119.99, down from their RRP of £179.99.

There’s a reason we end up featuring Marshall products so frequently here at Louder. Their range of speakers and headphones are excellent and with this sweeping Black Friday sale, there’s no reason for you not to listen (and listen loud).

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The accelerating pace of technological progress is nothing new, but it does seem to have taken an especially dark turn of late – a turn from which not even our listening habits are exempt.

Between inconsistent streaming platforms and the shadow of an ever-bulging AI homunculus, “stop the world, I want to get off” is an increasingly prescient internal mantra for those of us who just want to listen to good music.

And then, there it is. A cool hand, resting atop your weary shoulder, to still your breath and quell your hummingbird heart. You’d look back, but you don’t need to; you’d recognise that air of end-of-history tech-optimism anywhere. It’s the anthropomorphised spectre of legacy portable media players. Another hand enters your periphery, holding a flip phone. It rings. You hesitate. The spectre speaks: “The year 2005 is calling – and it wants you back.”

The MP3 player strikes back

There’s no getting over the convenience afforded by streaming platforms such as Spotify, Apple Music and Tidal, which collectively put an astonishing bulk of recorded music history immediately at your fingertips. And yet, the tide of public opinion seems to be turning.

Though streaming services remain outwardly popular and profitable, MusicAlly report they could be losing forward momentum. Meanwhile, in the last year, we’ve seen interest in portable media players grow meaningfully, with Cognitive Market Research finding the US’ MP3 player industry (accounting for a third of global MP3 player revenue) is displaying a Compound Annual Growth Rate (CAGR) of 11.63%.

It’s a small bump, but it’s also just one indicator of a much wider cultural shift in the making. We’ve seen this before, of course, with the still-thriving vinyl revival of the late noughties. The MP3 player’s nascent re-popularity doesn’t quite hit all the same notes as the vinyl revival, but there is a familiar ‘retro’ element to this shift.

The vibes of the early noughties aren’t the sole reason for this shift, of course. There are three key reasons to consider here, all of which fall under the same broad banner of control.

1. Control
First of all, streaming services have access to incredibly broad catalogues of music, but not to the same extent. Exclusivity agreements, record label renegotiations, artists selling or repurchasing their catalogues; all call the permanence of a given album’s existence on a given platform into question.

This was capably demonstrated in September 2025, when My Bloody Valentine's classic 1991 album Loveless was removed from North American streaming libraries, as a function of ongoing copyright issues.

Where streaming services can’t actually offer you everything all the time, your own personal library of purchased music can. Simply source the music you want to listen to, and there it is. Yours to own, forever, and in exactly the fidelity you chose to buy it in.

2. Sound quality
This leads us neatly to the issue of quality. Broadly speaking, most streaming services deliver music in a functionally ‘lossless’ package; some platforms simply don’t measure up, though, and not just on the fidelity front. There are other factors that impact the perceived quality of a streamed song, particularly normalisation algorithms that demonstrably mess with a song’s dynamics. In buying digital files instead of streaming them, you’re dodging the audio-fidelity lottery and getting precisely what you bought. And in using a good MP3 player to listen to them, you’re getting the best possible listening experience.

3. Cost
Getting what you paid for is a simple want, and constitutes what may be the final straw for anyone already on the fence about cancelling their streaming subscription: the sheer affordability of MP3 player tech today.

In 2005, Apple launched the 4GB iPod Nano at a retail price of $249/£179 – in today’s money, $413/£320. Apple may have discontinued the iPod brand in 2022, but that same money could buy you a smartphone-age media player from fellow digital-media pioneer Sony, who is newly re-investing in its Walkman brand.

A fraction of this money, meanwhile, could buy you a similarly-powerful portable media player from an upstart hi-fi brand like FiiO. For a couple of months’ streaming subscription costs, you could have a bare-bones MP3 player with more power in its pinky than the iPod Nano, freeing up the rest of your monthly subscription costs to buy more music!

Speaking of subscription costs, £/$11.99-ish is already an upper limit for many budgets, and at constant risk of rising, too. This might be a good price for access an incalculably large music library, but that money isn’t necessarily making it to the musicians they listen to, with reports that some of the cash is enriching cynical AI music start-ups, or AI military defence companies.

Between odd industry alignments and poor artist remuneration, it’s clear to some that the streaming model isn’t sustainable for musicians. For the conscientious music fan, that £/$150 a year is better spent on putting money directly in artists’ pockets, while cultivating a permanent digital music collection in the process.

Anyone here old enough to remember the internet’s ‘teen’ era? It was a halcyon age of lawless online activity, arguably typified by the existence of platforms like Napster and LimeWire; a time in which one excitedly downloaded dubious files named “Linkin Park NEW SONG.exe”, and inevitably bricked the home computer.

The noughties was a web frontier, and one which nerdy musos explored with fervent glee - all in the name of the acquisition, collection and (sometimes) distribution of the humble MP3.

The frontier days are long gone now, and – though digital audio files remain the music-industry backbone they were always going to be – instead, lots of us seems to be streamers. However, the tide seems to be about ready to turn, much as it did with vinyl in recent years. Yes, digital music libraries are starting a comeback.

There are various reasons for this, from weariness with streaming services to preservation of rarer music to preservation of the Optimum Listening Experience. Whatever your own reason for returning to the MP3-playing fold, the best way to re-engage with a well-organised library is through an MP3 player. And the portable hi-fi world has changed immeasurably since the first iPod hit our pockets.

Today’s MP3 players benefit from a wide variety of tech-future brilliance, whether bare-bones players with solid DAC performance or touchscreen, Android-equipped, multi-media beasts with more connectivity than your television. And the best MP3 players on the market can be found right here in this round-up.

If you want to know a bit more about what you’re buying, I've also included a full set of frequently-asked questions – and even a glossary of the more esoteric terms.

Quick list

Best overall

FiiO is knocking it out of the park at the moment. The Chinese hi-fi brand has been pumping out a huge variety of forward-thinking audio products in the past few years, from clever portable CD players and cassette players to high-quality DACs, butter-smooth planar in-ears and yet more besides.

It should come as no surprise that FiiO’s MP3-playing tech interventions are just as high-quality. Of the many different options in FiiO’s roster, I think the best all-rounder is this: the FiiO M21.

The M21 sits in a more affordable corner of the MP3 player category’s mid-range, with a compelling feature-set to match. It seems more smartphone than media player, with a bezel-less 750 × 1334 touchscreen, WiFi connectivity and Android operating system functionality – but look beneath, and you’ll find a much more focussed set of circuit-y innards, most notable among them being the four Cirrus Logic CS43198 DACs that handle your library with the grace it deserves.

As for the contents of your library, the M21 can handle up to 32-bit/768kHz – a frankly ridiculous ceiling that ought to hammer home the prodigious capability of this MP3 player. The 64GB of internal storage, and micro-SD expandability up to 2TB, make the FiiO M21 more capacious than most PCs, and its various output options – from 3.5mm to 4.4mm balanced, from coax to two-way Bluetooth – make it more connectible too. All this in your pocket, and for less than a mid-priced smartphone. This might be the best bang-for-buck media player on the market right now.

Best mid-range

Look who’s back! Sony was a mainstay of the portable-media back in the 80s, with its irrepressible range of era-defining devices sold under the Walkman name. From cassette to CD, Sony was an industry leader – and it’s back with a Walkman for the modern age.

The Walkman brand has been revived with a handful of portable media players, but the flagship is this – the NW A-306, a mid-range media player with some darn impressive internals and a legacy-enshrining approach to design, both within and without.

There’s a lot to love about the Walkman NW A-306, but my favourite thing about it is the long battery life. It’s double that of most other media players, at up to 32 hours; combine this with high-fidelity performance up to 32-bit/384kHz, and Bluetooth connectivity including aptX HD and LDAC, and you’ve a device that does wireless right without sacrificing longevity.

There’s so much more to the A-306 than this, but it’s testament to this MP3 player’s peerless mid-range chops.

Best budget

Majority is not a particularly well-known hi-fi brand, but it’s nonetheless been quietly plugging away at producing some of the most dependable home audio equipment this side of the in-house brands. A lot of Majority’s stuff is on the budget side, and the MP3 Go is no different; in fact, for MP3 players, it is one of the better budget options out there.

The Majority MP3 Go is a diminutive media player with a very simple design. It’s more reminiscent of the iPod clones of the mid-noughties than it is of any modern media device, and this is to its credit!

There’s a simple keypad for navigating its UI, and a small screen to show you what you’re doing; behind this, though, there’s Bluetooth 5.0 connectivity, 16GB flash memory and an excellent 34-hour max battery life.

This tiny thing costs little more than the price of a crate of beer, and has everything you need to listen out and about – with the added bonus of a built-in clip for attaching to a belt loop or armband, making it the cheap exercise-friendly media player you’ve likely been looking for.

Best retro

Quelle surprise to see FiiO featuring more than once in this round-up – not just for the sheer volume of products falling out of it each quarter, but also for the quality of those very same products. This one comes from FiiO’s sub-brand Snowsky, which serves as a home for FiiO’s more retro-inspired tech fare – and, true to type, combines modern digital audio-playing smarts with a very nostalgic format.

FiiO’s Snowsky Echo Mini is a budget MP3 player that takes after the portable cassette players of old. The chassis is a familiar-looking brick, with top-mounted buttons for navigating your music and a delightfully-designed user interface displayed on its mini colour screen – which, incidentally, stands cleverly in for the window you’d find on the original cassette Walkman.

The simplistic retro look belies the comprehensive hi-fi practicality the Echo Mini holds. It’ll play practically any audio file you throw at it, and can support fidelity of up to 24-bit/192kHz.

You can plug headphones in via either a 3.5mm jack or a balanced 4.4mm jack, which is an unusual but welcome option for something so budget-friendly. If wired isn’t your style, there is Bluetooth connectivity, though this is sadly limited just to SBC.

Nonetheless, the Snwosky Echo Mini offers phenomenal value for money, particularly as a tactile, retro-friendly entrant into a newly-bustling product niche.

Best premium

Astell & Kern is a brand with its eyes set firmly on the audiophile market; its products, the majority of which are digital media players with varying degrees of portability, seek to reproduce your music as perfectly as possible – utilising everything from clever DACs to careful noise-reducing circuit designs to make it so. This is the A&futura SE300, a four-figure portable media that pulls every hi-fi trick in the book.

Under that sumptuous 5.46” HD touch screen, there’s a wealth of cutting-edge audio tech to be found – from a proprietary ladder DAC design to toggleable A/AB amp architectures. Without, there’s a very addictive side-mounted rotary control and three options for wired connectivity (which benefit from decent gain, too, enabling high-impedance headphone listening). A built-in 256GB storage is very tasty indeed, as is the rock-solid chassis in which it is contained.

It is a shame that four figures can’t buy you a battery that lasts longer than a day – but when so much audiophilic goodness is crammed into such a (relatively) small space, maybe a low battery capacity can be forgiven. There are more expensive portable media players out there, but I think this one is more than enough for most who have the budget to afford it.

Best design

Korean outfit Activo is not a brand with much to its name, products-wise – but in a handful of releases, it has carved out some significant space for itself as a purveyor not just of quality audio products, but of strikingly cool audio products too. This is the Activo P1, a digital audio player that gives many heavy-hitter devices a run for their money and looks amazing doing it.

The core of the P1, hailing from the minds of Astell & Kern, is the Teraton Alpha sound module, that powers some seriously bank-breaking DAPs. This sonic tech minimises noise and maximises dynamically-rich amplification – and it can be found right here in the P1, for a fraction of the price it usually commands.

There’s a lot of praises to sing about the internals, but for me the P1 stands out through its exterior design. The chassis is a fetching minimal aluminium design, with buttons on each side for ease of operation and a stunning screen. Even the UI is thought-through with minimal flourishes. As far as aesthetics go, the Activo P1 is best-in-class.

Glossary

24-bit/32-bit
These numbers refer to the bit depth of a given digital audio file.

44.1k/48k/96k
These numbers refer to the sample rate of a given digital audio file.

aptX HD
aptX HD is a Bluetooth codec created by Qualcomm; it preserves high-fidelity audio while transmitting it wirelessly.

Balanced
Balanced audio connections utilise phase cancellation to minimise noise induced in a length of cable; some audiophile-friendly MP3 players have balanced jack inputs, enabling the use of this low-noise alternative to standard “unbalanced” wired headphones.

Bit depth
Bit depth describes the dynamic range of a digital audio file. In brief, the number refers to how many ‘steps’ in amplitude there are between minimum and maximum. CD-quality audio files are 16-bit, but 24-bit is the standard for lossless audio – and some DAPs are capable of playing 32-bit files, with a functionally infinite dynamic range.

Bluetooth
Bluetooth is a form of wireless communication that uses high-frequency radio waves for the FM transmission of data. It's the predominant method of listening to music wirelessly.

Codec
A Bluetooth codec is a specific way in which data is packaged for wireless transfer, and unpackaged at the other end. Different codecs seek to solve different problems – some might prefer lower latency, while others (like LDAC or aptX HD) might prefer preservation of audio fidelity.

DAC
DAC stands for Digital-Analogue Converter; DACs are the modules that convert digital files like MP3s into analogue audio, which can then be amplified and sent to your headphones. The quality of a DAC can dramatically impact the resulting analogue audio from a given file.

DAP
DAP stands for Digital Audio Player; an MP3 player is a DAP.

Hertz
Hertz is the measurement of cycles per second, used to describe audio sample rates and frequency ranges.

LDAC
LDAC is a proprietary lossless Bluetooth codec designed by Sony; it stands for Lossless Digital Audio Codec.

MP3
MP3s are types of audio file, among the most common you’ll come across in building a digital library. They're compressed audio files, and hence are lossy; still, there are high-fidelity MP3s that many cannot discern from higher-fidelity lossless files like WAVs.

Sample rate
A digital audio file’s sample rate is how many ‘slices’ of audio it contains for each second, measured in Hertz. CD-quality audio files have a sample rate of 44.1kHz, but modern audio files are capable of much higher sample rates.

SBC
SBC stands for SubBand Coding, and is a form of Bluetooth codec. It's the most basic audio codec going, and hence not the hi-fidelity audio experience many MP3-player buyers are looking for.

WAV
WAV files are uncompressed audio files; WAV stands for Waveform Audio File.

FAQ

Why you can trust us

Louder’s reviewing team consists of music fans, musicians and professional product testers, who between them have accumulated decades of product reviewing experience, writing thousands of words on music listening gear across thousands of reviews on Louder. Our tests also inform our buyer's guide - just like this one.

As lifelong music fans, we're serious about the tech we listen to our favourite artists on. We want them to sound incredible, giving us all the detail those bands intended us to hear, and deliver the perfect balance of bass, mids and highs. We're looking for pure immersion in our chosen sounds, whether it's a classic '70s rock album, or a cutting-edge noise band.

And we test MP3 players with albums we know inside and out, and that we've listened to on a variety of systems already, so we know exactly what we should be hearing and when we're being short-changed by lackluster audio.

Meet the expert

The Flip 7 is the latest in JBL’s long-running line of Bluetooth portables. Building on what’s gone before, this newbie introduces advanced connectivity, some AI-embellishment, and refined portability - all while retaining the rugged charm that’s made the Flip a global best-seller.

With Bluetooth 5.4 connectivity, an IP68 waterproof and dustproof rating, and new Auracast multi-speaker pairing, this JBL is clearly the most forward-looking Flip to date. So if you haven’t signed up yet, is now finally the time to join Flip fandom?

JBL Flip 7: Design

Build quality is reassuringly robust. Every Flip feels dense and solid, and numero 7 is no different. It’s clearly engineered to survive a few knocks.

At first glance, the Flip 7 doesn’t stray too far from the familiar JBL formula - it’s a compact cylinder (measuring 18.3 x 7.0 x 7.2cm) wrapped in tough woven fabric, bookended by rubberised bass radiators. It weighs 0.826kg.

Those with X-Ray vision will note that the woofer measures 45 x 80 mm, while the tweeter is 16mm.

Yet, closer inspection reveals thoughtful refinements. There’s now a push-lock handle mount, offering the choice between a finger loop or a sturdy carabiner clip, while an uprated IP68 certification confirms full protection from dust and submersion in water. You can use the Flip 7 poolside, on the beach, or even in a muddy festival campsite, without worry.

The Flip 7 is also an expanded palette of finishes available: black, blue, white, red, camo, pink, and purple

JBL Flip 7: Features

JBL’s new AI SoundBoost system is arguably the Flip 7’s biggest upgrade. This analyses incoming audio signals in real time, subtly adjusting dynamics and EQ to minimise distortion and enhance clarity, particularly at higher volumes.

Then there’s Auracast, an emerging Bluetooth standard that allows you to share sound seamlessly between multiple compatible devices. You can pair two Flip 7s for stereo playback, or link multiple JBL Auracast-enabled speakers for a synchronised whole-home or outdoor party setup, all without lag.

Battery life is quoted at 16 hours, with Playtime Boost mode offering a couple of extra hours if you’re willing to trade a little volume.

The control layout remains intuitive: physical buttons for play, and volume control, plus backlit buttons for Power, Bluetooth, and Auracast pairing.

Connectivity has also had an update. Bluetooth 5.4 promises more stable connections and improved energy efficiency, while USB-C wired playback supports hi-res audio up to 24-bit/96kHz. There’s no USB-C cable in the box, which feels a touch stingy, but the new flexibility is welcome.

JBL Flip 7: Sound

The Flip 7 has a higher power output than its predecessor. It now delivers 25W for the woofer, and 10W for the tweeter.

This extra grunt is welcome, not just that you can bump it up to 11, but because there’s a little more headroom available, which means it rarely crosses into harshness.

Bass is rewardingly deep and lively, allowing it to rock with conviction.

The Flip 7 does a wonderful job manifesting the inherent energy of I Believe In A Thing Called Love by The Darkness. Justin Hawkins’ gyrating falsetto hits acrobatic highs, while Dan Hawkins anthemic riffs come across as clean and melodic.

While this little bruiser exhibits plenty of low-end heft, it does have its limits. Chris Wolstenholme’s aggressive, distorted bass on Muse's Hysteria pushes the Flip 7 about as far as it can go. But we all have our limits.

The soundstage is monophonic, but that’s to be expected. What’s important is that it exhibits balance, with vocals clear and centred, heat to the midrange, and high frequencies smooth rather than sharp - no doubt helped by a new dome tweeter, which adds some spatial air.

With this new edition, JBL’s Flip has matured from dependable portable workhorse into something more refined.

The alternatives

Marshall Emberton III
If Marshall’s backline style is more your jam, then this third iteration of the Emberton portable speaker is well worth an audition. It delivers rich, balanced audio with enhanced stereo separation thanks to True Stereophonic technology, for crisp highs and punchy bass. It’s also IP67 certified waterproof and dustproof and delivers up to 30 hours of playtime on a single charge. Bluetooth is version 5.1, and it supports Stack Mode to link multiple Emberton III units together.
Read our full Marshall Emberton III review

Bose SoundLink Flex 2^nd Gen
Rugged but with a soft-touch finish, this IP67-rated portable can be considered outstanding value. Audio performance is aided by Bose’s PositionIQ tech which is able to optimise sound based on orientation, and the speaker comes with a built-in utility loop for easy carrying or hanging. Battery life is limited to just 12 hours, but it does support two device stereo and multipoint pairing.

If you’re serious about protecting your lugholes from unwanted and harmful loud noise, then you need a decent pair of earplugs. And you now have the perfect excuse to buy some, as Amazon has dropped the price of the highly rated Loop Experience 2 as part of its Prime Big Deals Day sale.

Whichever side of the Pond you live on, you can make neat savings on these earplugs right now, with US music fans able to get a pair for $27.95 rather than the list price of $34.95 - and UK customers have a 25% discount at Amazon, down from £33.95 to £25.49.

This Amazon deal is not to be sniffed at, seeing as the Loop Experience 2 are a superb set of earplugs. Indeed, they're our top pick in our guide to the best earplugs for concerts thanks to their excellent performance and style.

Earplugs are becoming a common sight at music venues, as more and more of us are now acutely aware of the dangers of prolonged exposure to loud noise.

The Loop Experience 2 come in a variety of colours and are known for their unique design. They offer up to 17dB of filtered noise reduction and they won't compromise the sound quality when you're seeing your favourite artist on the road.

Each set comes with four ear-tip sizes to help you find the right fit for your ears. And the Loop Experience 2 also come in a choice of fetching colours, ensuring that you’ll look the business while shielding your ears from harm.

If you're looking for more last-minute discounts, check out Louder's guides to the best Prime Day music deals, Prime Day vinyl deals and Prime Day turntable deals.

Real music demands real audio gear – and it doesn’t come much more real or authentic than Marshall products. So, when you get a chance to buy some of the company’s iconic speakers and headphones on the cheap, you should seize it with both hands.

So while the last-minute Prime Day music deals continue to roll in, Marshall have muscled in on the action and are holding their Loud For Less sale in the US - and that includes money off the awesome Acton III compact Bluetooth speaker, which is down in price from $299.99 to just $199.99. And that's just one of the products on sale right now.

While the sale isn't currently available in the UK, you can still get a 31% discount on the Acton III on Amazon. It’s down from £259.99 to £179.55 making this a great time pick up this top-performing speaker.

Another speaker going for $100 less than the usual price is the Stanmore III. Delivering superb home-filling audio and a re-engineered stereo soundstage, this Bluetooth bad boy is now a snip at $299.99.

The daddy of the Marshall range, the Woburn III, is another speaker that’s been reduced in this sale. If thundering, immersive sound is your thing, then this beefcake won’t let you down. The discount is slightly less here, with the price dropping from $599.99 to $549.99, but it’s still good!

Prefer something smaller? The portable Emberton II may be diminutive but it still comes at a hefty discount, its usual $179.99 price tag having been slashed to just $99.99. Considering it offers powerful 360-degree sound and more than 30 hours of playtime, that’s a pretty tasty deal.

On to the headphones, and the fabulous Marshall Minor IV in-ears have come down from $159.99 to $99. These were named ‘Best budget buds’ in our Best Marshall headphones guide, offering plenty of bang for your buck. Even more so now!

The highly rated Monitor III A.N.C. over-ear headphones have been reduced from $379.99 to $349.99, which may not seem like a lot, but any discount for these cracking noise-cancelling cans is a bonus – especially as they offer up to 100 hours of playtime.

And last but not least, there’s the Major IV on-ear headphones. Solid as they come, these reliable headphones come with a new ergonomic design and a lovely balanced soundstage – not to mention a price reduction of $40 (down from $139.99 to $99.99).

Looking for more last-minute discounts? then don't forget to check out all the best Prime Day music deals, Prime Day vinyl deals and Prime Day turntable deals.

If you’re a regular Louder reader, you may remember that, back in 2021, I gave the Sony PS-LX310BT turntable a stonking good review, awarding this fully automatic, wireless record player the maximum five stars.

Well, fast forward to 2025 and Amazon has massively reduced the price of that turntable for its Big Deal Days event. Instead of the usual $449.99, you can now get it for just $198 – that’s a discount of 56%.

UK customers don't have such a big discount, but Amazon have reduced the price by 5%, with the record player down from £208.35 to £197.38.

Looking to buy a new turntable? Well, big online retail events are always a good bet for finding great discounts – and Amazon’s latest sale has really come up trumps. There are some amazing Prime Day turntable deals to be had, and frankly this 56% price drop on the Sony PS-LX310BT is the best of the lot.

Sony has always made terrific audio products, and this automatic, two-speed turntable is certainly no exception. Easy to operate with a simple stop-start function, the PS-LX310BT features a high-quality aluminium tonearm and platter, which work together to provide exceptional stability.

Improving your listening experience yet further, there’s a switch around the back that allows you to switch the gain to match the audio level of your records. It’s a nice touch and makes a real difference.

With Bluetooth functionality, you can hook the deck up to a wireless speaker or headphones, meaning there will be no messy leads trailing across the floor. And the PS-LX310BT will also connect to your computer by USB, enabling you to rip those rare records to MP3 ready for listening to on your morning commute.

As for how it looks, this Sony deck is about as minimalist as it gets, meaning it’ll blend in with just about any home decor. Allow it to go about its business unnoticed as it fills your home with beautiful music.

For more last-minute discounts, check out our guide to the best Prime Day music deals and if you're looking for something to play on your new record player, take a peek at all our favourite Prime Day vinyl deals.

Clearly, Cambridge Audio aren't messing about: only a year after the release of their much anticipated P100 wireless over-ear headphones, the company have unveiled a fancy new special edition, boasting a more comfortable headband, new DynamEQ tech and a new blue colourway option if the classic black and white variations are a little too predictable for you.

While I didn't get the chance to stick my ears in the original P100s, it'd take a lot to prise me away from my beloved Sennheiser Momentums, so I thought I'd test the P100 SEs out and see what they were all about.

Melomania P100 SE review: design

The first and most striking impression for me was instant: these are big headphones. The carry case they come in is chunky as hell and certainly takes up more space than any other headphone case I've had.

And that's before you get to the headphones themselves. Whether the sheer size of them bothers you will depend on two things a) how quickly you can get used to the feel of them and b) if bigger headphones are something you'd feel self-conscious about wearing out and about.

Personally, the size didn't bother me and I'd actually argue it makes them look like an even more impressive, proper piece of audio kit. They're heavy, too - noticeably so than my Sennheisers when I wear them - but it took all of 10 minutes for me to get used to them and after a couple of weeks of usage I don't even think about it now.

The headband has been upgraded from the original Melomania P100's for extra comfort, and I'd definitely agree that despite still weighing a fair bit, they're well cushioned and feel comfortable against the head and ears.

Melomania P100 SE review: Features

The Melomania P100 SE's boast what Cambridge Audio call their "DynamEQ technology", promising to automatically adjust bass and treble to maintain great sound, even at low volumes. There are also a number of preset equalisers, as well as the ability customise and save your own preset for the true audiophiles.

I had a play around with a few of the presets and while I wouldn't say they drastically improved my listening experience, I could definitely tell the difference between some of the options. I also found the Melomania app required to mess around with all of this easy to use with a nice, clean, straightforward interface.

I tested the excellent new Deftones album Private Music under the 'Rock' preset and it undoubtedly helped to make Steph Carpenter's riffs just a little weightier, while a blast of recent Barry Can't Swim album Loner under the 'Electronic' preset made his propulsive edm bangers that bit crisper.

As for that all-important ANC? I found it to be of excellent quality: I first tested it while in a busy gym with some chart-bothering pop music blaring out of the PA, and then next on my morning commute on an overground train and on the London tube.

In both cases, most of the background noise was drastically thinned out, which is a must for any pair of high-end headphones I want to start using regularly.

Oh, and I have to acknowledge that remarkable battery life: 100 hours on full charge, or 60 if you're using the ANC, puts these headphones leagues ahead of all competitors on that front. It's the one feature with which the Melomania P100 SE's comfortably leave everything else in the dust.

Melomania P100 SE review: Sound

Overall, I found the sound quality of the Melomania P100 SE's to be really quite good. While not any kind of spectacular upgrade on its rivals, I'd say these headphones more than hold their own against most in the same price bracket, even if I'm not sure they quite match up to the best-in-class offerings from the likes of Sony and Sennheiser.

That said, be it while listening to specific genres using those presets or just hammering through a mixed playlist on its default setting, I found everything I listened to to be of high quality - including voice notes from friends, which sounded crystal clear with the ANC on while I was walking around a busy Paddington street earlier this year.

The alternatives

Sennheiser Momentum 4
For around the same money, you can get your hands on the Sennheiser Momentum 4 - an excellent set of over-ear headphones that boats 60 hours of battery, excellent Adaptive Noise Cancellation and crystal clear audio. App integration also allows you to tweak the settings to give you the best audio delivery.

Sony WH-1000XM4
While Sony’s XM4 have been superseded by the Sony WH-1000XM5 and Sony WH-1000XM6, don’t dismiss the 2021 model. For a start, a pair of these over-ears will save you hundreds of dollars/pounds over the newer headphones - and they still sound amazing with superb noise cancelling. Thirty hours of battery life isn’t to be sniffed at - and they fold down for travel purposes.

Read our full Sony WH-1000XM4 review

Earplugs are a necessary evil for the card-carrying gig-goer. Without them, each show we attend is another roll of the dice for the sanctity of our ears; it’s a sad fact hard-ignored that big riffs, played loud, are a big threat when it comes to hearing damage and hearing loss.

Far too often, unprepared gig-goers will make the most of the memory-foam freebies handed over the bar before the first support. These absolutely do the trick for protecting your hearing, but at what cost? Well: muffled sound, agitated ear canals and the sense that you’re being robbed of something fundamental. Thankfully, earplugs don’t need to be so cruel to your gigging experience.

Sennheiser’s SoundProtex Plus package of earplugs is one of the more comprehensive answers to this hearing-vs-“hell-yeah” conundrum. Amongst a great many inexpensive reusable earplugs that aim to preserve some of the fun while protecting your hearing, the SoundProtex Plus aims also to provide the most versatility. In here you’ll find three sizes of eartip, four levels of sound attenuation, and an evidenced commitment to keeping things sounding sick at the same time as keeping you safe.

Sennheiser SoundProtex Plus: Design

If we’re talking aesthetics, the Sennheiser SoundProtex Plus look better than any set of generic earplugs really ought to. The TPE eartips are a fetching smoky grey (some might even evoke ‘anthracite’ or ‘gunmetal’ – but I won’t), and the filters they festoon grade from bright to black in order of attenuation. Each coin-shaped filter has Sennheiser’s logo pleasingly centred out front, a tastefully-branded stopper for your lughole that actually sits quite inconspicuously in your ear.

If we’re talking comfort, then, again, the SoundProtex Plus do a better job than any set of generic earplugs really ought to. This is for the extreme versatility of the set you purchase (more on which very shortly indeed), and for the ease with which that soft TPE material settles in your ear. Other earplugs have a stronger central column which makes installing them easier, but what these lack in initial user-friendliness, they make up for in resulting comfort.

Sennheiser SoundProtex Plus: Features

On a core functionality basis, there isn’t much to see here. The Sennheiser SoundProtex Plus are TPE earplugs that provide passive sound attenuation by virtue of the acoustic sound filters with which you equip them. What sets these apart from other earplugs is their sheer versatility.

You’re not buying a set of one-size-fits-all earplugs, but a ‘set’: a set comprising three different sizes of eartips, four different levels of sound attenuation, and the accoutrements you need to make your earplugs portable, accessible and safe from clumsy drops – namely a nice keychain-friendly pouch, and an elastic neck leash that’s clamped on to your earplugs behind the filters you fit them with.

This smorgasbord outclasses most other earplugs at or below its price, enabling you the freedom to find the perfect fit for your own ears and the perfect level of sound attenuation for environments you find yourself in. This flexibility is extremely welcome, not just for the acknowledgment that no two ear canals are the same, but also for the acknowledgement that no two gigs are the same.

This is because, by and large, the big problem with one-size-fits-all generic earplugs is their lack of versatility. Lightly-attenuating plugs preserve fidelity for the more sensibly-engineered shows you go to, but do nothing for thrashed-out drums in tiny venues or limiter-pushing heavybands that lost their own hearing years prior; similarly, full-block earplugs do the job for the big hitters, but rob you of any nuance in the less-loud shows.

With the SoundProtex Plus, you don’t need to choose the lesser of these two evils. Instead, you can simply customise your earplugs for precisely the gig you’re headed to. Of the four filters supplied, three are two-stage acoustic filters, offering low, mid and high attenuation at 10dB, 17dB and 20dB respectively; there’s also a full-block filter for 25dB attenuation and complete isolation of the ear canal from the outside world (a useful ‘nuclear’ option for the drummers and swimmers amongst us).

The eartips, meanwhile, are each triple-flanged, and sized small, medium, and large. I’m usually one for the smallest eartips in any given bundle, but the small ones supplied here are small. I found the medium to be perfect for me.

Sennheiser SoundProtex Plus: Sound

The average earplugs experience at a loud show is one of disappointment. Earplugs tend to be better at attenuating higher frequencies, which is a good thing for preventing frequency-specific hearing damage but a bad thing for your overall enjoyment of the riffage you’ve shelled out money to enjoy; without a proportional approach to attenuation, you just end up hearing things as a flubby mess. The Sennheiser SoundProtex Plus, for its design, does a far better job than most of its ilk.

As you might expect, each level of sound attenuation comes with a correlated roll-off in high-end, the full-block filter being the most aggressively low-passed of the lot. But the extent to which this happens is lesser than with the cheaper fare, and even the full-block filters retain some decent fidelity (here a likely result of the eartips’ design, more so than the material plugging them).

I leant towards using the mid and high-attenuation filters (the middle two) during my testing; the lightest filter is great for turning down real life a bit, but I wouldn’t trust it with your friendly neighbourhood noise rock band. The mid filter took a lot of the bite out of cymbals and lead guitars without stealing any energy; everything was still crystal-clear as you could ask for. The high-attenuation filter was great for more challenging hardcore shows, and a more obvious wall between me and damaging stage volumes.

The Sennheiser SoundProtex Plus spent a lot of time following me to gigs, but I also spent some time using them in a professional capacity. The high-attenuating filters, again, were a great wall between me and the more eager proclivities of my drummer, even in our pokey little recording space.

I found the mid-range attenuation filters, meanwhile, to be surprisingly adept at keeping me safe during some of my louder DJ gigs. I have a preferred set of earplugs for this job already, but the SoundProtex Plus gave them a run for their money – both for comfort under headphones, and for their remarkably even-handed preservation of information across the frequency spectrum. I could hear everything I needed to hear, and my ears weren’t screaming about the fizzy high-end from the loud PA speakers overhead anymore.

Suffice to say, Sennheiser’s SoundProtex Plus earplugs absolutely do the trick when it comes to saving your ears from the loud stuff. They’re low-profile, low-impact, and very comfortable for longer listens (provided you’re not sweating too hard). The price is maybe a little on the high side, but that price does buy you a smorgasbord… and a demonstrably fidel-icious smorgasbord at that.

The alternatives

The earplugs market is as tightly-packed as a well-protected ear canal – but it doesn’t mean that everything on the table is as versatile and thorough as the Sennheiser SoundProtex Plus.

As such, if you’re after something on the cheaper end of the spectrum, I’d recommend the Alpine MusicSafe Pro. These are practically the industry standard for affordable earplugs, and the ‘plugs du jour for almost every musician I know – with three filter options for similar versatility.

If you’ve more to spend, I can’t help but point you to the Minuendo High Fidelity earplugs. Despite already having a pair of custom moulded earplugs to hand, these are my go-to out-and-about earplugs, both for their incredible built-in passive attenuation control (like a volume knob for your ears!) and for their incredible fidelity all the way up to full block.

The Marshall Kilburn III is the third iteration of the brand’s hero Bluetooth speaker. Louder, clearer, and tougher than its predecessors, it combines the iconic amp-inspired design Marshall is known for with a number of welcome refinements, including improved battery life and a wider soundstage.

It may be portable, but this is no festival trinket. At 2.8kg, the Kilburn III isn’t something you’ll throw casually in a backpack - but if your idea of portable means taking music from the garden to the garage, this could be exactly what your tour manager ordered.

Marshall Kilburn II: Design

Instantly recognisable as a member of the Marshall family, the Kilburn III looks exactly as it should. From the textured black leatherette casing to the brassy control plate and crimson-lined carry strap, this is a speaker that exudes rock‘n’roll swagger. The knurled volume knobs are tactile and purposeful, while flipping the toggle switch for power adds a touch of theatre to what’s usually a boring button press.

On the rear you’ll find a bass port and a USB-C in/out socket for charging, plus a 3.5mm aux input, for those who don’t want to commit wholly to Bluetooth. There’s no Wi-Fi support, though. This isn’t a smart speaker, so don’t ask it to double as an egg timer.

It does however have an IP54 rating, meaning it can withstand dust and the odd splash of rain (or beer).

Marshall Kilburn II: Features

Battery life is the headline attraction here. Boasting more than 50 hours of playback on a single charge, more than double that of its predecessor, that’s enough for a weekend long party before the well runs dry.

Control is shared between those beautifully tactile knobs and the Marshall Bluetooth app which unlocks EQ presets and offers a few fine-grained tweaks; the app also lets you specify placement (near-wall or free-standing), helping optimise the tuning.

Helpfully, the Kilburn III even doubles as a charging bank. Plug your phone into the USB-C port and you can juice up while you jam out.

Highly efficient Bluetooth 5.3 goes some way to explaining the speaker’s excellent battery life, as well as ushering in Auracast compatibility

Marshall Kilburn III: Sound

This portable Bluetooth speaker sounds big and imposing, which is kind of the point.

Marshall describes the driver configuration as 360° True Stereophonic Sound, and while it doesn’t really offer full surround sound, it does deliver impressively wide imaging, especially in medium-sized rooms.

The soundstage may not be omnidirectional, but it’s more immersive than the front-firing mono setups of many rivals. It doesn’t ‘hollow out’ as you move around the speaker, doing your business.

Under the hood are three Class D amps, totalling 50W: one 30W amp driving a forward-facing 4-inch woofer, while two more 10W amps power a pair of angled tweeters, placed left and right.

Bass is tight and plentiful, thanks to a frequency response that dips as low as 45Hz. That’s not subwoofer territory, but it still slams. On tracks like Royal Blood’s Out Of The Black, the low end hits hard without wobbling the rhythm, the sound is precise and punchy.

Marshall quotes a drop to 45Hz, and it certainly feels that deep. On Yungblud’s Lowlife, the Kilburn III opens with convincing sub-bass. Airbourne’s Gutsy similarly flexes with drive and punch, handling fast kick drums with easy confidence.

Midrange, though, is where this speaker really earns its stripes. Vocals sit forward and textured. As Alice Cooper snarls Up All Night, the snare hits are tight and guitars feel authentically greasy. That’s a Marshall hallmark: the grit and swagger of stage sound, downsized for easy digestion.

Even semi-acoustic material fares well. Robert Plant’s Everybody’s Song gleams with upper-register detail, while crowd ambience on Yungblud’s Changes (Live At Villa Park) spreads wide, with vocals remaining front and emotionally present.

But Tool's prog-metal masterwork Jambi is a challenge for any Bluetooth speaker, but the Kilburn III is undaunted by its rhythmic complexity. Vocals are forward and full of life, with just enough grit to complement guitars in the mix.

This is especially noticeable on high-octane punk and hard rock - this speaker is tailor made for The Clash’s Safe European Home or The Bronx’s Heart Attack American.

While the Kilburn III can play loud, it also impressed me at low volumes, retraining its characteristic richness and separation even at modest levels.

The alternatives

JBL Flip 7
If portability is a prime reason to buy, then the JBL Flip 7 could well be a better wireless bet. Less than half the size of the Kilburn III, this feisty fashion icon sounds great (for its size) and has an IP68 waterproof and dustproof rating. Battery life is rated up to 16 hours. It comes with Bluetooth 5.4 and Auracast compatibility, and sells for a tempting £129.99.

LG Xboom Stage
Tuned by Will.I.Am, the stereo Bluetooth Xboom stage is styled after a stage monitor and features a potent 120W power output, delivered via a 6.5-inch woofer and 2.5-inch midrange. Battery life is rated at 12 hour battery life. The speaker also has Dual-bar AI lighting, able to sync with your tunes. Well worth consideration

Gadhouse have put a fresh spin on their original Brad Retro record player by introducing the MKII - a super-affordable, budget record player that will suit newcomers to the world of vinyl.

The Brad Retro MKII is said to combine “vintage charm and modern convenience” with the new belt-driven model featuring an updated motor to reduce vibration, and a custom Gadhouse Ruby stylus. Like the original turntable, the MKII has three speeds: 33/1/3, 45 and 78 RPM.

Gadhouse add: “The MKII also boasts improved isolation technology, minimising external noise and preserving the warmth and richness of vinyl sound.

"The inclusion of RCA outputs allows for seamless integration with external speakers from the likes of Audio Pro, enabling listeners to create a tailored listening experience in any environment. An auto start/stop functions makes things even easier too.”

The Gadhouse Brad Retro MKII also has built-in 10W dual speakers, a clear dust cover, pitch control, USB-C charging, Bluetooth 5.3 and comes in a variety of colours.

It’s available now in the UK priced from £99 and can be purchased through Currys.

Read more

• Best record players for beginners: Get up to speed with our top picks
• Best portable record players: Turntables for small spaces
• How to store vinyl: Tips on keeping your collection in great condition
• Best vinyl record cleaners: Keep your vinyl collection in prime condition
• 9 cheap upgrades you can make to improve your vinyl setup

We’re into the fourth and final day of the Prime Day turntable deals and we’ve been lucky enough to see some head-spinning bargains. But perhaps my favourite is seeing the excellent Sony PS-LX310BT on sale in both the US and UK - a product that sits top of our guide to the best Bluetooth turntables.

You can pick one up from Amazon in the US with 23% off, with the price reduced from $449.99 to $348 - a saving of more than $100.

And if you’re checking in from the UK, you can get the same turntable with a 25% discount, with Amazon tumbling the price from £239 to £179.55.

But with Prime Day coming to a close at midnight tonight, you’d best be quick to add it to your online shopping basket before time runs out.

Great tunes should really be played on a good-quality turntable – and the Sony PS-LX310BT is certainly that. For an entry-level deck, this record player has a lot going for it, ensuring that you’ll get the listening experience your music collection deserves.

Sony is known for the great sound quality its products deliver, and this turntable doesn’t disappoint in that area. In our review of the PS-LX310BT, we mentioned how it offers a “lively, entertaining listen” and “performs competently across all ranges”.

The PS-LX310BT comes with a built-in phono preamp, which means you can hook the turntable straight into some speakers (either wired or wirelessly) and start playing your records right away. Operating the thing couldn’t be easier, thanks to its one-step auto playback, and with two speeds at your disposal, you can switch between playing albums and singles at will.

Finally, this sleek turntable can be connected to a computer via USB, allowing you to rip your vinyl to MP3 – useful for when you want to hear your records on the move. Of course, in an ideal world, you’d be able to stick the PS-LX310BT in your rucksack and spin your discs on the train – but hey, you can’t have everything.

For more last-minute discounts, make sure and check out Louder’s main Prime Day Music deals page, and we're also collecting all the Prime Day vinyl deals and Prime Day Lego deals - but with Prime Day coming to a close at midnight tonight, these bargains won't hang around for long.

Oh, and you might also want to read our guide to the best budget vinyl care kits that are going cheap in the Prime Day sales. Gotta keep those LPs in good condition, right?

I’m a strong supporter of (investor in?) the vinyl revolution. My growing collection is much loved and played hard; I have a mix of brand new records and second-hand gems, which range from ‘charming crackle’ to ‘unplayable’. I have one particular well-worn copy of The Police’s 1981 album Ghost in the Machine that’s seen better days. Let’s call it a challenging listen. But it was cheap! The skip starts just as the first chorus kicks in and it’s impossible to get beyond without lifting the needle.

• Shop all of today’s best Prime Day deals at Amazon
• Our guide to the best vinyl record cleaners

This is just one example of a few criminally uncared for records in my collection. I’ve done some trawling of this year’s Prime Day vinyl deals and I came across this absolutely huge ultrasonic vinyl cleaning gadget, complete with auto-drying function. Even with the $100 Prime Day discount, it’s still $499. And it looks like a bread maker.

I’m sure it would breathe so much new life into my record collection, but imagine how much wax you could buy for that…

So, I figured until I decide to sell a kidney, I’m going to look for a cheaper solution. The good news is that Prime Day has plenty of affordable options. These three will do exactly what I need and none of them cost more than 20 bucks:

Legendary rock amp brand Marshall has launched Loud For Less - a rival Prime Day sale on some of its most sought-after Bluetooth speakers, wireless earbuds and headphones in both the US and UK.

In the US, prices start from $69.99, with the Major IV headphone down from their regular price of $139.99. We praised these on-ears for their brilliant battery and bass delivery, saying their performance was "well above their price point."

In the UK, prices on the Marshall website kick-off at £79, with the Willen II Speaker down to £79 (was £99). I think this is a great Prime Day music deal for anyone shopping for a simple Bluetooth speaker to soundtrack days at the beach or park this summer.

Below you'll find more excellent bargains from Marshall's Loud For Less sale that you can pick up right now.

There are plenty of other bargains in the Marshall Loud For Less sale on both sides of the Atlantic, and I’ve combed through all the latest deals to find the best alternative Prime Day picks.

Do you have annoying neighbours who always blast naff music in their garden? Me too. Drown them out with the Acton III, a ‘pair and play’ Bluetooth speaker built to pump out room (or garden)-filling sound. Right now the Acton III is down to $199.99 from £299.99 at Marshall, with free shipping within five days. Meanwhile, in the UK, the same speaker is down from £259.99 to £199.99.

Want a portable speaker that excels at bass? Opt for the Kilburn II, with 360-degree sound, manual buttons for tweaking the bass, treble and volume (you can tinker in the app too), and 20+ hours of playback per charge. The Kilburn II Speaker is down to £149 from £239.99 – that’s the cheapest I’ve seen it sell for in months.

While the Kilburn II isn't on sale in the US, the equally portable Willen II certainly is - down from $129.99 down to $99.99 in both its Black & Brass and Cream colour variations.

Looking for new headphones instead? The Marshall Monitor III ANC have dropped in price from $379.99 down to $349.99, while they're also discounted in the UK, down from £299.99 down to £249.99.

In our five-star Marshall Monitor III ANC review, we concluded that they were "the most impressive Marshall headphones yet."

Read more

• Prime Day Lego deals: Build up a bargain
• Prime Day vinyl deals: Box set deals & more
• Prime Day turntable deals: Top record player savings
• Best Marshall speakers: Our favourite Marshalls
• Best Marshall headphones: Treat your ears