FAVOURITE 70s VINYL ALBUMS TO TEST YOUR SPEAKERS
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BeESTof th B E ST
SPEAKERS TURNTABLES A M P S DA C s STREAMERS AND MORE ●
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HIGH-END SPECIAL
Top kit that has to be heard to be believed
LG 65in OLED First 2020 set from the OLED king is a stunner
REVIEWED
Chord’s superb 2go streamer
iFi Zen Blue Philips PH805 - add Bluetooth noise-cancellers to your hi-fi
ISSUE 436
WEIRD VINYL: SOME OF THE STRANGEST RECORDS EVER MADE
CONTENTS 06
FIRST TESTS
From LG’s new OLED TV to Disney’s video streaming service, the latest products reviewed and rated
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INSIDER
We visited ATC’s factory to see our reference speakers, the SCM50s, being made
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INSIDER
Five new product launches from this month that we think you’ll like
26 PHONO STAGES 30 HIGH-END SPECIAL SPEAKERS 33 of 42 TURNTABLES the DACs 46 CD PLAYERS 48 AMPLIFIERS 54 HEADPHONES 60
MUSIC STREAMERS Four
high-end streamers to start us off
B E ST B E ST
Three phono stages, including a £15k Burmester Seven of the best pairs of speakers money can buy From Rega’s £5k record spinner to SME’s £15k deck Digital-to-analogue converters from Chord and dCS Three of the very best high-end CD players around
Seven amps, including Ayre’s £55k pre/power Pairs of highend cans from Grado and Shure
RRP
£70.00
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CONTENTS
THIS MONTH WE GIVE THE DEFINITIVE WORD ON THESE PRODUCTS AMPLIFIERS Ayre KXR Twenty/VXR Twenty Burmester 088/911 Mk 3 Copland CTA408 Krell K-300i Mark Levinson No.5805 Nagra Classic preamp/power
59 58 54 56 55 57
CD PLAYERS ATC CDA2 Mk2 Chord Blu II/DAVE Classé CDP-202 Marantz SA-10 Technics SL-G700
49 51 52 50 48
DACs Chord Hugo TT2 dCS Rossini DAC/Master Clock iFi Zen Blue
46 47 13
HEADPHONES Grado GS3000e Philips PH805 Shure KSE1200
60 15 61
Classé’s high-end CD player, the CDP-202, cost nearly £5000 in 2006. How does it sound today?
MUSIC STREAMERS Cambridge Edge NQ Chord 2go/Hugo 2 Moon 390 Naim ND555/555 PS DR
27 26 28 29
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PHONO STAGES Burmester Phono 100 Luxman EQ-500 Vertere Acoustics Phono-1 MkII
32 31 30
STEREO SPEAKERS ATC SCM50 Audio Pro A26 Audiovector R3 Arreté JBL L100 Classic ProAc Response D2R ProAc Response 2 Sonus Faber Electa Amator 3 Spendor D7.2 Wilson Benesch Precision 1.0
39 12 37 34 33 40 38 35 36
BUYER’S GUIDE
TELEVISIONS Hisense R50B7120UK LG OLED65GX
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Every product worth owning. Starting on page 65
TURNTABLES Rega Planar 10/Apheta 3 SME Synergy Technics SL-1000R Vertere MG-1Mk 2/Mystic
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VIDEO STREAMING SERVICES Disney Plus
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THAT WAS THEN
ProAc’s original Response Twos blew us away – do they still measure up to their modern equivalents?
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THAT WAS THEN
STRANGEST VINYL
Two-inch discs, locked grooves, records made of chocolate and other vinyl oddities
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BEST ALBUMS OF THE 1970s
A decade of prog rock, punk and classic LPs
FIND THE BEST KIT AROUND, FAST!
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HIGH-END SPECIAL
BeESTof th B E ST HIGH-END SPECIAL
Top-quality equipment is expensive, of course; but it also means you are listening to your music as it was intended Putting a true value on an item can be a tricky thing. It’s undeniable that individual pieces of hi-fi equipment can be eye-wateringly expensive and quite out of the reach of most people. But, then, if you break down the amount of use you get out of something into a cost per day, and assess the amount of pleasure it gives you, sometimes things can start to look somewhat more reasonable. Clearly, this needs to be put into perspective and, in these difficult times, it’s not easy to justify spending a lot of money on a hobby; but one thing the coronavirus lockdown and isolation has highlighted recently is the great psychological and spiritual value that listening to music can have on an individual and a community. Sometimes, too, it’s good to dream: we can’t all own a Ferrari, or live in the country with a stable of
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horses, but it’s occasionally nice to imagine what life would be like if we could. Over the next 40 pages or so, we highlight some of the more premium pieces of hi-fi equipment that What Hi-Fi? has encountered in the past few years. It’s not all completely out of reach by any means – some of the products here cost around £1000 – but it is all top-quality kit that we yearn to own. So, whether you’re a fan of vinyl or are looking for a more modern route to listen to your precious tunes – or you might want to have every option open to you – over these pages you will see music-making equipment that can perform at the highest level. Invest in some of this kit and you can hear your music in the way its creators intended – or at least as close to it as is possible without actually being in the room with them playing live.
HIGH-END SPECIAL
CONTENTS Streamers (page 26) Phono stages (page 30) Speakers (page 33) ProAc 2 feature (page 40) Turntables (page 42) DACs (page 46) CD players (page 48) ClassĂŠ CD-202 feature (page 52) Amplifiers (page 54) Headphones (page 60)
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HIGH-END SPECIAL
£1
VERTERE ACOUSTICS PHONO-1 MKII 0 00
We play Nirvana’s Nevermind and love the Vertere’s drive and attack. It preserves so much of the recording’s energy and delivers it with confidence. This disc shows off the Phono-1’s surefooted timing and its ability to render complex rhythms in a composed and entertaining way. Tonally the Vertere is certainly brighter than our reference Cyrus, but this won’t spill into being an issue unless the rest of your system already suffers from excess aggression. Regardless of the deck used we get a balanced sound and excellent resolution.
All together now
ertere Acoustics’ Phono-1 MkII may not look particularly special, but if you’re after a phono stage at anywhere near the £1000 mark, it simply has to be heard. This plain-looking box turns out to be a carefully considered product with a wide range of settings that ensures compatibility with most price-compatible cartridges.
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Look underneath… That clean front with its solo power switch isn’t the panel to focus on. With its initially dizzying collection of dipswitches, the underside of the case is far more interesting. Take a careful look and it all starts to make sense with adjustments for gain – from 45.4 to 61.4dB in 12 steps – as well as a multitude of settings for capacitance and resistance. Get these adjustments right (check your cartridge’s technical specifications for the values required, but feel free to experiment) and we think you’ll be able to optimise the Vertere’s performance for most cartridges on the market.
with their particular set-up. We found this useful with our reference Technics SL-1000R record player, which hummed until we tried a different grounding switch setting. There’s no point in having a phono stage of this level if the rest of your system isn’t suitably talented. We use our reference record player, the Technics SL-1000R (using a Kiseki Purpleheart MC cartridge) along with Vertere’s MG-1 MkII/SG-1 MkII turntable/arm package with the in-house Mystic moving-coil cartridge fitted. The rest of the system is made up of Burmester’s 088/911 MkIII pre/power and ATC’s SCM 50 speakers.
Life and enthusiasm It says much about the performance of the Phono-1 MkII that it sounds right at home in such capable and high-priced company. In fact, it positively thrives. This is an upfront and lively performer, one that certainly sounds more enthusiastic and exciting than the Cyrus Phono Signature (£1495) – our current favourite phono stage at this level.
…and round the back Take a look at the back panel and it’s all pretty straightforward. There’s the input and output in standard stereo RCA form and a grounding terminal with a generously sized nut with which to clamp down. Unusually, there’s also a Ground switch with three positions, to give the user options should hum be an issue
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This Vertere is a highly detailed performer, but its real strength is that all that information is organised into a musically cohesive whole. By the end of our listening sessions, we forget about analysing its performance and end up simply enjoying the music. We can’t ask for more than that. That rings true no matter what music we play. Orff’s Carmina Burana comes through with its fierce dynamic swings and manic energy intact. We have no issue with the way the Vertere lays out the large-scale soundstage, nor its precision in locating sounds within it. It’s all nicely expansive and convincingly layered. Equally, the likes of Bruce Springsteen’s Born To Run shows that the Phono-1 MkII has no trouble rocking out when required either. The album’s production isn’t the cleanest around, but there’s still enough in the way of insight and excitement to leave us satisfied. There’s no doubt that the Phono-1 MkII is a terrific performer for the money. Supply it with a suitably capable deck and you’ll get a sound that will have you listening well into the night. It’s insightful and reveals far more than most alternatives – but the Vertere’s real strength is that it never trades musical enjoyment for analysis. That’s a surprisingly rare trait in premium hi-fi.
RATING SOUND FEATURES BUILD
FOR • Dynamic, entertaining performer • Fine resolution • Musical coherence • Versatility
AGAINST • Simple appearance • Lacks bling value
VERDICT If you’re looking for a top-class phono stage at this level, the Phono-1 MkII should be at the top of your list
SPEAKERS
system, copper phase plug and glass fibre cone. It’s tuned by a forward-firing port and is claimed to reach down to a pretty impressive 30Hz, though ProAc’s specifications don’t list the output level limits for that measurement. Traditionally, ProAc has made its speakers compatible with a wide range of amplifiers and the D2Rs are no different. While a sensitivity of 88dB/W/m and nominal impedance of 8 ohms is par for the course, these speakers are an easier electrical load to drive than most rivals. The Response D2Rs feel solid and well built. There’s a choice of six real wood veneers – mahogany, black ash, cherry, walnut, oak or white silk. For an extra £200, you can have rosewood or ebony.
Careful partnering
he ProAc Response D2Rs are intended to complement rather than replace the original and still current Response D2s (£2165). The big news is the inclusion of a ribbon tweeter, the first time buyers of ProAc’s standmounters have had such a choice. There’s no curved cabinet or particularly fancy cone materials here, instead it’s a mid-sized standmounter that stands 43cm high. The cabinet is made of 15mm thick marine ply lined with heavy bituminous damping. The idea is to move cabinet resonances away from the midrange – where our hearing is at its most acute – and into the bass where it’s less sensitive. The ribbon tweeter is the same 60 x 10mm unit as used on the company’s dearer Response models. There’s a damped rear chamber behind the diaphragm to help with dynamics, and an Alnico magnet, rather than the Neodymium we might have expected. Oddly, ProAc doesn’t take a firm stance on whether the ribbon option sounds better than the dome tweeter, claiming it’s a matter of personal preference. In our experience, the ribbon option gives a more transparent and detailed sound, one that’s well worth the price premium. In its own way, the 16.5cm mid/bass driver is just as impressive a unit, with its stiff chassis, carefully honed motor
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To get the best out of these speakers, you’ll need to put a bit of work into installation. With the D2R’s transparency, it pays to partner them with equally capable sources and amplification. These ProAcs aren’t as unfussy about positioning as the standard D2s. That ribbon tweeter has many positives, but is more demanding about optimum set-up. Make sure you keep the speakers away from rear and sidewalls and get the toe-in angle towards the listening position right. Finally, make sure your stands raise the speaker sufficiently to put your ears in line with the tweeter. We plumb these ProAcs into our reference system – Naim ND 555/555 PS DR music streamer and Burmester 088/911 Mk3 amp – and sit back waiting to be entertained. We’re big fans of the D2s, so we’re expecting greatness. Thankfully, that’s exactly what we get. The Response D2Rs are expressive speakers, even at low volume levels. We play Melody Gardot’s Mira and they respond with an agile and lively performance that mixes information with entertainment as well anything else we’ve heard at this price. The midrange is a highlight, delivering Gardot’s rich,
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PROAC RESPONSE D2R
playful tones with considerable skill. The D2Rs convey the nuances of her voice superbly, making it sound alive. We’re pleased with the way these speakers deliver the song’s complex rhythms åtoo. There’s precision, coupled with a good sense of drive, and the ability to sound fluid while doing it. We switch to Stravinsky’s The Rite Of Spring and these ProAcs continue to impress with their large-scale dynamics and authority. These aren’t particularly big speakers, so really deep bass isn’t on the menu, but for their size, the low-end is impressive deep and authoritative.
Shining detail That ribbon tweeter shines in the amount of detail it resolves and avoids sounding a little sterile and tonally grey. The integration with the mid/bass is handled seamlessly and there’s a consistency of character from the lowest frequency upward that’s impressive. Stereo imaging is nicely layered and pleasingly precise. When we close our eyes it’s hard to pinpoint the positions of the D2Rs, which speaks well for the quietness of those cabinets. Neutral isn’t the first word to come to mind when we think of the ProAc’s tonal balance. Similarly priced models from the likes of Spendor or ATC excel in this area, but the D2Rs don’t obviously come up short. They have a stronger character than some rivals, but it’s likeable and works well across a wide range of music. These boxes have a natural warmth to the midrange that helps to make voices sound more convincing, but perhaps they need a little more enthusiasm in the upper frequencies to be truly accurate. However, none of these things detracts from their considerable strengths. Despite their obvious transparency, these ProAcs never strike us as particularly analytical tools. With suitably talented partners, the D2Rs excel at giving the music the limelight. We can’t ask for more than that.
RATING SOUND COMPATIBILITY BUILD
FOR • Dynamically expressive • Taut, powerful and tuneful bass • Pleasing build and finish
AGAINST • Set-up needs care
VERDICT These speakers are as musical, insightful and entertaining as any we’ve heard at this level
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T H AT WA S T H E N
Classé CDP-202 (2006)
This high-end CD player from 2006 still looks the part today Ahead of the curve Now a Classé trademark, the curved look began with the Delta Series, of which the CDP-202 is part. The front panel is made of a single piece of aluminium and bent with precision
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ut Classé’s CDP-202 next to pretty much any current high-end CD player and, in most cases, the 2006 product will look the more modern of the two. That’s some testament to the unit’s stylish looks and Classé’s ambitious engineering. Calling this unit just a CD player is under-selling it somewhat though. Thanks to the use of a TEAC slot-loading DVD-ROM drive it can play CD-Rs, Video CDs, DVD-Video and high-resolution DVD-Audio discs as well. What about SACD? While the format was still alive and well at the time this player was introduced, Classé chose not to include it as that would limit the company’s choice of transport mechanism. Back then, it seemed as though DVD-Audio and SACD would be the future of high-quality music formats, and so the omission of the latter raised a few eyebrows. But time has shown that neither format went on to fulfill that promise. Still, back then we remember using the CDP-202 to play DVD-Audio discs – Missy Elliot’s So Addictive and Beethoven’s 9th Symphony among them – and found ourselves impressed by the clarity, detail and dynamic subtlety on offer. The CDP-202’s build and finish impresses even by current standards. The big news now, as then, remains the LCD touchscreen. Classé had to balance the need for a full set of controls that would work CDs and DVDs, with the desire to produce a stylish player with a clean, uncluttered look.
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The answer was a 3.5in LCD touchscreen that could adapt its button layout to the type of disc inserted and which could also be used as a screen to navigate DVD and DVD-Audio menus. You could even watch a film on it if you wanted, though we wouldn’t recommend it. Put aside the screen’s poor resolution and lack of contrast – such things have improved much over the years – and concentrate instead on the foresight of the manufacturer to include such an interface. It was a bold move and we applaud Classé for doing it. The rest of the CDP-202 casework is equally impressive. It’s stylish, impressively rigid and beautifully finished. In 2006, this player retailed for £4750 and it looked worth the money. That curved front panel is made of a single piece of aluminium and we still find it amazing that the company managed to bend it with such precision without causing cracks. The curved look has since become a Classé trademark, but it started with the Delta Series of which this player is part. Take a careful look around this player and it’s easy to appreciate the obsessive attention to detail. When there isn’t a disc loaded, the CD slot is lit to make insertion easier in a darkened room, and the whole player sits on four isolation pads that decouple it from any vibrations in the support, so helping the performance. Look inside and you’ll find that such decoupling continues with ultra-soft mounts for the transport mechanism, which makes the job of reading the
HIGH-END SPECIAL
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A bold statement Grado claims these are the finest wooden-cased headphones it has ever made. That’s some statement considering the standards set by previous gems such as the legendary RS1 and current GS1000e models. The look of the GS3000es follows established brand traits. The headband is a flat, minimally padded, leather-covered structure that shouldn’t be as comfy as it
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he Grado GS3000es need a listening room. That sounds like an odd thing to say about a pair of headphones, but get a pair and that’s exactly what you’ll wish for. They have an open-backed design. They not only leak out lots of sound but they let in everything too. Voices, traffic noises, kettles boiling, you name it – all will intrude on your listening experience. During testing, it isn’t long before we see the look of disapproval from anyone sitting near us, once the high-frequency ‘tiss-tiss’ emanating from these cans starts getting on their nerves. The solution? Go to a quiet space, away from anyone likely to disturb or be disturbed. A dedicated listening room, for instance.
£1
GRADO GS3000E
is, and those oversized foam earpads look as odd as ever. But, perhaps surprisingly, the GS3000es are comfortable, and at around 300g on our scales, they’re pretty light too. That open-backed design has clear sonic advantages. The housing on a closed-back headphone will always have some kind of degrading effect on the sound produced, and these Grados simply get around those issues. There will still be some resonances in the housing, but they’ll be a lot less troublesome than in a closed design. The open design also means that our ears don’t heat up over time. Long listening sessions pass without comfort becoming an issue, which isn’t something that can be said for much of the premium-priced opposition. These range-toppers make use of a tropical hardwood called Cocobolo and it seems the wood’s natural tone works well with the in-house 50mm drivers. Those oversized foam earpads provide a good seal and, though they don’t feel as classy as the usual leather-covered alternatives, they do the job well enough.
No room for compromise Give the GS3000es an appropriate source for headphones at this level – we use a Naim ND555/555 PS DR music streamer/ Graham Slee Solo pairing alongside an Apple Mac loaded with Audirvana music-playing software and feeding a Chord Hugo2 DAC – and they can’t fail to impress. Don’t be tempted to skimp on the system – these are highly revealing performers that won’t shine if fed by less talented sources and amplification. We listen to alt-J’s This Is All Yours album and the Grados sound right at home among the complex polyrhythms, dense production and hard-charging beats. There’s so much insight here, from
instrumental textures to the nuances in the group’s vocals that we never feel short-changed. The GS3000es manage to convey the drama of the music superbly, delivering an agile and involving sound that draws us into the music. Most rivals sound less lively and more shut-in. Equally, these same rivals offer more bass punch and authority – a major advantage of a closed-back configuration.
In touch with the emotions We play Ólafur Arnald’s Broadchurch soundtrack and the Grados render the music’s low-key but powerful emotions brilliantly. It’s down to expressive and fluid dynamics and the GS3000es’ wonderfully composed organisation – every sound fits perfectly into the whole, never seeming random or redundant. Tonally, these are far more forgiving than the more explicit and forwardsounding PS1000es. There’s more richness to this presentation and so it proves easier on the ear. It’s still massively detailed and precise, but just less demanding to listen to now. Some rivals are more even-sounding and certainly a fair few are more refined. The GS3000e’s top-end is far more forgiving than other high-end Grados, but still lacks some of the smoothness of premium alternatives from the likes of Sennheiser, Beyerdynamic or Focal. But, as we spend more time listening to these headphones, we don’t mind these shortfalls so much. We just know that we’re having a great deal of fun. The GS3000es aren’t the things to buy if you want to impress friends with a luxury look. Grado has never cared much for such niceties. While the WW2-radiooperator appearance may split opinions, there’s no denying the excellence of the sound. Given a good enough signal, they will outshine most alternatives.
RATING SOUND COMFORT BUILD
FOR • Detailed, entertaining sound • Expressive dynamics • Surefooted with rhythms
AGAINST • Open design leaks sound • Little isolation
VERDICT More than capable of turning in a magnificently musical and informative performance
A HISTORY OF THE STRANGEST VINYL RECORDS EVER MADE And we don’t mean the music: from locked grooves to chocolate discs, this is a celebration of the format’s weirdest physical incarnations
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usic is made by artists so it must be art, right? Indeed, but in physical terms it can also be art beyond the music. And no other format highlights that quite like vinyl. The history of vinyl is strewn with artistic endeavour, just as it is with gimmickry and perceptibly aimless experimentation. Whatever you make of it all is (probably) up to you.
matter. You could hypothetically configure a set-up to play a disc of any size – and, of course, the more grooves a record can house, the longer you can make it play. This was of particular benefit to film companies for accompanying early talking pictures, and to radio for broadcasting pre-recorded programmes – both regularly used 16in discs, and perhaps even larger. If you truly want to show two fingers to the art establishment, you’ll want to be tampering with rotation speed. To celebrate the third anniversary of his Third Man Records in 2012, Jack White threw a party at which guests were treated to The First Three Years Of Blue Series Singles On One LP At 3rpm. It held the A- and B-sides from each of the 28 ‘Blue Series’ 7in singles the label had released to that point.
Size and speed
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Locked in the groove Every record has a locked groove: it’s what stops the stylus dragging over the label once the music’s stopped. Probably the best-known example of a locked groove containing music is at the
Others can get their hands on your records: here the music has been ‘hidden’ by pressing it into an X-ray
Image: Blank City Records
Let’s start small. Limited to 300 copies, Pea Brain zine’s ADHD EP is a mere two inches wide. It’s the smallest dedicated vinyl record we have found and contains ten-second songs from six Southampton and Portsmouth punk bands. On the face of it that could sound senseless beyond the merit of its absurdity, but plenty of bands come to mind whose songs would benefit from being truncated to a fraction of a minute. There’s a marginally greater chance you’ll have a 5in record in your collection (or more specifically 4.7in). Back in 2007, German company Optimal Media Production developed the VinylDisc, an analogue/digital hybrid of CD and three-and-a-half-minute vinyl layer. Given that this was a curiosity rather than a product with hefty selling power, The Mars Volta naturally included one as a freebie for those who bought their album Bedlam In Goliath in selected US record stores in 2008. It held a cover of Pink Floyd’s Candy And A Currant Bun on both sides, and the video for Wax Simulacra as a CD bonus. Theoretically, the physical size of a vinyl record, unlike tape or CD, doesn’t
end of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band, creating an infinite loop and, consequently, an album you could consider being of infinite duration (the arguable existence of infinity aside). Plenty of groups have made similar use of a locked groove, but it also holds a key to including hidden or bonus material on a vinyl record. By locking a groove before the end of a record’s running time, you can effectively hide songs from the listener that they have to lift the stylus and replace after the locked groove to hear. Among a number of idiosyncrasies, such as the first side playing inside to out, with potentially the first-ever locked groove on the outside of a record, the ULTRA version of Jack White’s 2014 solo record Lazaretto went a step further than hiding tracks in locked grooves, secreting two under the centre labels. Even more obstinately, one plays at 45rpm and the other at 78rpm, creating what the label believes to be the first three-speed LP. Going a step further, in 1998 American label RRRecords released RRR500; a compilation of 500 locked grooves sourced from 500 artists as diverse as Charlie Parker, Sonic Youth and The Teletubbies. Pointless? Perhaps, though similar compilations of locked grooves have proven useful for early sound effects or DJs building dance tracks. But what if it were up to chance rather than the listener’s will as to which tracks a record played? In 1973, side two of Monty Python’s fourth comedy album, The Monty Python Matching Tie And Handkerchief, was cut with parallel grooves – different tracks play depending
BUYER’S GUIDE
BUYER’S GUIDE The definitive guide to the best home-entertainment kit you can buy From 65in 4K TVs to turntables, and from portable Bluetooth speakers to Dolby Atmos surround sound packages, here’s where you’ll find the perfect hi-fi and AV product, fast. NEW ENTRIES THIS MONTH The first 2020 set from OLED giant LG made its way into our testing rooms, and not all together surprisingly from such a consistent manufacturer, it proves to be a splendid top of the range addition. And, despite the fact that it works only with its stablemate Hugo 2 DAC, the Chord 2go is a simply superb streaming module.
Chord 2go , p78 Mate it with a Hugo 2 DAC and you have a top-class streaming system
NOW WITH THE BEST BUYS IN EVERY CATEGORY HI-FI Stereo amplifiers Pre- & power amplifiers CD players & transports DACs Music streamers Radios Stereo speakers Systems Multi-room systems Turntables Wireless speakers
73 75 75 76 78 79 80 84 85 85 87
HOME CINEMA Blu-ray players Home cinema amplifiers Projectors Set-top boxes Soundbars & soundbases Speaker packages Video streamers Televisions
90 90 91 92 92 94 95 96
PORTABLE Headphones Portable music players Smartphones Streaming apps & services Tablets
98 102 103 104 104
ACCESSORIES Analogue interconnects AV & hi-fi racks Cartridges Headphone amplifiers Mains products Phono stages Speaker cables Speaker stands
105 105 106 106 106 107 108 109
8K TV: JUST AROUND THE CORNER? There’s always something new on the horizon – now it’s 8K TV’s turn. We give you the lowdown on the new high, high-res format on p96.
LG OLED65GX, p97 A terrific OLED set from LG; opens its 2020 account with a bang
AMAZON PRIME TIPS Amazon Prime is one of the big hitters of the video-streaming world – and getting bigger day by day. It’s worth picking up some navigational tips and tricks, so we enlighten you on p103.
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