Not everyone needs a $1,000 soundbar. It’s easy to argue the sonic superiority of those flagship models from Samsung, Sonos and Sony, but for some people a simple boost to their TV speakers can provide a world of difference. As part of its 2026 soundbar lineup, Sony debuted the Bravia Theater Bar 5: a $350 entry-level model that covers the basics and comes with a wireless subwoofer in the box. The real question here is how many features are you willing to live without. 

The good: Sound quality, bass performance and setup

The Theater Bar 5 is the most compact soundbar among Sony’s new models, measuring just 35.5 inches wide. For comparison, that’s still about 10 inches wider than the second-gen Sonos Beam, but nearly 16 inches smaller than Sony’s flagship Theater Bar 9. This stature makes the Bar 5 well-suited for smaller spaces with smaller TVs. In fact, Sony says the soundbar will fit between the legs of Bravia TVs with multi-position stands. Plus, the Bar 5 is just over 2.5 inches tall, slightly shorter than the Beam, so it won’t block the bottom edge of most TVs. 

Despite its small size, the Bar 5 cranks out some excellent sound. There’s plenty of crisp, clear audio from the 3.1-channel configuration, and the included subwoofer provides an ample amount of booming bass. The Bar 5 supports Dolby Atmos and DTS:X, but it doesn’t have up-firing drivers. Instead, the soundbar relies on Sony’s Vertical Surround Engine and S-Force Pro Front Surround tech to virtualize much of the directional and overhead audio. More on that in a bit. 

While watching Netflix’s Drive to Survive, I experienced the excitement of F1 cars zooming around various circuits as the Bar 5 does well with general movement. The soundbar’s wide soundstage, excellent detail and booming bass provide some degree of immersion that doesn’t rely on audio projected overhead. That overall clarity and powerful bass are also great for listening to music, as the Bar 5 can handle a range of genres with ease. 

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From Kieran Behden & William Tyler’s acoustic/electronic 41 Longfield Street Late ‘80s to Thursday’s screamo masterpiece Full Collapse, the soundbar performs admirably. Although with heavier genres, I preferred to dial down the bass slightly. Tucker Rule’s kick drum on Full Collapse, for example, was a bit much for the standard tuning here. 

After struggling with the setup on LG’s Sound Suite, I was thankful that configuring the Bar 5 was super easy. It’s very much a plug-and-play situation, and the Bravia Connect app guides you through the initial steps. It takes about five minutes to get up and running and I’d wager even the least tech-savvy person in your life can probably figure this out. You can also opt for Night mode (less bass), Sound Field (enhanced audio) and Voice mode (louder dialogue) in the Bravia Connect app. 

All of this certainly makes the Bar 5 a solid option for someone who doesn’t need a lot of features, but stands to benefit from augmenting the sound from their TV alone. 

The not so good: Constrained Dolby Atmos and limited features 

While the Bar 5 supports Dolby Atmos and DTS:X immersive audio, Sony’s virtualization tech was a disappointment. There’s some side-to-side directional sound, but I noticed almost no simulated overhead noise. The Bar 5’s sonic clarity makes it a solid option for boosting living room audio, just don’t expect the enveloping effects that more robust (and more expensive) soundbars would offer. 

There are several features you won’t find on the Theater Bar 5, starting with the lack of onboard controls. I’m well aware that those buttons on top of soundbars don’t get used much, but if you’re like me, you still reach for them occasionally. There were several times during my testing when I tried to blindly tap the non-existent volume controls on the Bar 5. Other than a power button on the right side, your options for controlling this soundbar are a remote and the Bravia Connect app. 

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You also won’t find a Wi-Fi connection on the Bar 5. This means that AirPlay and Google Cast aren’t available to easily beam audio from your devices to the soundbar. There is Bluetooth 5.3, so you do have an option for music and podcasts from your phone or laptop if you need it. However, pairing your devices to the soundbar via Bluetooth isn’t as quick as selecting the soundbar in your streaming app when AirPlay or Cast are on the spec sheet. 

Lastly, Sony doesn’t offer any type of room calibration on Theater Bar 5. Sure, a smaller soundbar like this is better in smaller spaces, but it would still be nice to have the system dial in the audio for the aspects of the room. After all, not every living room is a perfect rectangle. I can understand why the company left this feature out of a $350 model, since the tool would require extra components like microphones. This is certainly one of the more noticeable trade-offs for saving some money.  

Wrap-up

Sometimes the basics are all you need. Sony’s Bravia Theater Bar 5 provides an entry-level boost to TV audio that will be fine for people looking for just that. While there is support for immersive audio, the soundbar’s 3.1-channel setup isn’t the best for Dolby Atmos and DTS:X performance, and that’s really the biggest knock against the Bar 5. However, this model's excellent audio quality, especially the powerful bass, will suffice for customers just looking to hear their TVs better. 

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If you want a compact soundbar that provides respectable Atmos performance, the second-gen Sonos Beam is your best bet. Sure, it’s more expensive at $499 and it doesn’t come with a subwoofer, but its additional drivers, tweeter and passive radiators offer more robust audio from the soundbar alone. You also get Trueplay room calibration and Wi-Fi connectivity there. 

The Theater Bar 5 will certainly improve your living room audio compared to your TV speakers alone, but with a few more features and improved Atmos virtualization, Sony could’ve had a real winner.

I’m honestly shocked the AirPods Max 2 even exists. After Apple only added a USB-C port and a few new colors to its over-ear headphones in 2024, I thought it had given up on delivering a proper upgrade to its priciest AirPods model. I’m happy to report that wasn’t the case. 

The AirPods Max 2 is certainly an updated version of Apple’s headphones, but the company is also catching it up to the AirPods Pro 3. The headphones now carry the company’s powerful H2 audio chip, the component that enables features like Adaptive Audio and Live Translation. The USB-C AirPods Max may have barely been an update, but the AirPods Max 2 is worthy of the new numeral in its name. The price is still $549, due in part to the fact that Apple’s products are exempt from Trump’s tariffs, yet these remain some of the most expensive headphones I’ve reviewed. Are the AirPods Max still worth it?

What’s new on the AirPods Max 2?

All of the AirPods Max 2’s major new features are here thanks to the upgrade to the H2 chip. It was baffling that Apple didn’t swap out the H1 when it made the switch to USB-C, choosing instead to saddle its pricey headphones with very outdated silicon for another 16 months. So, in a lot of ways, the AirPods Max 2 is a lot more about getting up to date with the rest of the lineup, which means a host of new tools await. 

Thanks to the H2 chip, the AirPods Max 2 has Adaptive Audio, Conversation Awareness, Voice Isolation, Personalized Volume, Siri Interactions (head gestures) and Live Translation. Adaptive Audio blends active noise cancellation (ANC) with transparency mode and automatically adjusts the mix based on your surroundings. Conversation Awareness can tell when you’re talking and automatically lowers the volume and enables transparency mode for quick chats.  

Voice Isolation helps improve your voice quality for calls when the AirPods Max 2 is used with compatible apps on an iPhone, iPad or Mac, and I think we’re all well-aware of what Live Translation is. Lastly, Personalized Volume takes notes on your listening preferences over time and applies automatic adjustments based on those and your surroundings. 

Unsurprisingly, these features all work as well as they do on the AirPods Pro 3. Of course, there will be some that you use often and others that you might not touch at all. For me, I don’t like contending with unwanted volume changes due to Conversation Awareness, so I turn that one off. It’s not as easily triggered as Sony’s version, but I did trick it with an unexpectedly loud burp. I also don’t use the Siri head gestures, although they work very well. I frequently use Adaptive Audio around the house, which allows me to enable transparency mode to hear what I need to while letting the headphones apply ANC if I encounter unwanted noise. Voice Isolation is also a big improvement to normal voice performance and Live Translation is certainly nice to have.  

Two additional H2 features that I do use often on the AirPods Pro, and will do so on the AirPods Max 2 because they work well here, are studio-quality audio recording and Camera Remote. The first is self-explanatory, but it does offer a boost to clips recorded in Voice Memos and the Camera app (my main two uses). Meanwhile, Camera Remote allows you to use the Digital Crown to take a photo or start/stop a video recording without reaching for your iPhone. 

Et tu, hearing health?

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Apple’s hearing health features are some of the most important tools on the AirPods Pro. However, you won’t find them on the AirPods Max 2, despite the new H2 chip. While the headphones do offer loud sound reduction, the hearing test, hearing aid and automatic conversation boost tools are absent. There are several reasons for this, the primary one being that the cushions on the over-ear headphones don’t seal off your ears the way the AirPods Pro ear tips do.

Still, loud sound reduction isn’t nothing. This prevents exposure to loud ambient noise while making adjustments to keep the audio sounding good. It’s particularly useful when you encounter blaring construction sounds during a commute or similar inconveniences. 

Design: More of the same

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One thing that hasn’t changed on the AirPods Max 2 is the design. For better or worse, Apple has kept the same look that it debuted in 2020. Aside from new colors and the switch from Lightning to USB-C in 2024, there are no other visible differences between this version and the original. I would argue it’s time for the company to change things up, but I can also understand why it hasn’t. 

First, let’s discuss what’s great about the AirPods Max’s design. It’s unique, especially the mesh headband, solid aluminum ear cups and fabric ear pads. The punches of color are nice too, and if you prefer something more subtle, the black and gold, er… Midnight and Starlight options fit that bill. From the start, I’ve loved the simple controls that are comprised of the Apple Watch’s Digital Crown and the lone additional button for listening modes (a press and hold will activate Live Translation). The controls are in a great location, and it’s so satisfying to spin the Digital Crown for volume adjustments. 

So, why hasn’t Apple redesigned the outside of the AirPods Max? I’d argue it doesn’t think it needs to yet. The AirPods Pro is still largely the same as it has been from the first version, and the regular AirPods only got its first big design overhaul in 2024. The original AirPods debuted in 2016, so if Apple keeps a similar timeline for aesthetic changes to both the Pro and Max lines, we might not see those until 2027 and 2028 respectively. 

Sound quality, ANC and calls

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Besides the H2 chip, the other big upgrade to the AirPods Max’s internal components is a new high dynamic range amplifier. This improves overall sound quality by allowing you to listen at higher volumes with low distortion and excellent clarity. Apple also overhauled the digital signal processing (DSP) for better bass response and to enhance the locations of instruments in the mix. 

Those tweaks don’t equate to a huge leap in audio performance on the AirPods Max 2, but the gains are noticeable. Sound quality wasn’t an issue before, but you can definitely hear the improved instrument localization and enhanced bass performance across nearly all genres. On Ruston Kelly’s “Waiting to Love You (Piano Version/Live From Salt Lick Sessions),” the singer’s unique voice and the keys completely fill your head. It’s like a barrage of balladry in the best way. You get the texture of the vocals, the reverb of the piano and all the dynamics of the stripped-down live performance. 

Jump to something a bit more energetic, like aya’s “navel gazer,” and the AirPods Max 2 deftly manages the vocals, synths and whatever else is happening in the mix (seriously, it’s a lot). And there’s still the sonic deluge that hexed! hits you with. Even with the multi-genre mash-up metal of Bilmuri, these headphones keep the vocals, guitars, drums and subtle sounds separate. There are a lot of delicate details in the artist’s latest tracks — like “More Than Hate,” for example — and the AirPods Max 2 ensures you’ll catch them all. A screeching eagle? Hell yeah, brother. 

While wireless listening remains excellent, the AirPods Max 2 still offers lossless audio over USB-C. If you opt for wired use, you can get up to 24-bit/48kHz quality from compatible streaming services or locally stored files. This is the same functionality that Apple delivered in 2025. As expected, it still works well and provides enhanced listening when needed. Personally, I like to use it when I’m sitting at my desk. What’s more, the wired USB-C connection can be used for low-latency audio — which is great when you’re playing a game or mixing/editing audio projects. I should note the rest of the AirPods Max features (Siri, Adaptive Audio, etc.) still work over Bluetooth in wired mode, and there’s also a low-latency Game Mode for wireless use with a Mac, iPhone or iPad. 

In terms of ANC, Apple says the H2 unlocks up to 1.5x stronger performance than the previous generation. The company combined the audio chip with new computational audio algorithms to reduce more external sounds — like airplane engines, trains and the roar of a coffee shop. That difference is certainly noticeable, as I found constant sources of noise around my house (fans, white noise machines, HVAC system, etc.) were much less apparent when I had the AirPods Max 2 on. Plus, Adaptive Audio uses the ANC system to pick up any changes and make the necessary adjustments to keep your music, podcast or movie coming through clearly.

Every AirPods model that has ANC is also equipped with transparency mode. Since the debut of the first AirPods Pro, I’ve been continually amazed by the natural sound of this feature. No other audio company comes close to matching the clarity of the ambient sound here, nearly making you forget you're wearing earbuds or headphones. This has a tremendous impact on calls, as you can hear yourself very well, so you never feel the need to speak loudly. Plus, Voice Isolation combines the AirPods Max 2’s H2 chip with an iPhone, iPad or Mac to further improve your voice and reduce background noise. Most headphones offer average voice performance at best, but like it has in the past, Apple actually delivers. 

Battery life

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One of the areas I was hoping for an additional boost on the AirPods Max 2 is battery life. Sadly, I was headed for disappointment. This model offers the same 20-hour longevity as its predecessors, a figure that includes ANC and/or Spatial Audio. While it’s certainly enough to get you through a couple of work days or a trans-Atlantic flight, that number falls well short of the 30-50 hours much of the over-ear competition can muster these days. 

I haven’t had the AirPods Max 2 long enough to do a full battery test; I chose to focus on the new features instead. However, based on the performance that I’ve seen so far, I have no reason to doubt Apple’s claims here. The company has a solid track record on battery life, and all indications are that it continues on the AirPods Max 2. I’ll update this review when this test is complete. 

The competition

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If you’re thoroughly invested in Apple’s ecosystem, the AirPods Max 2 is worth considering. Most of the features are reserved for the iOS, iPadOS and masOS faithful, so it doesn’t really make sense for Android users or Windows devotees to splurge on the $549 headphones. If you’re still balking at that price tag, Sony’s WH-1000XM6 is my current top pick on our best headphones list. While those headphones are $460 at full price, you can currently find them for $400. Sony continues to mix great sound with capable ANC and a list of features few rivals can compete with. Plus, those handy tools are available to both iOS and Android users. 

Bose’s second-gen QuietComfort Ultra headphones are another solid option. They offer powerful ANC, great sound quality and excellent comfort for $449, but you can currently snag them for around $400. If noise cancellation performance is your primary concern, this is your pick. Lastly, if money is no object, a personal favorite is the Px8 S2 from Bowers & Wilkins. They’re pure luxury right down to the $799 price tag, and they exude grandeur. The company’s combo of leather and aluminum screams high end and it made some design tweaks for this model to refresh the overall look. Battery life and sound quality are the big attractions here, but just know you’ll have to forgo the advanced features much of the (more affordable) competition provides — like all of those H2-powered tools on the AirPods Max 2. 

Wrap-up

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The AirPods Max 2 is an obvious upgrade over the previous version. And no, I don’t count the USB-C swap-in as a separate model. Simply put, the H2 chip brings Apple’s over-ear headphones on par with the rest of the AirPods lineup, namely the AirPods Pro 3. And since I don’t expect Apple to announce new earbuds this year, that parity should remain for a while. 

These headphones are still expensive though, and the more affordable AirPods Pro offer handy hearing health features that are nice to have in your pocket. I could also understand why prospective buyers would want some design changes before making such a big investment. Sure, the AirPods Max 2 looks the same as its predecessor, possibly leaving those who own the previous version with a difficult decision to make. But Apple kept the price the same and brought better sound and more features, so there’s no denying these headphones outperform the original.

I know what you’re thinking: “Isn’t Fender a guitar company?” It sure is, and has been one of the most iconic names in guitars and amplifiers since 1946. So what is the company doing making headphones and speakers? Well, it isn’t, exactly. Like Zound Industries used to do with Marshall (before buying the amp business), another company is licensing the Fender name for its consumer audio products. Fender Audio, the brand that’s on the headphones I’m reviewing, is owned by the Fender Corporation, but Riffsound oversees the design and production of portable audio gear. 

The first products from Fender Audio are the Mix headphones and the Elie speaker (in two sizes). The company revealed these in January before properly showing them off  at CES. I’ll get to those speakers in a few weeks, but the Mix headphones are first up on the review docket. 

With the Mix, Fender Audio seeks to offer a set of premium over-ear, noise-canceling headphones at a lower price than the likes of Sony, Bose and Sennheiser. There’s also marathon battery life, several smart design touches, a lossless Bluetooth transmitter and swappable parts that combine for a unique formula to take on those big names. I’m honestly impressed that Fender Audio could cram all of that in a more affordable package, but the final verdict on the Mix isn’t so straightforward.

What’s good about the Fender Mix headphones?

Fender Audio made numerous smart design decisions on the Mix headphones, and they resulted in my favorite things about using them. To start, you can swap out the ear pads, ear cups and headband as you see fit. The ear cups attach to the headband via USB-C ports, so they’re easy to snap on and off. Obviously, this allows you to change the look of the Mix over time, within the bounds of Fender’s available colors. 

Underneath the ear pads, Fender put a storage slot for the lossless dongle on the left side and gives you access to the removable battery on the right. I’m thrilled that I can enjoy higher quality Bluetooth connectivity without having to remember to bring along such a small accessory. Plus, it’s nice to know that users will be able to install a fresh battery, provided the company sells those at some point. 

I also enjoy how Fender Audio designed the onboard controls. First, they’re physical buttons, which are always my preference over touch- or gesture-based options. Second, the main one is a five-way joystick, so they’re very simple. Press it to play/pause, press and hold for pairing mode or press longer to power on or off. If you push the joystick up or down, you can adjust the volume, while moving it left and right skips the track forward or backward. You can also push down twice to enable Auracast pairing right on the headphones. A second button, which is just the regular kind, is used to cycle through noise canceling modes: ANC, transparency and both off. 

Billy Steele for Engadget

Sonically, the Mix headphones are at the height of their powers in lossless mode, which is enabled by the Bluetooth dongle hidden inside the ear cup. Bass tuning that’s otherwise overpowering in most cases is restrained, and you can pick up finer details in the more balanced mix. When listening to Watchhouse’s Rituals, I got the sense that I was surrounded by the band, with strings, drums and vocals enveloping my ears with sound — rather than it simply being projected from the left and right channels. There’s more nuance with the lossless mode, and it kept calling me back to the Mix headphones at the times when I’d probably opt for the conveniences of earbuds or a speaker. 

ANC performance is respectable, although it’s not on the level of Bose. It’s good enough to block out mild-to-moderate distractions, but it struggles with louder human voices and sudden jolts of noise. It will certainly do the job in the office or coffee shop, but you may notice some sounds invade your ears during a commute. For calls, transparency mode provides natural sound and it picks up enough of my voice that I never felt the need to shout. Call quality, though, is a different matter (more on that in a bit). 

Another big perk of the Mix is its long battery life. Fender Audio says you’ll get up to 52 hours with ANC on or a whopping 100 hours with it off. The company is forthcoming with the fact that the latter number is achieved at 50 percent volume, which will be too low for most “regular” use. Still, with noise canceling enabled and the volume around 70 percent, I had 52 percent battery left after nearly 30 hours of use. I spent most of that time with either ANC or transparency mode on. 

What’s not so good about the Fender Mix?

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Out of the box, Fender Mix’s tuning is too bass heavy. I realize a lot of people prefer a thundering low-end tone out of their headphones, but I found it to be too overpowering here. The stock sound profile is my biggest issue with this model, although it’s somewhat alleviated by using the lossless Bluetooth dongle. In that mode, the bass is slightly subdued, but it’s still quite prominent at times when it shouldn’t be. 

On that Watchhouse album, the kick drum starts to drive the sound, rather than the guitars, mandolin and other instruments. When I listen to the same songs on other headphones, I’ve noticed a better blend of drums and strings. With more intense genres, like the hardcore riffs and breakdowns of Incendiary’s Product of New York, the booming bass isn’t as much of an issue. The distorted guitars still cut through, and there’s plenty of texture in their tone. And when each song hits its climax, the cranked up lows offer extra oomph. It works for metal, but it isn’t always nice for bluegrass, jazz and synth-laiden electronic tunes where the extra bass can muddy the mix. 

The Fender Mix also lacks many of the smart features that are present in premium headphones today, which is probably how the company is able to sell them for $299. Things like automatic EQ tweaks and adaptive ANC are missing, as is automatic pausing when you speak or things like head gestures. These headphones don’t have wear detection either, so they don’t pause the audio when you take them off. There’s also no app available to dial in the EQ or adjust other settings (it’s coming soon).

These headphones only have two microphones for calls, and you can tell almost instantly that those are insufficient. Despite claims of “crystal clear calls,” your voice will just sound okay to the person on the other end. Honestly, I would’ve sounded better just using my iPhone with no headphones. The Mix works to get your voice across, but don’t dream of dialing into a podcast recording with them. What’s more, the Mix isn’t good at blocking background noise, so you’ll need to use them in a quiet location to have a chance at sounding decent. Which, again, is about the best these headphones can muster.

While the modular design allows for a decent degree of customization, the extra parts you’ll need aren’t on sale yet. What’s more, only two colors — white, which is really more of a light gray, and black — are currently available. So, for now, one of the perks of the Mix remains untapped. 

Wrap-up

Billy Steele for Engadget

There’s a lot to like about the Fender Mix, from the clever design choices to the crisp, detailed sound. The lack of finesse with the bass tuning and the omission of advanced features, particularly the absence of an app for settings changes, keeps these headphones firmly planted in the midrange category. 

Clearly that’s not what the company is aiming for with tools like the lossless Bluetooth dongle, but that’s where it lands for me at the end of the day. So, at $299, the Mix is a tough call when a $250 price tag would make these an easier sell. Sure, there’s enough here to make these a capable daily audio accessory, but not everything I’d need to call them a must buy.

I know what you’re thinking: “Isn’t Fender a guitar company?” It sure is, and has been one of the most iconic names in guitars and amplifiers since 1946. So what is the company doing making headphones and speakers? Well, it isn’t, exactly. Like Zound Industries used to do with Marshall (before buying the amp business), another company is licensing the Fender name for its consumer audio products. Fender Audio, the brand that’s on the headphones I’m reviewing, is owned by the Fender Corporation, but Riffsound oversees the design and production of portable audio gear. 

The first products from Fender Audio are the Mix headphones and the Elie speaker (in two sizes). The company revealed these in January before properly showing them off  at CES. I’ll get to those speakers in a few weeks, but the Mix headphones are first up on the review docket. 

With the Mix, Fender Audio seeks to offer a set of premium over-ear, noise-canceling headphones at a lower price than the likes of Sony, Bose and Sennheiser. There’s also marathon battery life, several smart design touches, a lossless Bluetooth transmitter and swappable parts that combine for a unique formula to take on those big names. I’m honestly impressed that Fender Audio could cram all of that in a more affordable package, but the final verdict on the Mix isn’t so straightforward.

What’s good about the Fender Mix headphones?

Fender Audio made numerous smart design decisions on the Mix headphones, and they resulted in my favorite things about using them. To start, you can swap out the ear pads, ear cups and headband as you see fit. The ear cups attach to the headband via USB-C ports, so they’re easy to snap on and off. Obviously, this allows you to change the look of the Mix over time, within the bounds of Fender’s available colors. 

Underneath the ear pads, Fender put a storage slot for the lossless dongle on the left side and gives you access to the removable battery on the right. I’m thrilled that I can enjoy higher quality Bluetooth connectivity without having to remember to bring along such a small accessory. Plus, it’s nice to know that users will be able to install a fresh battery, provided the company sells those at some point. 

I also enjoy how Fender Audio designed the onboard controls. First, they’re physical buttons, which are always my preference over touch- or gesture-based options. Second, the main one is a five-way joystick, so they’re very simple. Press it to play/pause, press and hold for pairing mode or press longer to power on or off. If you push the joystick up or down, you can adjust the volume, while moving it left and right skips the track forward or backward. You can also push down twice to enable Auracast pairing right on the headphones. A second button, which is just the regular kind, is used to cycle through noise canceling modes: ANC, transparency and both off. 

Billy Steele for Engadget

Sonically, the Mix headphones are at the height of their powers in lossless mode, which is enabled by the Bluetooth dongle hidden inside the ear cup. Bass tuning that’s otherwise overpowering in most cases is restrained, and you can pick up finer details in the more balanced mix. When listening to Watchhouse’s Rituals, I got the sense that I was surrounded by the band, with strings, drums and vocals enveloping my ears with sound — rather than it simply being projected from the left and right channels. There’s more nuance with the lossless mode, and it kept calling me back to the Mix headphones at the times when I’d probably opt for the conveniences of earbuds or a speaker. 

ANC performance is respectable, although it’s not on the level of Bose. It’s good enough to block out mild-to-moderate distractions, but it struggles with louder human voices and sudden jolts of noise. It will certainly do the job in the office or coffee shop, but you may notice some sounds invade your ears during a commute. For calls, transparency mode provides natural sound and it picks up enough of my voice that I never felt the need to shout. Call quality, though, is a different matter (more on that in a bit). 

Another big perk of the Mix is its long battery life. Fender Audio says you’ll get up to 52 hours with ANC on or a whopping 100 hours with it off. The company is forthcoming with the fact that the latter number is achieved at 50 percent volume, which will be too low for most “regular” use. Still, with noise canceling enabled and the volume around 70 percent, I had 52 percent battery left after nearly 30 hours of use. I spent most of that time with either ANC or transparency mode on. 

What’s not so good about the Fender Mix?

Billy Steele for Engadget

Out of the box, Fender Mix’s tuning is too bass heavy. I realize a lot of people prefer a thundering low-end tone out of their headphones, but I found it to be too overpowering here. The stock sound profile is my biggest issue with this model, although it’s somewhat alleviated by using the lossless Bluetooth dongle. In that mode, the bass is slightly subdued, but it’s still quite prominent at times when it shouldn’t be. 

On that Watchhouse album, the kick drum starts to drive the sound, rather than the guitars, mandolin and other instruments. When I listen to the same songs on other headphones, I’ve noticed a better blend of drums and strings. With more intense genres, like the hardcore riffs and breakdowns of Incendiary’s Product of New York, the booming bass isn’t as much of an issue. The distorted guitars still cut through, and there’s plenty of texture in their tone. And when each song hits its climax, the cranked up lows offer extra oomph. It works for metal, but it isn’t always nice for bluegrass, jazz and synth-laiden electronic tunes where the extra bass can muddy the mix. 

The Fender Mix also lacks many of the smart features that are present in premium headphones today, which is probably how the company is able to sell them for $299. Things like automatic EQ tweaks and adaptive ANC are missing, as is automatic pausing when you speak or things like head gestures. These headphones don’t have wear detection either, so they don’t pause the audio when you take them off. There’s also no app available to dial in the EQ or adjust other settings (it’s coming soon).

These headphones only have two microphones for calls, and you can tell almost instantly that those are insufficient. Despite claims of “crystal clear calls,” your voice will just sound okay to the person on the other end. Honestly, I would’ve sounded better just using my iPhone with no headphones. The Mix works to get your voice across, but don’t dream of dialing into a podcast recording with them. What’s more, the Mix isn’t good at blocking background noise, so you’ll need to use them in a quiet location to have a chance at sounding decent. Which, again, is about the best these headphones can muster.

While the modular design allows for a decent degree of customization, the extra parts you’ll need aren’t on sale yet. What’s more, only two colors — white, which is really more of a light gray, and black — are currently available. So, for now, one of the perks of the Mix remains untapped. 

Wrap-up

Billy Steele for Engadget

There’s a lot to like about the Fender Mix, from the clever design choices to the crisp, detailed sound. The lack of finesse with the bass tuning and the omission of advanced features, particularly the absence of an app for settings changes, keeps these headphones firmly planted in the midrange category. 

Clearly that’s not what the company is aiming for with tools like the lossless Bluetooth dongle, but that’s where it lands for me at the end of the day. So, at $299, the Mix is a tough call when a $250 price tag would make these an easier sell. Sure, there’s enough here to make these a capable daily audio accessory, but not everything I’d need to call them a must buy.