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Alogic Edge 5K 40-inch ultrawide monitor: 30-second review

Unboxing the Alogic Edge 5K, and the scale of this monitor is immediately apparent. At 941mm wide, it’s significantly larger than the 27-inch 4K monitors I am used to, and the full metal chassis, Space Grey matte finish, and ultra-thin 8mm panel give it a premium look that looks great alongside my Laptop.

The Space Grey of my MacBook Pro M1 Max is matched closely by the monitor, so if pure aesthetics are important to you, then this monitor is Mac-centric and spot on.

Initial setup is out of the box is easy enough with screws from the base bolting into the stand, then the monitor clicks into place, the power adapter plugs in, and a single USB-C cable connects to the laptop, with the monitor's display, data, and 90W charging all running through that single cable. For my MacBook Pro, the power delivery of 90W also delivers the charge, so no need to bring the Mac's power adapter to the office.

Taking a look at the rear of the monitor, there's a protruding bar that runs for the entire length of the back of the monitor and houses the electronics, speakers, and ports. While it’s great to have the built-in Dock, there are no USB-A ports, which isn’t a bad thing, so I had to connect my keyboard and mouse through adapters; the network plugged straight in, along with a couple of other accessories.

That single connection gives you full access to the display quality that this monitor is able to deliver with full 5K resolution and 100Hz refresh rate; switching to HDMI maintains image quality, but with some resolution and refresh rates are dropped due to the older technology.

One issue that was apparent from the outset was the slightly off-colours. Delving into the menu soon showed that the display preset was set to Warm, which adds a noticeable yellow cast to whites. Switching to Standard made a dramatic difference, and as ever from there, running the Datacolor Spyder X2 calibration brought the display into a much more accurate state.

After calibration, colours were rich and natural with a close match to the MacBook Pro, although a little brighter at 50% brightness than the Mac. The Spyder analysis confirmed a measured gamma of 2.4 against the 2.2 standard target, meaning the display runs slightly darker in the shadow and midtone regions than the standard specifies, worth understanding for critical photographic work, as you may lose shadow detail, although the shift isn’t enough to be an issue for general use.

At 40 inches, imperfections become notable; however, as long as gaming isn’t your intent for the monitor, the 100Hz refresh rate is ideal for office work, photography and video editing. Scrolling through long documents, Lightroom catalogues, or Premiere Pro timelines is smoother than the 60Hz panels I normally use.

Another notable difference to many of the monitors that I look at in the mid-range is the anti-glare matte finish, which handles studio reflections well. This is common for premium monitors and really highlights the intended use and quality that is on offer with this display. That said, highlights will still be present from bright windows, depending on how you position the monitor, but nothing that interferes with working, and for creative applications, that matte surface just gives a more accurate visual of the image compared with using a glossy panel. For the price, it's sure to be featured in our best 5K monitors collection.

Alogic Edge 5K 40-inch ultrawide monitor: Price and availability

• How much does it cost? From approximately $1259 / £1259
• When is it out? Available now
• Where can you get it? Directly from Alogic official store

The Alogic Edge 5K is available direct from Alogic in the US for $1529.99 and in the UK for £1259.99.

The display comes in Silver or Space Grey, and includes a DisplayPort cable, a USB-C cable, a power adapter, and a two-year warranty.

It's also available from other retailers, although availability is spotty right now - for example, it's listed but out of stock at Amazon at the time of review.

• Value: 4 / 5

(Image credit: Alastair Jennings)Alogic Edge 5K 40-inch ultrawide monitor: Specs

Panel: 40-inch IPS
Resolution: 5120 x 2160 (5K2K)
Refresh rate: 60Hz / 100 Hz
Brightness: 400 nits
Contrast ratio: 1200:1 (typical)
Colour gamut: 100% sRGB / 99% DCI-P3 / 94% AdobeRGB
Pixel density: 139 PPI
Aspect ratio: 21:9
Viewing angle: 178° H / 178° V
Connectivity: USB-C (90W PD + data + display), HDMI 2.0, DisplayPort 1.4, USB-C downstream x2
Audio: 3W x 2 built-in speakers
Stand adjustment: Height 151–275mm from desk, tilt, VESA 100 x 100 mm compatible.
Dimensions with stand: 941 x 245 x 570mm
Panel depth: 41mm
Finish: Space Grey (also available in Silver)
In the box: DisplayPort cable, USB-C cable, power adapter

Alogic Edge 5K 40-inch ultrawide monitor: Design

The Alogic Edge 5K has been designed to be a perfect partner to the Mac computers, with two colour options that match the range and style perfectly. In this review, I’ve taken a look at the 40-inch 5120 x 2160 5K2K resolution screen and coupled it with the MacBook Pro M1 Max and a MinisForum MS-02 to test cross-platform compatibility.

The monitor option supplied is the Space Grey aluminium finish, with an ultra-thin 8mm panel profile, and matte surface. Out of the box, it all looks very Mac and premium, including the solid base that offers plenty of flexibility over the positioning. Looking over the monitor and the build quality throughout, the full metal assembly feels distinctly premium, all feeling solidly in line with the pricing.

Setting up is straightforward and the all-metal stand is solid, although with this size of desk, to avoid any wobble, positioning it on a good, solid desk is essential. Through the test, I found that a 40-inch width amplifies movement far more than a smaller display, and initially, on a cheaper desk, some wobble was notable.

However, this stopped as soon as the monitor was moved to a solid surface. The overall size of the monitor is 941x41x419mm, and with the stand, this comes to 941x245x694mm with the stand at max height.

There are several aspects aside from the design of the stand that stood out; the first is the flat base, which has been designed so that larger docks or other accessories can easily sit on top. This may seem like a small design feature, but for a creative studio where space often runs at a premium, any small design features like this are worth noting.

(Image credit: Alastair Jennings)

The stand also offers plenty of adjustment with a height that moves from 151mm to 275mm desk-to-monitor, which covers most working positions, especially if you work at a standing desk.

If I were to comment on anything, a little more travel at the lower end would be welcome for shorter users or lower chair positions, but for most setups, the range is fine. It’s also good to see that there’s a VESA 100x100mm on the back for arm mounting, though the monitor's aesthetics and size work best positioned directly on the desk.

The rear protruding bar houses the dock ports, speaker unit, and electronics, which keeps the front of the monitor clean and minimal. In practice, with keyboard, mouse, and network plugged into the rear ports, with an adapter for some, a single cable could then be used to connect to the laptop, leaving the desk tidy of cables.

The all-USB-C rear port selection should suit most modern setups, but will need adapters for older USB-A peripherals such as my Keyboard and mouse. It was also notable that there wasn’t an HDMI cable in the box, given that the port is present and directly relevant for Windows users.

• Design: 4.5 / 5

(Image credit: Alastair Jennings)Alogic Edge 5K 40-inch ultrawide monitor: Features

The 5K2K resolution of this 40-inch 21:9 aspect ratio monitor is the headline feature and at this price makes it extremely appealing for creative users, especially when you start to delve into the specifications and the colour accuracy, gamut and resolution.

Screen sharpness is also well above your usual office monitor at 139 PPI, which just highlights that at this size, screen text will still be crisp, and UI elements are sharp, unlike looking at Mac or Windows OS on a TV. That PPI and resolution in the wider 21:9 aspect ratio make it perfectly suited for creative use, with plenty of real-world space for applications to run side by side.

Where this wider space really comes into its own is when running a video timeline alongside a reference panel, spreading a Lightroom catalogue across the full width, or keeping two to three application windows open, such as Word, browser, and Music.

Personally, the most unexpected benefit of using a 21:9 monitor was apparent when I started editing some anamorphic footage shot on the Canon EOS R5 C with Sirui Venus anamorphic lenses. Essentially, once the footage was de-squeezed, I was able to use the native aspect ratio, which filled the panel edge-to-edge, eliminating the letterbox effect that makes anamorphic content feel cramped on a standard 16:9 display. If you’re a video editor working regularly in anamorphic formats, this alone makes this monitor a great option.

One or two of the more quirky features of the monitor at the PiP (Picture-in-Picture) and PbP (Picture-by-Picture) options that can be run alongside the standard, extended, and mirrored display modes. PiP proved more useful in practice once I adjusted the size. This sets your laptop screen in a window on the main display.

There are thankfully some adjustments to the size and position, and I set this to 40% scale and positioned it in the bottom-right corner of the monitor, which left the majority of the 5K panel free for documents and applications. The PBP I found less useful, but it may have its uses.

To access these features and all image options, you can use the OSD display menu, which is accessed using the small joypad on the back of the monitor. The OSD configuration takes some working out initially, but once set up, it is a genuinely well-thought-out system and was one of the fastest that I have used when running through the display analysis test to change settings.

The 100Hz refresh rate is decent at this screen size and perfect for office and creative work; the only time that you may require an uplift in the speed is if you want to play action-packed games. However, for normal use, scrolling through long documents or a Premiere Pro timeline while at 60Hz when connected via HDMI, things can seem a little slow, but through the USB-C at 100Hz, everything seems smooth enough. For creative and admin use, this refresh rate is ideal.

The built-in USB-C dock is handy and does help to keep the desk tidy with one cable delivering display, data, and up to 90W power. This all worked well on both Mac and Windows during testing, and for studios or home offices, connecting everything in the morning with one cable just saves time and makes things easy. There’s also far less to remember as you’re rushing out of the house.

Another major feature for me is the anti-glare matte finish to the display, which, for Photoshop, Lightroom Classic, Premiere Pro, DaVinci Resolve, or Final Cut Pro, the matte surface gives a better and more accurate idea of the image compared with an overly glossy panel. It is also considerably easier on the eye during long editing sessions, and for document work in Word or general Office applications, the difference in comfort over a full day was noticeable.

One of the other features that I was interested in was the built-in 3W x 2 speakers; however, these are a weak point of the design. The volume is lower than the monitor's size suggests, and the audio lacks the depth and richness the speaker grille suggests should be output. Compared directly with the MacBook Pro's built-in speakers, there’s just no point in using the Edge 5K speakers. If you’re buying this monitor with the intention of removing external speakers from your desk, don’t budget for a separate speaker or audio monitor to use with this display.

(Image credit: Alastair Jennings)

• Features: 4 / 5

Alogic Edge 5K 40-inch ultrawide monitor: PerformanceBenchmark scores

Colour gamut: 100% sRGB / 89% AdobeRGB / 97% P3
Measured gamma: 2.4 (target 2.2 — display runs slightly dark in midtones and shadows)
White point at 50% brightness: ~6600K (slightly cool of D65 6500K standard)
Best contrast ratio: 1430:1 at 50% brightness
Colour accuracy average Delta-E: 1.60
Colour accuracy max Delta-E: 4.89
Colour uniformity max DeltaE at 100% brightness: 4.5 (bottom-right corner)
Luminance uniformity max variance at 100%: 10% (bottom-centre)
Spyder overall rating: 4.0/5.0

After unboxing and plugging in the monitor, the first thing that I noticed was the overly warm look to the display. Delving into the OSD, I noted that the preset was set to Warm and changing this to Standard instantly removed the overly yellow cast that was making whites immediately look unnatural, which is an issue for creative work but also made Microsoft Office applications look odd.

While the standard preset looked OK, it was obvious the monitor still needed calibration. I did this from the outset as colour and tone didn’t look great, and running the Datacolor Spyder X2 calibration was able to bring the display into a much more accurate state, and after calibration, the colours were much more closely aligned with the MacBook Pro .

I then ran the Spyder X2 analysis, and the report confirmed an average Delta-E colour accuracy of 1.60, which is excellent for a non-factory-calibrated display at this price. The 100% sRGB and 97% P3 coverage are pretty standard, and for video work, content creation, and enthusiast photography, they should suffice.

Opening files from the Canon EOS R5 C and Hasselblad X2D II 100C in Lightroom Classic and Photoshop, the 5K resolution made an immediate difference to viewing, as the detail within the images was far better defined than when compared with my standard 4K display. What’s more, with the wider panel, it meant that images were being viewed closer to their native resolution before reaching the edge of the screen. When it came to the colour and tone, after calibration, the images looked bright, rich, and highly detailed.

One issue that was highlighted with the display analysis was the 89% AdobeRGB figure, and this is where professional photographers will pay attention. That value is a usable result for drafting, client review, and editing, but careful calibration and checks will need to be in place for colour-critical output, particularly anything destined for print.

A dedicated Adobe RGB display remains the more accurate tool. Final images should always be checked on a properly calibrated, wide-gamut monitor before going to output. For in-house video teams and content creators working with P3 and sRGB delivery, the limitation is less relevant.

The measured gamma of 2.4 against the 2.2 standard that was input into the OSD means that the display runs slightly darker in the shadow and mid-tone regions than the standard specifies, which may mean shadow detail is not rendered as accurately as intended for photographic work.

In practice, at 50% brightness, the shadows looked deep, and the contrast, measured at 1430:1 at that setting, looks great, but you will need to calibrate printers to ensure that you are seeing all the shadow detail that is viewable on the display. For general photography and video use, the gamma figure is not a problem; for critical shadow work, it is something to watch for.

Colour uniformity is good at the 50% working brightness, and from the working position at the centre of the display, the panel looks even and consistent. However, as a point of note, there is some luminance variation visible when viewing a plain white screen across the full width, which is an angle-of-view effect rather than a panel uniformity problem. Keeping image editing work within the central portion of the screen avoids it entirely.

Through the test, I used the Edge 5K on both Mac and Windows and the performance was consistent. On the MacBook Pro M1 Max via USB-C, full 5K resolution, 100Hz, 90W charging, and dock functionality all worked without any configuration. On the Minisforum MS-02 Windows mini PC, the same connection delivered the same results, colour profiles, dock recognition, and display output all worked well.

By the end of the test, I was impressed with the overall quality, and while there are some small issues that those using the monitor for colour-critical work may encounter, for the most part, it stood up to the quality tests well. As a monitor, it has clearly been designed with Macs in mind, and the use and integration have been well thought through. Likewise, for most Windows machines, it also works exceptionally well, but it is worth confirming your machine's USB-C video output capability before assuming the full 5K and 100Hz will be available.

• Performance: 4 / 5

(Image credit: Alastair Jennings)Alogic Edge 5K 40-inch ultrawide monitor: Final verdict

(Image credit: Alastair Jennings)

The Alogic Edge 5K with its 40-inch ultrawide design gives you a completely different way of working and a great option if you are looking to upgrade from a dual-monitor desk setup.

The 5K resolution, premium Mac-esque design, single-cable connection, and colour accuracy, once calibrated, help to give you a solid quality display for creative and office use. When it comes to its place in the field, it sits between the Apple Studio Display and the mid-range 4K ultrawide market, as its price reflects.

There are limitations and things that creative professionals should take note of, such as the 89% AdobeRGB coverage, as read through the display analysis. This means professional photographers should be aware that some colours may show a slight shift and watch shadow detail carefully.

There is also the issue with the built-in speakers, which are weak, and I would definitely recommend dedicated monitor speakers over the monitors' offerings. For home office professionals, content creators, video editors working to P3, and enthusiast photographers, these small points shouldn’t be an issue. As a display for all things creative for the price, there’s a great deal on offer here.

Should I buy the Alogic Edge 5K 40-inch ultrawide monitor?

Value

Good value for money for a 5K, 100Hz, USB-C dock, and 90W PD all within this stylish monitor.

4

Design

Premium metal construction that reflects Apple's computer product lines, finished in Space Grey

4.5

Features

Single-cable USB-C workflow, PiP/PbP support, 100Hz, anti-glare matte finish, and built-in dock.

4

Performance

Excellent calibrated colour accuracy and decent contrast, slightly lower 89% AdobeRGB and a measured gamma of 2.4

4

Overall

A well-made, Mac-friendly ultrawide monitor that's a perfect fit for home office users, content creators, and enthusiast photographers.

4

Buy it if...

You want to replace two monitors with one.

The 40-inch 21:9 panel gives you enough space to run three applications comfortably side by side, and PiP adds a second input source on top of that. For home office users or if you want an alternative to a dual-monitor setup, the Edge 5K is an impressive single-display solution.

You shoot and edit anamorphic video.

The native 21:9 aspect ratio fills the panel edge-to-edge with anamorphic footage, eliminating the letterbox effect of a standard 16:9 display. For anyone who regularly edits anamorphic content, this alone is a reason to go ultrawide.

Don't buy it if...

Colour-critical photography

At 89% AdobeRGB, the Edge 5K is an excellent drafting and client review monitor, but for final print preparation, a dedicated wide-gamut display may be a better idea.

You want to remove external speakers.

The built-in 3W x 2 speakers lack the volume and depth the monitor's size suggests should be possible.

For more picks, see our guide to the best business monitors we've tested.

Keep your workspace clear with this huge 21:9 40-inch 5K monitor. It’s an excellent pick for studios and creative offices.

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Audio-Technica ATH-ADX7000 review: two minute review

The ATH-ADX7000 are Audio-Technica's flagship open-back headphones, with a lightweight design that's strong but just 270g. They deliver exceptional low-end power and a wide, precise sound stage, with a confidence and clarity no matter what kind of music you throw at them. They're astonishingly expensive, but if you can afford a pair you'll be very pleased with your purchase. Some of the best wired headphones around then? Oh, emphatically.

The key features here include Audio-Technica's new HXDT driver design, which is a large 58mm diaphragm with concentric alignment of the baffle plate, magnet and voice coil. The voice coil is located in the middle of the housing for what Audio-Technica says is "the purest motion and sound possible".

These are very high impedance headphones — 490 ohms — and that means you'll need an appropriately powerful amp to drive them. But get that right and they'll reward you no end.

(Image credit: Future)Audio-Technica ATH-ADX7000 review: price and release date

• $3,499 / £3,000 / AU$4,999
• Launched October 2025

The Audio-Technica ATH-ADX7000 headphones were announced in October 2025 and went on sale that same month with a price tag of $3,499 / £3,000 / AU$4,999.

That pricing means these are very much in audiophile territory; this is a flagship set of serious headphones made for people who want the very best of everything and can afford to pay for it.

Audio-Technica ATH-ADX7000 review: specs

Type

Open air dynamic

Driver diameter

58mm

Frequency range

5 to 50,000 Hz

Sensitivity

100 dB/mW

Impedance

490 ohms

Audio-Technica ATH-ADX7000 review: features

• New 58mm HDXT driver with aligned circular components
• 490 ohm high impedance voice coil
• 1/4-inch stereo and 4-pin XLRM cables, both 3m

The Audio-Technica ATH-ADX7000 headphones feature HDXT drivers, which are precision-molded to deliver a perfectly round diaphragm. The main driver is 58mm with aligned circular driver components (the baffle plate, magnet, voice coil and diaphragm) for what Audio-Technica says is a more accurate, dynamic and detailed sonic performance. It's teamed with a 490-ohm high-impedance voice coil that promises fast transients and defined low end.

The ATX-ADX7000s come with two detachable nylon-wound 3m (9.8') cables, one balanced with a 4-pin XLRM connector (but not a 4.4mm balanced connector; the expectation is that you'll be using a desktop or hi-fi amp here) and one with an unbalanced 6.3mm (1/4") gold-plated stereo plug. Both cables connect to the headphones with gold-tipped A2DC connectors.

• Features score: 4.5/5

(Image credit: Future)Audio-Technica ATH-ADX7000 review: sound quality

• Exceptional clarity and precision
• Superbly punchy bass without losing detail
• Excellent in all kinds of genres

With a frequency response of 5Hz to 50kHz, the ATH-ADX7000 have a very impressive low end and airy highs, delivering a neutral overall sound with a little bit of warmth. Irrespective of genre or format I didn't need to reach for an EQ on any of my vinyl, CDs or files; even fairly cluttered, complex sounds like Mojo from Mike Patton's Peeping Tom project, which drops massive squelching sub-bass in the chorus with distorted guitars on top and which has defeated many headphones, didn't stress the Audio-Technicas at all.

These are very high-impedance headphones and on the Mac my SSL2 interface struggled to drive them; while it happily drives most demanding headphones it wasn't strong enough for these, and it felt like I was getting six out of ten when I needed eight or nine. Swapping it for my iFi Zen 2 DAC improved things dramatically, not just because of the extra power but because the ATH-ADX7000s could really breathe. What was already entertaining became an absolute hoot.

I laughed out loud when the bass dropped in SOPHIE's Reasons Why, and Beastie Boys' Root Down moved so much air it felt like I'd strapped big speakers to my head. Little Simz' Point and Kill was beautifully detailed, its snaking bassline, intertwining vocals and bursts of brass perfectly positioned. Radiohead's Reckoner had incredible presence, the Audio-Technicas giving the layered vocals great separation as guitars chimed in the left channel and the ride cymbal splashed in the right. Led Zeppelin's When The Levee Breaks was the best I've ever heard it, every part of John Paul Jones' bass distinct from John Bonham's thunderous drums and Jimmy Page's slide guitar.

Bass was something of a recurring theme in my testing because the ATH-ADX7000 headphones deliver it so well, whether it's the thumb-slaps and slides in The Blue Nile's Tinseltown in the Rain; the arpeggiated synth in Robyn's Dopamine; the dubstep thump in BLACKPINK's Go; Adam Clayton's grinding bass in U2's Vertigo; or Tony Levin's percussive, metronomic bass pulse and melodic walks in the live version of Peter Gabriel's Digging in the Dirt. Listening to and feeling Horace Pace's glorious Precision bass in The Specials' Ghost Town was close to a religious experience.

• Sound quality score: 5/5

(Image credit: Future)Audio-Technica ATH-ADX7000 review: design

• Exceptionally lightweight honeycomb grille
• Choice of velvet and alcantara ear cups
• Lightweight but strong magnesium frame
• Functional rather than flashy

The Audio-Technica ATH-ADX7000 headphones are very visibly open-back thanks to a handmade honeycomb-punched aluminum grille that looks as if it's barely there when you're looking straight at it — although it is very strong and does also block unwanted side ventilation.

The large ear pads come with a choice of velvet and Alcantara cushions that promise to subtly alter the sound — velvet for "well-balanced" audio and Alcantara for more warmth — and the headphones use a lightweight magnesium frame with a wide, open headband. I found the headphones to be exceptionally comfortable even during long listening sessions. And unlike on-ear designs they stayed put when I was at my desk working in front of a big display.

Each pair of ATH-ADX7000 is laser-etched with its serial number and comes in a hard aluminium carrying case.

• Design score: 5/5

(Image credit: Future)Audio-Technica ATH-ADX7000 review: value

• Undeniably expensive
• Exceptionally good bass
• Wonderfully comfortable

These are the best over-ear headphones I've ever tested, delivering the incredible clarity and realism of open-back headphones with the kind of low-end punch you'd normally need closed-backs for. Their light weight, wide headband and comfortable ear cups make them a real pleasure to wear for long listening sessions, and the sound they produce means that every listening session will become a long one.

Unfortunately they're also very expensive: $3,499 / £3,000 / AU$4,999 is twice what you'd pay for a Grado Signature pair, about three times the price of the equivalent Sennheisers and about seven times more than I've ever been able to spend on a pair of headphones. That price tag means they're simply out of reach for many of us.

For many musical products the difference between budget and mid-range models is much more dramatic than the difference between high end and super high end – so for example a $1,000 guitar will be much better than a $250 one, but as you move up the price range the differences start to become much more subtle. I think that's the case here. If you can easily afford these headphones you'll love them, but many headphones costing half as much are hardly horrific.

• Value score: 4/5

Should I buy the ATH-ADX7000?

Attributes

Notes

Rating

Features

New driver design for exceptional clarity and responsiveness

4.5/5

Sound quality

Super clarity and jaw-dropping low end. Exceptional in all kinds of genres.

5/5

Design

Functional rather than flashy: solidly made and super lightweight

4.5/5

Value

Incredible headphones, but incredibly expensive

4/5

Buy them if…

You can afford nice things
There's no escaping that price tag. But these are headphones that'll make you want to cancel all your plans so you can listen longer.

You're all about that bass
The ATH-ADX7000 deliver huge bass but they don't exaggerate the low end or unbalance the overall performance; the power comes in a velvet glove.

You've got the power
In a sector where 300 ohms is considered very high impedance these are even higher at 490 ohms.View Deal

Don’t buy them if…

You're on a budget
Other open-backs are a fraction of the cost and will still be very entertaining, even if you need to give their bass a bit of a boost.

You prefer on-ears
I like the enclosed feeling these headphones deliver, but you may prefer the on-ear positioning from the likes of Grado.

You're flying coach
Open-backs and shared public spaces don't mix. These headphones don't so much leak audio as broadcast it.View Deal

Audio-Technica ATH-ADX7000 review: also consider

The Sennheiser HD 800's revoiced, more bassy successor the HD 800 S is among the very best wired headphones, and retails for roughly one-third of the price of the Audio-Technicas. And while the fit wasn't right for me, when I reviewed the Grado Signature S750 open-backs I really loved their sound quality and clarity. Our current favorite among the best high-end headphones, the Meze Audio 105 Silva, are even cheaper while delivering a superb sonic experience.

How I tested the Audio-Technica ATH-ADX7000 headphones

• Tested for two weeks
• Used with stereo amp, audio interface and headphone DAC/amp
• Vinyl, CD, streaming, and hi-res audio files

I tested the Audio-Technica ATH-ADX7000 for two weeks across a range of sources and genres: vinyl records via an Audio-Technica turntable and an Onkyo A-910 stereo amplifier; CDs with the same amp and a Marantz CD6007 CD player; and streaming, lossless and hi-res audio on a Mac mini via an SSL2 audio interface and an iFi Zen 2 DAC.

I've detailed some of the music I used in the main review but I tested across a range of artists and genres including acoustic and hyperpop, electronica and EDM, classic rock, alternative rock and chart pop.

• First reviewed: April 2026
• Read more about how we test

Audio-Technica's flagship open-back headphones are deliciously detailed and pack a serious low-end punch, but they're very expensive

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