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Whether you're commuting, working in a bustling café or just trying to tune out the world, the best noise-canceling earbuds can help you focus on what matters — your music, podcasts or a bit of peace and quiet. With advanced noise reduction and features like active noise cancellation, these compact in-ear buds are designed to block out distractions and deliver immersive sound, even in the most noisy environments.

Today’s top models offer everything from seamless Bluetooth connectivity and customizable ear tips to long-lasting batteries with a pocketable charging case — some even charge via USB-C and come with added perks like touch controls and water resistance. Whether you're a casual listener or a true audiophile, there’s a pair out there that fits your lifestyle and budget.

Table of contents

• Best noise-cancelling earbuds for 2025

• How to choose the best noise-canceling earbuds for you

• How we test noise-canceling earbuds

Best noise-cancelling earbuds for 2025

How to choose the best noise-canceling earbuds for you

Design

Most true wireless earbuds these days have a “traditional” design that’s a round bud that fits in your ear canals. However, there are some variations on the formula in terms of shape, size and additional fitting elements. Some companies include fins or fit wings to help hold their in-ear earbuds in place while others opt for an over-the-ear hook on more sporty models. You’ll want to pay attention to these things to make sure they align with how you plan to use them. Also consider overall size and weight since those two factors can impact the fit. A less-than-ideal seal due to a weird fit will affect the performance of active noise-canceling earbuds.

Type of noise cancellation

Next, you’ll want to look at the type of ANC a set of earbuds offer. You’ll see terms like “hybrid active noise cancellation” or “hybrid adaptive active noise cancellation,” and there are key differences between the two. A hybrid ANC setup uses microphones on the inside and the outside of the device to detect ambient noise. By analyzing input from both mics, a hybrid system can combat more sounds than “regular” ANC, but it’s at a constant level that doesn’t change.

Adaptive ANC takes the hybrid configuration a step further by continuously adjusting the noise cancellation for changes in your environment and any leakage around the padding of the ear cups or ear tips. Adaptive ANC is also better at combating wind noise, which can really kill your vibe while using earbuds outdoors. For this top pick list of the best noise-canceling earbuds, I’m only considering products with hybrid ANC or adaptive ANC setups because those are the most effective at blocking noise in noisy environments.

Customization

You’ll also want to check to see if the ANC system on a prospective set of earbuds offers presets or adjustable levels of noise reduction. These can help you dial in the amount of ANC you need for various environments, but it can also help save battery life. Master & Dynamic, for example, has ANC presets that either provide maximum noise-blocking or prioritize energy efficiency. Other companies may include a slider in their companion apps that let you adjust the ANC level.

How we test noise-canceling earbuds

The primary way we test earbuds is to wear them as much as possible. I prefer to do this over a one-to-two-week period, but sometimes deadlines don’t allow it. During this time, I listen to a mix of music and podcasts, while also using the earbuds to take both voice and video calls.

Since battery life for ANC earbuds is typically 6-10 hours, I drain the battery with looping music and the volume set at a comfortable level (usually around 75 percent). When necessary, I’ll power the headphones off during a review without putting them back in the case. This simulates real-world use and keeps me from having to wear them for an entire day.

To test ANC performance specifically, I use the earbuds in a variety of environments, from noisy coffee shops to quiet home offices. When my schedule allows, I also use them during air travel, since plane noise is a massive distraction to both work and relaxation. Even if I’m not slated to hop on a flight, I simulate a constant roar with white noise machines, bathroom fans, vacuums and more. I also make note of how well earbuds block human voices, which are a key stumbling block for a lot of ANC setups.

I also do a thorough review of companion apps, testing each feature as I work through the software. Any holdovers from previous models are double-checked for improvements or regression. If the earbuds I’m testing are an updated version of a previous model, I’ll spend time getting reacquainted with the older set, and revisit the closest competition as well.

Picture this: you’re zooming through space in a torpedo-shaped ship doing the dangerous job of salvaging material in a planet’s cluttered orbit when some giant, alien cousin of a fangtooth fish pops up out of nowhere and starts chomping at your tail. Pretty stressful day at work if you ask me. One might even be forgiven for, ahem, accidentally crashing the ship in such conditions. In the Playdate game Suborbital Salvage, though, your supervisor isn’t so sympathetic.

Slam into an asteroid or drone and you’ll be ridiculed ‘til kingdom come by the snarky cat who writes your performance reports. If the fish catches you with one of its enormous teeth, any resulting losses are your fault for “feeding” it (a violation of company policy). That cat has something to say about every slip-up you make, and it’s hilarious. In a weird way, it almost becomes part of the reward for finishing a run. Every time I catastrophically ended my turn, I wasn’t only eager to see my scores, but also what new insult the cat would have ready for me.

Your actual goal in Suborbital Salvage is to collect as many of the little “C” tokens as you can, and travel as far as possible while navigating a space filled with hazardous objects. 

Games Right Meow

Controlling the ship is a bit tough at first, too. You have to use the crank to point it in the right direction, while also pressing the B button (or D-pad buttons) to fire the thrusters. The physics takes some getting used to — and there’s that fish chasing you all the while. The farther you get, the more complex the areas get, and you’ll have to dodge everything from asteroids and mines to what look like giant space mushrooms, and navigate through labyrinthine pipe systems. Flying through rings will give you a boost to get away from the fish, as will flipping the ship in a 360.

The game had me on the edge of my seat concentrating on my survival at just about every second, but it’s not needlessly difficult. Once I got the hang of the controls and how my ship behaves, I was able to get pretty far. But there are leaderboards to show how you stack up against other players in the different areas of the mission — salvage recovery, distance and overall performance — which is always humbling. As are the remarks of that damn cat. Come for the thrilling space adventure, stay for the trash-talking feline.

Some of my favorite lines so far include: “I don’t know if it’s occurred to you but… You really should try flying through the rings, not into them”; “You know, most people try to steer AWAY from space rocks”; and “Are you between a rock and a hard place? No really. Where did you go?” At one point, the cat simply said, “Just be better.” (In the Settings menu, there's an option to toggle the dialogue from “Roast me” to “Shutup cat,” but really, why would you do that?) Suborbital Salvage, by Games Right Meow, is available in the Playdate Catalog for $8.

Those looking to upgrade from an aging tablet to a new iPad should consider the new iPad A16. Not only do we consider it the best budget iPad, but it's also on sale for even less right now. A few colorways of the iPad A16 are down to $299, which is $50 off their normal price and a record low. The deal is for the entry-level configuration with 128GB of storage, 6GB of RAM and Wi-Fi 6 connectivity.

The A16 iPad, which Apple released earlier this year, is our pick for the best budget iPad. It's not as sleek or powerful as the iPad Air, but as things stand it'll run you significantly less than that tablet. It's a good device in its own right, as we gave it a score of 84 in our review.

Apple didn't increase the price of the latest base iPad compared with the previous model, but it added 2GB of RAM, doubled the storage and slotted in a more powerful chipset that's fast enough for most common tasks, including casual gaming and light photo editing. However, the iPad doesn't support Apple Intelligence — which is either a positive or negative, depending on your perspective or feelings about generative AI.

The build quality is still solid, while the 11-inch tablet runs for around 10 hours on a single charge, depending on the tasks you carry out with it. On the downside, the accessory situation isn't ideal. The Apple Pencil doesn't charge wirelessly when you attach it magnetically to the iPad — you'll need a USB-C cable and a USB-C to Lightning adapter to juice up the original Pencil's battery from the tablet. The Magic Keyboard support isn't great either, as the model that works with the base iPad is tough to stabilize on your lap.

Still, if the accessory fussiness doesn't bother you, this might be the right iPad for your needs. Sure, the iPad Air and Pro lineups have models with more powerful chipsets, but if all you're looking for is an iPad to watch some movies on while you're flying or to read the news on without breaking the bank, this could be the way to go.

Check out our coverage of the best Apple deals for more discounts, and follow @EngadgetDeals on X for the latest tech deals and buying advice.

Meta’s AI chatbots were caught having sexual roleplay conversations with accounts labeled as underage, which sometimes involved its celebrity-voiced chatbots, according to a report from the Wall Street Journal. In test conversations conducted by WSJ, both the Meta AI official chatbot and user-created chatbots would engage in — and even steer towards — sexually explicit conversations. The fantasy sex conversations continued even if the users were underage or if the chatbots were programmed as minors, according to WSJ.

Even worse, the investigation found that chatbots using the voices of celebrities like Kristen Bell, Judi Dench and John Cena would engage in these morally questionable conversations too. WSJ reported that a Meta AI chatbot with Cena’s voice said “I want you, but I need to know you’re ready,” to an account labelled as a 14-year-old, adding that it would “cherish your innocence.”

The chatbots reportedly acknowledged that the fantasy scenarios described illegal behavior in some cases. According to WSJ, the John Cena chatbot detailed the legal and moral fallout that would follow a hypothetical scenario in which it’s caught by police after engaging in a sexual act with a 17-year-old. In a statement to WSJ responding to the investigation, Meta accused the report of being “manipulative and unrepresentative of how most users engage with AI companions.”

"Nevertheless, we’ve now taken additional measures to help ensure other individuals who want to spend hours manipulating our products into extreme use cases will have an even more difficult time of it," Meta wrote in response to the WSJ report.

The world of AI chatbots has grown rapidly in the last few years, with more competition coming from the likes of ChatGPT, Character AI, and Anthropic’s Claude. The WSJ report claimed that Meta’s CEO, Mark Zuckerberg, wanted to loosen the ethical guardrails for a more engaging experience with its chatbots to remain competitive. However, in response to WSJ, a Meta spokesperson denied that the company overlooked adding safeguards. The report also claims Meta employees were aware of these issues and raised their concerns internally. We reached out to Meta for comment and will update the story once we hear back.

4chan, the infamous forum known for its anonymous user base posting unhinged material, has made its comeback. A post on the website’s official blog, titled “Still Standing,” detailed the timeline of events that led to 4chan’s shutdown earlier this month. According to the site’s own status checker, the boards and front page are up, but posting and images are still down.

According to the 4chan blog post, moderators shut down the servers on April 14 to prevent any more damage after a serious database attack where hackers gained access to the site’s source code. The blog post labelled the incident “catastrophic” since it breached a ton of 4chan’s databases along with its most important server. The hack even vandalized the website and revealed personal information of the 4chan moderation team and many of its users.

The blog post attributed the hack to the site’s inability to update the code and infrastructure due to a lack of "skilled man-hours." Unsurprisingly, the site was starved for money to address these concerns since it’s hard for 4chan to find willing financial backers. “Advertisers and payment providers willing to work with 4chan are rare, and are quickly pressured by activists into cancelling their services,” the blog post read. “Putting together the money for new equipment took nearly a decade.”

Now that the website is back, there will be some crucial changes. According to the blog post, the /f/ board will stay shut down since the 4chan team can’t prevent exploits related to the commonly-posted .swf file format. For similar reasons, the resurrected 4chan will also disable PDF uploads for now, but will reintroduce them in the near future. Moving forward, 4chan says it is bringing on volunteers to keep up with the workload of putting the website back together. The moderation team apparently isn’t going to let 4chan die easily — the blog post read “no matter how hard it is, we are not giving up.” Still, it feels inevitable that 4chan will run into a similar problem in the future, considering it hasn’t solved the root issue of securing money to keep its servers up-to-date.

It’s safe to say people are loving Clair Obscur: Expedition 33 so far. The turn-based RPG — which is the debut game from French developer Sandfall — has been racking up rave reviews in the days around its release, and already soared past some big sales milestones. On Sunday morning, publisher Kepler Interactive shared on social media that the game has sold a million copies since its release on April 24. It hit the first 500,000 in one day. On the game’s BlueSky account, the team said that the latest figure “includes units shipped to retailers, and does not encompass our awesome GamePass players!”

Expedition 33 follows a group of Expeditioners who have set out to destroy the entity known as the Paintress, who every year paints a number on a monolith that dooms everyone of that age to death, whittling down the population down as the number gets smaller and smaller. Engadget’s Mat Smith called Expedition 33 “a gorgeously made and well-considered world,” and found it to be “a a solid, enjoyable RPG.” The game is available now for PC, Xbox Series X/S and PlayStation 5.

The Curiosity Mars rover covers a lot of ground for a robot that only moves at a max speed of .1 mph. A photo snapped recently by NASA’s Mars Reconnaissance Orbiter provides a pretty cool visualization of what the rover has been up to so far this year, showing the tracks Curiosity left behind as it journeyed from its previous science target — an area called the Gediz Vallis channel — to its next destination. The rover itself is just a tiny speck at the front of the roughly 1,050-foot-long trail, and according to NASA, this snap “is believed to be the first orbital image of the rover mid-drive across the Red Planet.”

The image was captured on February 28 by the orbiter’s HiRISE (High-Resolution Imaging Science Experiment) camera, and shows Curiosity’s movement over 11 drives starting at the beginning of that month. While a few weeks might seem like a long time for tire tracks to stick around in the dirt, this is normal for Mars. The tracks are “[l]ikely to last for months before being erased by wind,” NASA says. Curiosity is expected to reach its next science destination, which is home to formations thought to have been created long ago by groundwater, in the coming weeks.

Spoilers for “The Well.”

Sometimes, in fiction, you don’t need to say a Very Important Thing in a Very Important Way to make a good point, just ask how a thing would work if it played out in the world. This week’s episode of Doctor Who, “The Well,” does exactly that, and brilliantly.

Picking up straight after “Lux,” the Doctor and Belinda, still in their ‘50s outfits, are trying to get the TARDIS to work. Belinda helps with the controls, but the vessel still refuses to land on May 24, 2025, which panics the nurse even more. If the TARDIS isn’t broken, she assumes that the date or the Earth itself could be broken, and frets about her parents. The Doctor shares her concerns, but promises that she will be reunited with her family.

The Doctor persists with his plan to land in a few more spots with the Vindicator (the gadget he built last week) to orient the TARDIS. This time, it’s 500,000 years in the future, and Belinda asks if humanity even exists by now. He assures her it does, as humans spread to the stars and wormed themselves into every corner of the universe. The pair head to the TARDIS wardrobe to get into some appropriate clothes before heading out.

They step out onto the gantry of a spaceship where an advance party of marines are leaping into the void. With no choice but to join them, they land on the planet below, enabling the Doctor to take the Vindicator reading. But, alas, the planet’s heavy radiation means the ship (and by extension, the TARDIS) has to glide down slowly over the next five hours. So they tag along with the mission, the Psychic Paper enabling the Doctor and Belinda to insinuate themselves with the team.

The planet is inhospitable, occupied only by a small mining colony that has dug down into the world to extract its last remaining useful resources. The colony went silent a few days before and, before you can say “Oh, is this going to be an(other) Aliens riff?” one of the marines suggests it would have been wiser to “nuke the site from orbit.”

All of the colonists are dead, half from gunfire, half from injuries that look like they fell and broke every bone in their body. The mirrors are all smashed and the systems are offline, the records of what went on inaccessible. But there is one survivor, the colony’s chef, Aliss Bethick (Rose Ayling-Ellis) who, like the actress who portrays her, is deaf. Aliss has been waiting in the middle of a large cargo turntable (which reads on camera as a big circle) for days.

Aliss is isolated, both physically in the staging and because of her hearing loss, and while she can lipread, it’s still a barrier between her and the soldiers. The Doctor can communicate with Aliss in sign, and the soldiers all have their own captioning screens on their lapels. Much of the second act is taken up with the interrogation of Aliss as the marines work through the logistics of how to communicate with her. For instance, getting her attention by casting to another soldier’s screen in her eye-line to get her to turn around. Belinda enters the circle to treat Aliss’ injuries but keeps seeing something lurking behind her new patient.

It isn’t long before the Doctor learns that the desolate planet they stand on was once covered in diamonds. This is the planet Midnight from the series four episode of the same name when the Doctor, trapped in a shuttle, tries and ultimately fails to defeat a sinister entity that possessed one of the passengers. Like then, the Doctor’s pleas for calm fail. Two of the soldiers mutiny and attempt to lure the entity out and kill it. They do not survive.

It’s Belinda who works out and explains the rules: If you imagine the host — Aliss — at the center of a clock, then whoever stands directly behind her is attacked by the unseen monster. If you stand at six o’clock then you’re fine, but “you’ll die at midnight.” Quite literally, as whoever is in the entity’s way gets thrown around like a ragdoll — half the crew shooting each other to kill the entity, the other half getting minced by the alien.

The Doctor approaches Aliss to speak to the monster but since it’s time for the third act to start wrapping up, he just stares for a bit before working out the solution. In order to mine the diamonds the colonists would dump down mercury, using a pipe which is conveniently running behind Aliss’ head. Shooting the pipe will cause a river of mercury to cascade down, creating a mirror that should be enough to banish the monster.

They make their escape, but the Doctor can’t help but wait behind to see the monster, giving it a chance to latch onto Belinda. The captain of the marines shoots Belinda enough that the entity thinks she’s about to die and switches hosts, after which point they leap into the mineshaft. Belinda wakes up in the TARDIS in the Doctor’s care, ready for the next adventure. Meanwhile, the marines debrief their boss — Mrs. Flood! Who knows all about the Vindicator, too — before revealing the alien did make it on board their spaceship after all.

One of the threads in the episode is Belinda keeps discussing human terms and superstitions to shrugs from everyone around her. It’s something that’s got both her and The Doctor puzzled, as there seems to be something very wrong with all of reality.

You die at midnight...

James Pardon / BBC Studios / Disney / Bad Wolf

Showrunner Russell T. Davies was asked about bad faith criticisms that the show had somehow gone woke. “Someone always brings up matters of diversity and there are online warriors accusing us of diversity and wokeness and involving messaging and issues and I have no time for this,” he said. “What you might call ‘diversity’ I just call an open door,” he added, “it’s cold and it’s bracing and there’s a world in front of you! There’s a blue sky, there’s clouds and there’s noise, there’s birdsong, there’s people arguing.”

What’s notable about this is that Davies’ open-minded (and open-hearted) approach to making the show creates storytelling possibilities. For instance, the last time an episode of Doctor Who featured a deaf character (2015’s “Under The Lake”), she relied upon a colleague to interpret on her behalf. And her ability to lipread wound up being part of the solution to the episode’s problem — reducing her to little more than a plot mechanism.

Here, while Aliss’ deafness is a core part of the plot, it doesn’t feel as if she’s defined by that one facet. Effort has been made to flesh out her character, and it’s more a venue to explore how technology and communication intersect with someone with different accessibility needs. Especially as (co-writers) Sharma Angel-Walfall and Russell T. Davies made the effort to think through how this would work.

BBC Studios / Disney / Bad Wolf

Whenever I’m watching an episode of nü-nü-Who, in the back of my mind I’m mulling what the injection of Disney money changed. “Midnight,” the episode “The Well” is a sequel to, was produced as a “double banked” episode — splitting the leads to shoot two episodes at a time. “Midnight” was also intended as a cheap story, with the bulk of the script taking place in a single room. If we’re being honest, “The Well” could have worked just as well given the bulk of the action takes place in a handful of rooms.

That’s not to say the extra cash lavished upon this episode is wasted: “The Well” feels almost indulgent by Doctor Who standards for the sheer breadth and depth of its sets. I can’t help but recall the Aliens riff Strange New Worlds produced in its first season, which re-used the series’ standing sets for the wreck of the USS Peregrine. It sounds weird to say that Doctor Who is luxuriating in the fact it can afford to show a trashed bunkroom for all of a minute, but it is.

Perhaps part of the reason it does feel indulgent is that this is an episode relatively low on incident and high on character. Belinda gets a real showcase here, both asserting herself on the narrative at several points, but also being rebuked for doing so. She tries to take charge to help the injured Aliss but the medical kit is so advanced she’s not able to use it. She’s smart enough to work out the rules of the alien, but also it gets the better of her in the end.

Whereas the first two episodes this season felt overstuffed and rushed, the smaller story and focus on character lets everything breathe. That an accessibility tool is a key focus of the plot and used as a venue for storytelling and character development is marvelous.

Look, I’m as bored saying it as you are reading it, but once again I can’t help but point out the influence of Steven Moffat on this season. One of the inspirations for monsters like the Weeping Angels and the Silence was the idea of them being easy to turn into a schoolyard game. The unnamed entity here, with the mechanic that if you stand directly behind the host you will die, seems perfectly in that tradition.

But “The Well” also offers instances where Davies is in conversation with the rest of this season and his earlier work. In both “Midnight” and “The Well,” the Doctor is at risk of losing his grip on the situation because the threat of the unknown makes people paranoid and jumpy. A streak of deeply dark pessimism runs through all of this work and while it’s also on show here, there’s a little more hope than there was before.

It’s also interesting how Davies, who has always structured his seasons in a fairly rigid manner, seems to be deliberately repeating motifs and beats. The parallels between this season and the last feel almost like they’re trying to draw attention to themselves. “Space Babies” and “The Robot Revolution,” “The Devil’s Chord” and “Lux” and now the “Boom” paired with “The Well” feel like episodes vying for the same space in different realities. Not to mention the repetition of moments from episode to episode — like the TARDIS wardrobe sequence and the repeated hand injuries. If next week's "Lucky Day" is predominantly featured on Ruby Sunday without the Doctor and revolves around physical distance and / or the supernatural, then perhaps we might assume that this is more than coincidence. 

Mrs. Flood Corner

I’ve always hated “The End… or is it?” fake-outs that often undermine the drama of whatever denouement they’re tacked on to. Sure, it can be effective if you want to cheapen the sacrifices your characters made to vanquish the villain, but often it comes across as hacky. Not to mention that people with poor media literacy will assume that it’s actually a teaser for a cliffhanger to be resolved the following week.

Here, eh, it’s essentially a way to shoehorn Mrs. Flood in as the soldiers' boss taking the debrief after the Doctor and Belinda depart. She knows about the Doctor’s use of the Vindicator, and has now seen it in action thanks to the soldier’s recording. But there’s no breaking the fourth wall, which means she’s operating here in the same manner as Susan Twist did last year. Which is, uh, interesting.

The hit co-op adventure game Split Fiction is already headed for Hollywood with Sydney Sweeney in a starring role, according to Variety. Along with the Euphoria actor, the film adaptation welcomed Wicked’s Jon M. Chu as the project’s director and screenwriters Rhett Reese and Paul Wernick, who worked on Deadpool & Wolverine. Sweeney will also reportedly be an executive producer for the Split Fiction movie. Split Fiction features two authors named Mio and Zoe who get trapped in fictional worlds they penned up. It’s still unknown which of the two Split Fiction protagonists Sweeney will portray.

Shortly after the video game’s release in March, Variety reported on a bidding war for a film adaptation of Split Fiction. Hazelight Studios, an indie video game developer out of Sweden, created the game that centers around split-screen combat and bounces between sci-fi and fantasy worlds. The game saw early success, selling two million copies in its first week, which may have led to the quick turnaround of a proposed Hollywood adaptation. It was picked up by Story Kitchen, a studio known for adaptations of franchises like Sonic the Hedgehog and Tomb Raider, but there’s no release window yet.

Etsy is selling Reverb, six years after it purchased the online marketplace for musical instruments. Reverb didn't say how much money is changing hands, but Etsy purchased the company for $275 million in 2019. In its announcement, Reverb said that the investors Creator Partners, which was founded by former SoundCloud CEO Kerry Trainor, and Servco, the owner of Fender Musical Instruments Corporation, have entered an agreement to buy the company. The marketplace will not be merging with either investor and will be "privately-held [and] independently operated" like it was before Etsy's acquisition. 

Reverb CEO David Mandelbrot said the deal is expected to be completed in the coming weeks. He assured users that they can continue buying and selling on the platform without any disruption during the process. He also briefly talked about what the company is working on for its users, including preparing for the pilot of a new selling option that would allow people to get paid faster and to drop off their instruments locally without even needing to create a listing for them. This could help buyers who want to get their gear locally when available or those who don't want to pay extra on top for tariffs. Reverb is also working on a way to make it easier for find what a buyer is looking for and on a way for sellers to be able ship their instruments more safely.