Mid-range headphones are typically an exercise in compromise. In order to reduce prices, companies usually omit a few premium features or opt for cheaper materials. Sometimes there are sacrifices to sound quality or active noise cancellation (ANC) performance. Enter Shure’s Aonic 40: a more affordable wireless model in the company’s noise-canceling lineup and an alternative to the pricier Aonic 50.

At $249, the Aonic 40 is at the top end of what I’d consider mid-range. Thankfully, Shure didn’t cut too many corners when it comes to the feature set. There’s a degree of customization and plenty of tools to worth with. However, the Aonic 40 fails to make an impression in key areas, and needs a bit more polish if it’s going to stand out from the crowd.

Hardware

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Like the Aonic 50 that came before it, the Aonic 40 is mostly black, except for some silver accents where the headband connects to the earcups. There’s also a white version that keeps the silver components but adds tan padding to the earcups and the underside of the headband. Like many other wireless headphones, the folding design of the Aonic 40 allows them to be a compact travel companion. The earcups rotate and fold in towards the headband, so even though the case will take up some space in your bag, it’s at least relatively flat.

The Aonic 40 appears to be an entirely plastic design, but that’s not actually the case. The silver areas are made of aluminum alloy, but they have a flat finish that makes them look less like metal. Shure says the black areas are glass-filled nylon, despite the appearance of plastic. Other headphone companies have pulled this trick, including Bose with its popular QuietComfort line. Shure explains that this material makes the Aonic 40 more durable, but it certainly doesn’t add a premium aesthetic. What’s more, after a couple weeks of what I’d consider light use (barely moving them away from my desk), I’m already seeing light scratches.

Shure did make one design change from the Aonic 50 that allows us to tell the older model apart from its newer sibling. Where the 50 had a visible rotating arm with an elbow, the portion of the 40 that spins is hidden up near the headband. The arms themselves on the Aonic 40 are also curved, twisted to connect the headband to the earcups by running alongside the edge of the earcup.

Billy Steele/Engadget

In terms of comfort, these headphones are just average. I have a big head and the fit is tight. Not oppressively so, but after several minutes I can feel the rings of the earcups pressing into my head. It doesn’t become overbearing, but it’s not exactly enjoyable either. Headphones need to form a tight seal for effective ANC performance. They also need to be comfortable when you wear them for long periods of time.

Like the Aonic 50, Shure went with physical buttons for the on-board controls rather than touch-friendly panels. As such, the Aonic 40 offers a full suite of functionality right on the headphones themselves. The lone button on the left side is for power and Bluetooth pairing. Unlike a lot of the competition, Shure gives you the option to get a battery level check without glancing at its app by double tapping the power button. On the right, there’s a traditional multi-button array with volume controls flanking a centered multi-use key.

The middle button handles play/pause (single press), skipping tracks forward (double press), returning to the previous song (triple press) and summoning a virtual assistant (press and hold). A separate, fourth button on the right earcup toggles between ANC and Environment Mode (ambient sound). Each time you press it, the headphones return to your previous setting for both of those options, which is selected in Shure’s app. You can also bypass them both with a long press on the noise control button.

Software

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The Shure Play app is one of the better pieces of headphone companion software I’ve used. There’s a lot available here, and it’s all easy to find. Right up top you get a battery percentage and access to noise control (ANC, Environment Mode and None), along with noise canceling presets and a slider for ambient sound level. While you can’t dial in the ANC precisely, Shure does offer Light, Normal and Max settings. It’s adjustable, albeit not fully customizable. Directly underneath is a guide for button controls, options to tweak prompts/tones, the ability to configure USB connectivity for listening or “conferencing,” battery saver settings and an optional busy light when you’re on a call. That last feature flashes a red light so anyone you’ve notified about it beforehand knows not to disturb you.

The software also houses a more robust equalizer than most headphone apps. Per usual, there’s a smattering of presets, but Shure goes beyond the typical three to five with seven options (Bass Boost, Bass Cut, Treble Boost, Treble Cut, De-ess and Loudness). The company gives you the ability to make your own presets as well, saving them in the list after you build them with the manual EQ tools. You can start from scratch or from one of Shure’s presets, adjusting frequency, gain and bandwidth in addition to moving and plotting points on a sonic curve. For my purposes, Loudness was the best overall setting as it increased clarity for listening at lower volumes. It also made the stock tuning sound better at all times.

Sound quality

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With that preset enabled, the Aonic 40 is capable of blasting punchy bass that drones or thumps when a song demands it. There’s also more detail with this preset, as the clarity increases no matter the volume level. Overall, the soundstage isn’t as wide open and songs don’t have the immersive depth that pricer sets offer – especially on heavier music styles. The chaotic metal of Underoath’s Voyeurist and Gojira’s Fortitude are subdued and sound slightly flat unless you’re at full volume. On the other hand, with the delicate acoustic strums on Punch Brothers’ bluegrass masterpiece Hell on Church Street, these headphones really shine. Layered instruments properly convey the airyness of being in the room where five aficionados are absolutely shredding. Similarly, the Aonic 40 highlights the finer details of Navy Blue’s J Dilla-esque hip-hop album Songs of Sage: Post Panic! without sounding overly compressed..

When it comes to noise cancellation, the Aonic 40 does a decent job of blocking out background noise. It’s not on the level of Bose or Sony, but for $250 headphones it gets the job done. The three settings offer options for different scenarios, but I mostly kept it locked on Max. As for Environment Mode, the ambient sound function lets in outside noise just fine. It’s serviceable, but it’s nowhere near as natural sounding as the AirPods Max. Honestly, no other company comes close to what Apple offers in that regard.

Battery life

Shure promises up to 25 hours of battery life with ANC turned on. I was pleasantly surprised when the headphones hit the 30-hour mark and the app was still showing 19 percent in the tank. This battery test was done over the course of a few days, so the headphones were powered off multiple times while I was trying to drain them completely. Around 30 hours is about the best you can expect from noise-canceling headphones, including Sony’s best-in-class WH-1000XM4. What the Aonic 40 doesn’t have that much of the competition does is automatic pausing. As I mentioned, you can set the headphones to automatically power off at certain intervals if they’re sitting idle, but if you take them off and step away in a hurry, the music continues. However, if you find yourself in a pinch due to this, a 15-minute quick-charge feature will give you five hours of use.

Call quality is another area where the Aonic 40 holds its own – so long as you’re in a quiet place. The headphones won’t make it sound like you’re on speakerphone like a lot of earbuds or headphones tend to do. To me, it’s pretty close to what you get when you hold the phone up to your face. If you enter a noisy plac,e though, things change quickly. The Aonic 40 picks up environmental rumbles too well, like the roar of a white noise machine. On the flip side, the ambient sound mode allows you to hear your own voice while you’re on a call, keeping you from becoming too shouty because you can’t monitor your volume.

The competition

At $249, I consider the Aonic 40 to be at the top end of mid-range headphones. They’re not super affordable, but they’re also not as pricey as Shure’s own flagship model or more premium options from the likes of Apple, Bose, Master & Dynamic or Sony. The Razer Opus is a more apt competitor, debuting at $200 in the spring of 2020. Great THX-certified audio, solid ANC performance and a comfy fit left an impression during my review. Plus, Razer is currently selling them for $140, which makes them even more compelling.

If you can live without active noise cancellation, I really like Audio-Technica’s M50x series. The most recent model, the ATH-M50xBT2, arrived with updates like multi-point Bluetooth pairing, Alexa built in and wider audio codec support – all while keeping the trademark design. And at $199, these will also save you some money over the Aonic 40.

That being said, the WH-1000XM4 remains the gold standard for noise-canceling headphones. Sony’s mix of audio quality, ANC performance and nifty features like Speak-to-Chat remains the best you can get, although the likes of Bose and others are catching up. Still, they’re $100 more than the Aonic 40 at full price, but we’ve seen them on sale for $248. If you can catch them at the same price as Shure’s latest model, commit to the 1000XM4.

Wrap-up

Shure’s Aonic 40 is a more affordable option in the company’s noise-canceling lineup, offering a host of features and doing some of them well. Impressive battery life, serviceable ANC and a degree of customization are offset by inconsistent audio performance and an overall lack of polish when it comes to finer details like fit and convenience. For those reasons, the Aonic 40 tends to blend into the crowd rather than stand apart.

Sony's recent soundbars have been tailored to high-end users, but the company now has something aimed more at those who just want an upgrade from their TV's built-in speakers. The company has unveiled an HT-S400 soundbar that offers a few tricks while keeping the price down to $300. While it's a 2.1-channel system, it offers virtual surround sound (S-Force Pro Front Surround, in Sony-speak) to provide more immersive audio for your movies and shows. It's a fairly powerful system for the class, too, with a rather large 130W wireless subwoofer contributing to a total 330W of output.

The bar unsurprisingly offers tight integration with recent Sony TVs thanks to settings integration and wireless audio support. You can stream other Bluetooth audio, too. And while it's not clear how well Sony's clarity- and voice-optimized speaker designs work in practice, you may appreciate the options for both HDMI ARC and optical audio.

The HT-S400 will be available in April 2022. That's a long time to wait for a soundbar like this, but it might be justifiable if you either live in the Sony ecosystem or just want an alternative to lower-end soundbars from companies like Samsung and Vizio.

For anyone looking for ANC wireless over-ear headphones at a decent price, Sony's WH-XB910N should be front of mind. If you've been checking them out, now is the time to buy as they're on sale at Amazon for just $128, a full 49 percent off the regular $250 price. 

The WH-XB910N headphones aren't quite up to the standard of Sony's $350 flagship WH-1000XM4 headphones, but they still deliver excellent sound quality while looking great. You get clear mids and highs, powerful bass and Sony's 360 Reality Audio surround sound, available on select songs with Deezer, Tidal, Amazon Music HD and other streaming services. The active noise cancellation (ANC) works well though, again, it's not quite up to the standard of the WH-1000XM4 model (which is nearly triple the price).  

The WH-XB910N headphones are great for working at home, thanks to the "Precise Voice Pickup" that amplifies your voice on calls. It also offers on-board controls and an ambient sound mode so you can be better aware of your environment. It'll last over a day thanks to the 30-hour battery life, and you can get an additional 4.5 hours with a 10-minute quick charge.

The $128 price is one of the best we've seen, topping the $138 deal available over the holidays last year. There aren't many other models that can rival it at that price, so act soon before they're gone. 

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If you've been looking at a set of AirPods but hesitate due to concerns about fit, don't forget about the Beats Fit Pro earbuds. They have the many of the same perks including ANC and spatial audio, but offer a more comfortable design. If you've been hesitating due to the $200 price, you can now pick up a pair at either Amazon or Walmart for $153.11, for a savings of 23 percent.

The Beats Fit Pro wireless earbuds earned an excellent 87 Engadget review score for their solid around performance. On the comfort front, the "fit wing" tip can bend to a wide range of ear shapes while keeping the buds firmly in place. They also offer physical buttons to answer calls, control volume, play/pause music and skip tracks. 

The sound quality is "balanced and powerful" with punchy bass as you'd expect with Beats earphones, while also offering great clarity. They support Apple's spatial audio, giving you the ability to listen to Dolby Atmos Music content in Apple Music, or TV/movies on Apple TV. They also support Adaptive EQ that adjusts low- and mid-range frequencies depending on ambient sound to keep audio quality consistent. The ANC is powered by Apple's H1 chip and does a solid job of blocking distractions when you need it to.

The regular $200 price is fairly high and we haven't seen them on sale much yet, so the discount is welcome news if you've been eyeing a pair. Keep in mind that the $153.11 price won't show in Amazon until you add it to your cart, but the discount is there. The deal also only applies to the black color model.

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Whenever someone asks “what’s the best microphone” the response is usually “well it depends what you’re recording.” Rode’s new VideoMic Go II, as the name suggests, wouldn’t be suitable for podcasting. Would it?

Very clearly, the VideoMic Go II was designed to sit atop a camera. That’s just a fact, but with USB and 3.5mm outputs and compatibility with Rode Connect – the company’s USB-friendly podcasting app – it turns out this lightweight, $99 mic could be more versatile than it first seems.

If you are looking for a mic for your DSLR, know that the VideoMic Go II has a cold shoe mount, the aforementioned 3.5mm out (which can also be used for monitoring) and it comes bundled with a Rycote shock mount and a windscreen in the box. There’s no secondary/safety/stereo recording here or on-mic gain control, but that’s normal for something in this price range.

Performance-wise, the sound is surprisingly rich for a mic of this size without sounding too “dead.” There’s no notable difference between the audio you get out of the USB port compared to the 3.5mm port bar a little variation in gain. When comparing it against Rode’s VideoMic Me and VideoMic NTG, the VideoMic Go II might well be my favorite of the bunch. It’s natural, focused with just the right amount of ambiance/sense of space.

Where the VideoMic Go II gets more interesting is how it performs in other use cases. When plugged into a computer and placed on a desk the VideoMic Go II sounds just as robust as far more expensive dynamic microphones. So much so it threw me for a moment.

Perhaps the best illustration of this is when I tested it against the $400 Shure SM7B and Rode’s own $99 NT USB Mini. Given that both of the Rodes in this test are condenser microphones and cost about the same, you might think those two would be the nearer match, but it turns out that the VideoMic Go II sounded much closer to the SM7B. This isn’t to say it’s as good as the SM7B (there’s a little more depth in the Shure and a touch more dynamic range perhaps) but given the disparity in price, it definitely wasn’t expected.

This similarity is further compounded when you consider that the different type of capsule – Rode’s condenser versus Shure’s dynamic – alone would typically give them a very different sound. You can hear all three microphones in the sample below. It starts with the Shure, then the VideoMic Go II and then the NT Mini. The transition between the first two is subtle, yet the last one is obvious. Oh, and the VideoMic Go II was about two inches further away from my mouth than the SM7B was.

Of course, this is just one test, in one scenario in one specific room. But for a quick comparison of what a $400 mic can do off the cuff compared to a $99 one, it’s a good starting point. Despite the lack of on-device controls, there are some configurable options via Rode Central. When connected to the app (mobile or desktop) you’ll have the option to tweak the gain level, apply a high pass filter / high-frequency boost and adjust the monitoring volume. It’s less convenient than physical on-mic controls, but still allows you some control over how it sounds or responds to different inputs. (If you're wondering, the audio above starts with the SM7B and switches to the VideoMic Go II at "two condenser microphones").

Given that Rode added compatibility for Connect, and the USB option makes it phone and tablet-friendly, suddenly the VideoMic Go II could very well be a good all-rounder for the price. A mic that has video chops but can also do double duty as a podcast mic (and, therefore an all-purpose computer mic) there appears to be a lot of bang for the veritable buck.

Of course, if you really do need something that records a safety channel, has physical variable gain controls or if XLR connectivity is a must, this isn’t the one to go for. But for most general creator uses? It finally might not entirely “depend on what you’re recording.”

Another year of restrictions means the excuses for not starting that podcast are surely drying up. If your last one was “I can’t find a USB mic I like,” then 512 Audio might be about to ruin your (procrastinator’s) day. The company is unveiling two USB microphones at CES this year along with a podcast-friendly audio interface.

If you do (or plan on doing) a lot of vocal work, the $119 Script microphone might be the one to consider. The vintage styling is based on Warm Audio’s WA-14 studio condenser microphone (512 Audio is a subsidiary of Warm). The Script is dual-pattern (Cardioid/Omni) and the dual 14mm capsules are tuned to vocal work, so the company claims. Thanks to its USB connection, the Script offers zero-latency monitoring via a headphone jack and onboard gain/mute controls.

Should you want a microphone that’s a little more versatile, then the $160 Tempest might be a better fit. Like the Script, there are onboard monitoring and volume controls. The Tempest also offers a larger, 34mm capsule, for those that want a more responsive sound. This model, too, is based on one of Warm’s existing microphones – specifically the WA 47Jr. Though we don’t know if these microphones are just USB versions of the ones they mimic or are simply visually inspired by them (at the very least, the WA14 offers more polar patterns than its 512 counterpart).

512 Audio

With both of the new microphones offering USB connectivity, you won’t need an interface to connect them to your PC, but 512 Audio is unveiling one of their own for those that already have XLR microphones and want to plug them into something a little more podcast friendly than a generic interface.

While there’s no pricing information at this time, the audio interface has two combo ports for the aforementioned XLR mics and or ¼-inch instruments. There’s also a 3.5mm input for phones and other compatible devices. Perfect for introducing a “caller” onto your show or simply for feeding in other audio sources as you see fit. There are two headphone outputs on the front, which is a definite perk for podcasters and even a mute button for the mics which is less common than you might think, and handy in a podcast scenario for talking off-air or avoiding coughs and other unwanted sounds.

Of all the above, the Tempest will be launching first, slated for March this year. The Script will be available in “spring” and the audio interface will come later this year.

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I’ve been an avid user of bone-conduction headphones for years and can attest to the lackluster low-end in this form factor. Luckily, things are improving. Along with recently changing its name to Shokz (formerly Aftershokz), the company has delivered on this long-desired feature upgrade to its line of bone-conduction headphones. The new product is called OpenRun Pro ($179.95) and there is a significant boost in bass with this Bluetooth 5.1 headset. In addition, Shokz is renaming its existing product line to tie things together with Aeropex becoming OpenRun and Xtrainerz now called OpenSwim.

For those new to bone-conduction headphones, let me clarify a few things. These still don’t quite measure up to over-ear or in-ear models, since they have an open-ear design. The transducers rest against your cheeks in front of your ears and deliver sound to your inner ear via the bone. It’s a different delivery system for sound that leaves your ears open to the world, which can be a double-edged sword. They’re not great on the subway or in generally noisy environments. Don’t be disheartened, though, as this same design lets you walk, run or bike around and listen to music while still being able to hear the world around you. And with the upgrades we're seeing, the audio experience is better than ever.

Until now, diminished low-end has long been a problem for this form factor. The OpenRun (Aeropex) have good volume levels and a decent frequency response compared to previous models. But now that I’ve tested the OpenRun pro, there’s been a noticeable improvement in the low-end spectrum. I don’t mean that they’re so loud they’re literally bouncing off your cheeks (like the old Titanium model did). These deliver a good sub-frequency to give your tunes more depth without excessive tactile reverberation. My standard listening is techno and electronic music (like this) and it holds up pretty well. The decibel and frequency response specs are the same as before, but acoustic tweaks have born fruit. For bone conduction headphones, the OpenRun Pro sounds great.

Other desirable enhancements in this new model include the fit and charging capability. The over-the-ear curve is more rounded and the side enclosures are 20-percent smaller than before. This makes them feel light and comfortable. The battery life has been bumped up from 8 to 10 hours of listening and you can charge fully in one hour (a whole hour less than before). On top of that, we’re told you can get 1.5 hours worth of listening in five minutes of charging. A great feature when you’re settling in for a workout and hear the headset exclaim “charge me”.

If you’ve just gotten Aeropex headphones over the holidays, don’t fret. I’ve been using these for a long while and have enjoyed the experience. I even feel that while there’s not as much bass, these could be a touch louder in the mid to high range than the new model. 

On top of that, the OpenRun Pro has traded complete waterproofing for better sound. A fine mesh grate covers two vents in front of and below the cheek-based delivery system, changing it to IP55 water-resistant (still more than adequate). The OpenRun (Aeropex) retains its IP67 rating due to its sealed enclosure. If you want to wear these in the shower, then you’re in a good place (but maybe consider OpenSwim if this is a habit).

As of today, the entire line is available for purchase including the new OpenRun Pro ($179.95) with a few new colors (although only black may be available at launch). The fully-waterproof OpenSwim is still $149.95, while the OpenRun ($129.95) will continue to be available at its recently lowered price.

Shokz

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Panasonic has trotted out all sorts of audio gear since reviving the iconic Technics brand in 2014. Recently, that list includes a smattering of true wireless earbuds and headphones, and at CES 2022, the company has yet another portable device ready to debut. With the EAH-A800, Technics has built a pair of hi-fi-ready wireless headphones with active noise cancellation (ANC) and claims of a whopping 50 hours of use on a charge. 

The over-ear EAH-A800 packs in 40mm drivers that Technics says are the result of its experience building hi-fi audio gear. In addition to a new design and materials for that component, an Acoustic Control Chamber manages air flow to assist with driver performance and bass response. The company has also leveraged capacitor tech from its high-end amplifiers to limit distortion and maintain sound quality. The EAH-A800 supports LDAC for higher quality audio over Bluetooth, in addition to the typical AAC standard. 

Technics/Panasonic

Technics promises "industry-leading noise cancelling" via a dual hybrid setup. An analog filter equipped feed back mic and a digital filter outfitted feed forward mic monitor unwanted clamor inside and out. The EAH-A800 also has Natural Ambient and Attention modes. The difference is that the latter makes it easier to hear voices while the former is a more universal transparency setting. Technics also provides multi-point pairing here, which will allow you to connect to two devices simultaneously over Bluetooth and easily switch between them. 

The company is also making big promises when it comes to call clarity. Using a total of eight microphones, the EAH-A800 employs four to pick up your voice and four more to combat any environmental noise. Additionally, Technics says the feed forward mics are designed and positioned to reduce wind noise. 

Perhaps the most impressive claim on the EAH-A800 is the stated 50 hours of battery life. Technics says you can achieve this figure with ANC on listening to AAC audio. If you are listening via LDAC, the company says you can expect up to 40 hours of play time. Disable noise cancelling on either sound codec and listening time increases by 10 hours. So if you're willing to go without ANC or higher quality audio, you can get 60 hours of use out of these according to Technics. What's more, a 15-minute charge will give you 10 hours of use (ANC on, AAC quality streaming). 

The EAH-A800 will be available in black and white color options in February for $350 (£299/€349). 

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Last month, Exeger and Mayht announced a partnership to create a portable Bluetooth speaker that's powered by light. At CES, they offered a glimpse at the prototype. 

Swedish company Exeger makes Powerfoyle, a material that can turn natural and ambient light into power. Dutch startup Mayht, meanwhile, is behind a type of audio tech called Heartmotion. It claims to have reinvented "the core of the speaker driver" to allow for speakers that can be more than 10 times more compact than other models without sacrificing sound quality or bass output. According to TechCrunch, Mayht's drivers need less energy than similar audio devices, so solar cells are a seemingly sufficient power source for the speaker.

Details about the speaker's specs remain unclear, such as what percentage of the device's surface is covered in Powerfoyle material. We've seen some headphones that use this tech, including Urbanista’s Los Angeles headphones. Based on our time with those, the speaker will need a decent proportion of solar cells to meet Exeger and Mayht's claim that it has "unlimited battery life" — at least if you don't live in eternal darkness.

Whether the speaker can deliver solid sound quality remains to be seen. The physical size of a driver and the depth of a cabinet are key factors in how speakers generate bass, so it'll be intriguing to hear how Mayht compensates for that.

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When Sony debuted its premium home theater gear for 2021, the company's pricey HT-A9 speaker set had a key feature that its soundbars didn't. It's called 360 Spatial Sound Mapping and it creates "phantom speakers" to help the actual speakers produce room-filling sound. Today at CES, Sony announced that it will offer an upgrade to both the HT-A7000 (7.1.2) and HT-A5000 (5.1.2) soundbars that adds the 360-degree audio mapping later this spring. 

360 Spatial Sound Mapping first uses a combination of Sound Field Optimization tech and built-in microphones to measure the height and position of both a soundbar and rear speakers. Once that's done, the setup creates virtual speakers by positioning sound waves based on the collected location information. Sony says the result is a "wide spatial sound field" capable of filling a room and it promises that everyone will get "the same sound experience" no matter where they're sitting. The company also reminded us that an Acoustic Center Sync feature on Bravia XR TVs will work with the sound mapping to become a center speaker that enhances dialogue. Both the A7000 and A5000 already support Sony's 360 Reality Audio for more immersive music listening. 

Sony

To help you make the most out of the soundbars' new ability, Sony is debuting a new set of wireless rear speakers. Unlike most rear satellites that connect wirelessly but rely on a cord for power, the new SA-RS5 speakers are totally wireless and can be charged out of sight. The company says you can expect up to 10 hours of use when they're fully charged and 10 minutes will give you 90 minutes of play time if you forget to replenish the batteries. They also feature up-firing speakers, wide directional woofers, dome tweeters and dual passive radiators for a more robust soundstage and better clarity. The SA-RS5 can run Sony's Sound Field Optimization with the press of a button so they're easily calibrated with your soundbar each time you reposition them. Lastly, the cylindrical speakers have a flat back side so they'll sit nicely against a wall. 

You'll need a set of rear speakers to employ the forthcoming 360 Spatial Sound Mapping upgrade on the aforementioned soundbars — hence the new model. If you can live without all the bells and whistles of the SA-RS5, the SA-RS3S is also compatible. They're a plain ol' set of two-way rear satellite speakers in comparison, but they'll save you some money over the upcoming model at $350. And based on my experience, they should get the job done just fine. 

The new SA-RS5 wireless rear speakers will be available this spring for $600. That's $250 more than the SA-RS3S that debuted alongside the HT-A7000 last year. 

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