I tested Audioengine's tiny wireless speakers with a beautiful design and surprisingly impressive audio performance

Audioengine A2+ review

Designed for desktop use, and living rooms where even bookshelf monitors claim too much space, this compact Bluetooth speaker package from Audioengine punches above its weight when it comes to versatility and design. But can the A2+ also hit the right notes when it comes to musicality?

I fostered a pair, eager to find out if pint-sized speakers really can deliver a reassuringly big sound to match the best stereo speakers.

The Audioengine A2+ Bluetooth speakers are tailored for near-field listening. Measuring a mere 152 x 101 x 134mm, these titchy enclosures offer a wealth of connectivity, including Bluetooth aptX-HD, USB, and analogue stereo input/outputs via RCA phonos and 3.5mm minijack. They lack a digital audio input though.

Available in a choice of matte (blue or black), and gloss finishes (red or white), build quality is excellent. My glossy red review set oozed premium appeal, their reflective glossy finish contrasting beautifully with the black drivers.

The cabinets themselves have decent heft. Made from MDF, they stand just slightly taller than a Snickers bar and should be easy to accommodate on untidy desks, or even as part of a minimalist Hi-Fi setup.

The left speaker is the active model, with connectivity, built-in amplification and volume control, while the right is its passive partner. The power supply is separate from the active enclosure, thankfully the brick isn’t too large.

Each cabinet houses a 70mm aramid fibre woofer and 19mm silk dome tweeter, with venting at the base to enhance low-frequency performance.

Unsurprisingly, given their size, these speakers are not volume monsters. The system is rated at 15W RMS per channel at 4 ohms, with a peak power output of 30W per channel.

When it comes to system configuration, there’s the option of USB audio, stereo RCA inputs, and a 3.5mm minijack input. There’s also a subwoofer output should you want to add extra bass, in the form of Audioengine’s S6 subwoofer.

Despite this versatility, I expect most buyers will probably do the majority of their listening via Bluetooth. Here, aptX HD ensures high-resolution wireless audio streaming (when connected to an aptX HD compatible smartphone), though there's no Wi-Fi, unlike most of the best wireless speakers. My system was ready to connect as soon as it powered up.

Also included in the box are 2m of connecting speaker wire, a minijack audio cable, plus a USB lead to connect your PC. All of this, plus the speakers, comes packed in microfiber cloth bags for protection. There’s no remote control included (although you probably don’t need one).

Setup is nice and straightforward: just connect the passive right speaker to the powered left with the included speaker cable, connect the power brick, and you’re good to go.

It’s worth noting that the A2+ is not a smart system; there’s no voice assistance from the likes of Amazon Alexa or Google Assistant.

Straight from the box, the A2+ are an enjoyable listen, not least because they’re capable of true stereo imaging, something of a rarity in the predominantly one-box Bluetooth speaker market. Tracks like Stevie Nicks’ Edge of Seventeen showcase this well, with the choppy guitar riff anchored on the left and percussion neatly spread across the stage. Their spatial presentation is coherent and involving.

Clarity and detail are also good; the A2+ reward hi-res audio sources, finding subtle nuance in Pearl Jam’s Present Tense (24-bit/48kHz) and Radiohead’s sonically layered Burn the Witch (24-bit/48kHz). They definitely have a knack for detail retrieval.

Given their compact size, low frequency performance is understandably limited. Chase and Status’ thumping Baddadan lacks the visceral low-end thump associated with this drum and bass belter. If you want more slam, you’ll need to add that subwoofer.

The mid-range is the sweet spot here. From Dire Straits’ Sultans of Swing, where the interplay between tweeter and woofer handles intricate riffs effortlessly, to the soaring piano of In This Moment’s Into the Light, the A2+ system proves adept across genres – those treble highs always as clear as crystal.

I’d hesitate to call the A2+ speakers musical, though. I never felt myself carried away by its beats, and I was always aware sounds were emanating from the two shiny enclosures, rather than hanging in the air before me. That said, what the A2+ offers is precise and performative.

Loren Allred’s pleading vocals in Never Enough, from The Greatest Showman soundtrack, manages to elicit an emotional tingle, exactly as it should.

While 15W per channel is perfect for desktop use (Audioengine optimistically quotes 60W peak power output), these speakers struggle to serve larger rooms. They’re also quite directional, sounding sharpest when aimed squarely at eye/ear level, so position accordingly.

Audioengine A2+ review: Price & release date

• £255 / $269 / AU$449
• Launched August 2024

The Audioengine A2+ Bluetooth speakers are available now for £255 or $269 (US), which undercuts many of their main rivals, including the likes of the Kanto Ren, which are around twice the price.

The S6 subwoofer (£299 / $299) pushes up the system price quite considerably, though, and you certainly can find other Bluetooth stereo speakers for a similar price or cheaper, including from the likes of Edifier and Majority.

Audioengine A2+ review: Specs

Should you buy the Audioengine A2+?

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Audioengine A2+ review: Also consider

How I tested the Audioengine A2+

Over the course of a week, I evaluated the Audioengine A2+ in various settings, focusing on near-field desktop use. Material was streamed via aptX HD Bluetooth and played through a wired high-resolution music player. Tracks ranged from classic rock to EDM and orchestral pieces, allowing me to assess tonal balance, clarity, and stereo imaging.

Speaker width was dictated by the supplied speaker cable which links the two enclosures, which were positioned at head height (or thereabouts) for optimal performance.

• First reviewed: March 2025
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