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david mason in black ops 7
Esports

Cheaters have already taken over Black Ops 7 just hours after beta goes live

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The Call of Duty: Black Ops 7 beta is already being infested with cheaters as players await the arrival of a stronger anti-cheat.

Every year, cheaters become a major threat to Call of Duty, and Activision is in a constant, never-ending struggle with the creators of this nefarious software.

On October 2, the Call of Duty: Black Ops 7’s early access beta arrived, and while there have been controversies about perks and scorestreaks, an old adversary reared its ugly head.

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Like clockwork, footage of players using aim bots, wall hacks, and other such tools emerged.

Aimbotters and wall hacks hit Black Ops 7 beta

In one clip, uploaded to X by a fresh account, a user showed off how they could see enemies through walls and quickly snapped right to targets, mowing them down.

Another video, this time from streamer Stodeh, he encountered a cheater just three hours into the beta.

“Bro, is this guy cheating in hour three of beta?” he asked in chat.

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Someone in the lobby then claimed there had been cheaters right when the beta launched. Footage proceeded to show absurd kill cams where Stodeh was shredded by someone who shouldn’t have been able to see him.

“This can’t be happening in Black Ops 7 ALREADY,” he blasted.

Not all hope may be lost, but players will need to be patient.

Treyarch have revealed upgrades to their RICOCHET Anti-Cheat system, including a crackdown on aimbots and wall hacks.

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In a blog post, the devs confirmed a “new generation of machine learning systems and detection tools” is coming to Black Ops 7 at launch.

These upgrades, however, will only go live officially when Black Ops 7 launches on November 14.



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Large open bank vault door symbolizing secure bitcoin storage
Crypto Trends

DoubleZero Mainnet Goes Live With 22% of Staked SOL on Board

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A new project wants to give blockchains their own “fast lane” on the internet. The DoubleZero Foundation announced Thursday that its highly anticipated mainnet-beta is live.

DoubleZero is a network built to speed up how blockchain validators talk to each other. Instead of relying on the public internet, which can sometimes be slow and unpredictable, Solana validators can now connect through DoubleZero’s fiber routes, which let users transact faster.

In simple terms, DoubleZero is like a private highway system for blockchains. While normal internet routes are designed to be cheap and broad, they aren’t built for the split-second coordination thousands of blockchain nodes need. DoubleZero says its network reduces lag and makes it easier for validators to process transactions and stay in sync, which could improve both performance and reliability for end users.

“Blockchains and other globally distributed systems rely on thousands of nodes coordinating in real time. The efficiency of their communication layer directly impacts security, validator profitability and the end-user experience,” said Austin Federa, the co-founder of DoubleZero, in a press release shared with CoinDesk.

The project has already seen early adoption. Currently, 22% of staked SOL is plugged into the DoubleZero network. Big industry names like Jump Crypto, Galaxy, RockawayX, and Jito are contributing fiber links and engineering resources, betting that faster internet infrastructure will pay off as blockchain applications scale.

In March, DoubleZero raised $28 million and at $400 million in valuation, with Dragonfly and Multicoin Capital leading the initial funding round.

Fueling the system is DoubleZero’s own token, called 2Z, built on Solana. Validators and stakers use the token to access the network’s high-speed routes, with rewards tied to how much utility they provide.

Earlier this week, the U.S. Securities and Exchange Commission issued a no-action letter to DoubleZero, letting them move forward with the launch of the network’s native tokens.

While today’s launch focuses on Solana, DoubleZero’s ambitions go further. “As part of its roadmap, DoubleZero aims to expand the chain-agnostic network to support additional blockchains and high-performance distributed systems,” the team wrote in their press release.

Read more: ‘Crypto’s Flash Boys’: A Q&A With Austin Federa on DoubleZero



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As the Western games industry spirals, TGS 2025 showed Japan is resurgent - though you might not recognize that over live streams
Game Reviews

As the Western games industry spirals, TGS 2025 showed Japan is resurgent – though you might not recognize that over live streams

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It’s fair to say that the Tokyo Game Show is back. This may have been the case over the last few years, to be honest – but this year marked my first post-pandemic return to Japan’s premier gaming festival – and in honesty, walking around the venue, I was shocked.

I’ve got a bit of a history with TGS. For many years I did something which few Western games media did: I went almost every year. That’s the influence of co-owning a website dedicated to role-playing games, a genre that has always been fairly Japan-centric. But that also meant that over the course of the 2010s I got to watch TGS dwindle. We talk a lot about the brutally swift decline of E3, but in those years the disintegration of TGS was arguably worse. By 2018, we’d reached the point where the show wasn’t even worth the cost of getting out there even to a website like RPG Site, where JRPGs were bread and butter. I tapped out.

This year, I returned to Chiba’s Makuhari convention centre on a bit of a whim. I didn’t really expect the show to be all that good, and I wasn’t really left all that excited by the snaking lines to get in on business day, for even when TGS was rubbish a lot of punters used to show up. But after a short exploration of the halls, I realized something: this show is brilliant again.

Watching the show from afar over livestreams, you could be forgiven for not necessarily recognizing that. In true Japanese industry tradition there’s a lot of stage shows where developers vaguely waffle without actually saying much while voice actors do little celebrity turns and the like. The live streams beamed westwards were relatively inconsequential too – a meagre obligation of a show from Xbox, casual streams from the big Japanese publishers, and a PlayStation State of Play that, while good, had next to nothing to do with what Sony was showing off in Tokyo.

This doesn’t necessarily feel unique to TGS, though. It charts the overall arc of the industry in the sense that publishers have moved away from wanting to showcase big drops all together and all in one place, therefore fighting amongst themselves for eyeballs and coverage. It’s easier to pick your own unique spot for your game’s big moment. That hurt all shows; just as we’re never getting E3 press conferences back again, Square Enix is unlikely to restore the mythical Closed Mega Theatre which was such a source of business for me back in the day.

TGS has pivoted, and in a sense the show has broadly become more about context. Take Capcom, for instance: it’s this show where it chose to contextualize the gameplay systems and overall loop of Pragmata after holding it back so that players could first understand its core shooting-meets-hacking combat concept. Likewise for getting deeper into how much Monster Hunter Stories 3 is breaking from its predecessors to try something new. There’s news to be had here, but not as big splashes – but in this new world, that’s fine.

Ain’t that the booth. | Image credit: Eurogamer

The proof that it’s fine is in the show floor, which in 2018 was anemic and primarily populated by the worst kinds of predatory mobile games and endless merch stands. I remember meandering the show floor with Martin Robinson, who was then back on Eurogamer, and the pair of us just turning to each other after a few hours and going: “is that it?” I remember I was clutching some TGS-exclusive vinyl record printing of the Mega Man 2 soundtrack, my only major gain of the day and totally useless from a work perspective. Martin characteristically had bought some Mega Drive stuff, I think. “Is it pub time already?” It was. But in 2025, the show floor is vibrant and exciting once again.

This is where you get the image of a resurgent Japan. Which, to be fair, we all know they are – we all see that in Capcom’s climb to become arguably the best third party publisher in games, in Konami returning to gaming proper after years away, and in a Sega that seems to have a thrilling plan to chase in Capcom’s wake. But all of this is more corporeal on the ground with enormous stands and excited throngs of excited gamers. You sense it more. You also sense that the importance of TGS, and Japan in general, is not just in the big Japanese publishers.

The game mix has shifted, for instance. Mobile gaming is still massively important – one of the biggest culture shocks visiting Japan as a gamer is always how everyone is gaming on their phones, all ages, all genders – they’re all in one gacha mine or another on their commutes. That isn’t going away, but it feels like console games are cemented again, no longer in retreat.

The recognized importance of Japan comes in the form of a huge international presence. The big Chinese and Korean brands have absolutely enormous stands. The biggest game of the show is undoubtedly Ananta, the fascinating free-to-play action game out of China which at once channels GTA, Spider-Man, Genshin, and countless other things. Indie-signing publishers like Annapurna Interactive and Red Dunes Games show up big. There’s huge government and trade body sponsored stands from countries like Italy, Germany, and France, where local trade shows are peddled to the Japanese and chosen indies get to ply their wares to a whole new audience.

Is Konami really, actually, back? | Image credit: Eurogamer

As Eurogamer, it feels important to note that Britain had no such presence at all – which feels like a huge loss and error on the part of the UK government, UKIE and the like. But the fact I am saying that is in itself a sign of how TGS has changed: a few years ago, I would’ve been calling these countries absurd, rolling my eyes at a waste of money on an undynamic market that didn’t appear to care. Now, however, I’m frustrated to see my own country missing the opportunity. In short, it feels that TGS is once again a place to be seen internationally.

And then there’s the after hours. Grabbing a drink or dinner, catching up with industry colleagues in Japan, one really does get the impression that this country’s industry is once again happy, confident, and building. Once again, it’s a massive contrast to the vaguely panicked and lost Japanese industry I experienced in the 2010s.

It also draws a sharp contrast to the West. At one point I sat with some Western-based publisher employees and one of them basically described walking around TGS in the terms of that classic “I’m starting to get this feeling…” scene from Peep Show. Things on our side look so bad – and Japan looks so good. The fact an excellent TGS has been followed with another round of brutal studio layoffs and an EA deal that is sure to have terrible consequences seems to only underline matters.

But Japan? Japan feels like it has found its mojo again. TGS is a representation of not only its industry, but in how it is perceived by the rest of the world – and it feels like the good times are back again. Is it necessarily worth all that outlay to travel there as media, in raw input/output terms? Well, I’m sure my accountant would say no. But being there feels right again – which hasn’t been the case for years.



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Battlefield 6 Pre-Loading On Xbox Is Live Now
Game Updates

Battlefield 6 Pre-Loading On Xbox Is Live Now

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Battlefield 6 isn’t getting an early-access release, but Xbox players can get a jump ahead by pre-loading the game right now. However, PC and PlayStation 5 owners are going to have to wait a few days longer.

For the base game, MP, and campaign only, the Battlefield 6 file size is under 41GB on Xbox Series X and 39.10 GB on Xbox Series S. However, the game gives players the option as to whether they want to install the HD packs, both of which significantly change the size. The MP HD pack is 25.6GB, while the Multiplayer HD Marker is 23.8GB.

According to the fan-run Battlefield Bulletin account, PlayStation 5 and PC owners will be able to pre-load Battlefield 6 on October 3. The game will launch on all three platforms on October 10, with the global rollout starting at 8 AM PT / 11 AM ET, which is also 4 PM BST.

Looking ahead, EA and DICE have announced that Battlefield 6 Season 1 will begin on October 28, and unfold over three phases. This will be a free update for all players.

EA recently hyped up Battlefield 6 with a live-action trailer that mocks rival franchise Call of Duty’s celebrity operators. However, industry experts still expect Call of Duty: Black Ops 7 to outperform Battlefield 6 in terms of sales. But if you’d like to change that, you could always preorder Battlefield 6 now and pass the word on to your friends.

Battlefield 6 will be the first AAA game released EA since the company announced plans to sell itself to Saudi Arabia’s PIF, Affinity Partners, and private equity company Silver Lake for $55 billion.



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The Outer Worlds 2 Digital Issue Is Now Live!
Game Updates

The Outer Worlds 2 Digital Issue Is Now Live!

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The Digital Issue of Game Informer magazine issue 372 is now live! Subscribers can read the full issue right here, with print issues arriving in mailboxes starting in early October. If you subscribe to Game Informer before October 15, you’ll receive this latest issue highlighting our 12-page cover story on The Outer Worlds 2. 

In addition to our deep dive on Obsidian’s upcoming sci-fi RPG, issue 372 includes features such as a six-page interview by contributor Ana Diaz, who speaks with Undertale creator Toby Fox about the making of his spiritual follow-up, Deltarune. Marvel fans can enjoy a 12-page section dedicated to upcoming games starring its spandex-clad heroes, including Marvel Tōkon: Fighting Souls and Deadpool VR. 

Editor Charles Harte has an enlightening conversation with famed developer Rami Ismail about his bold new game, Australia Did It. With Halloween around the corner, get into the spirit with our spooky spotlight of horror games on the horizon. Enthusiasts of photo mode in games can learn about its impact and evolution over the years in an eight-page feature by contributor Jack Dean that includes insights from some of the best digital photographers in the hobby. 

The magazine also features previews for games such as Onimusha: Way of the Sword, Battlefield 6, Kirby Air Riders, Turok: Origins, Dragon Quest VII Reimagined, Lego Batman: Legacy of the Dark Knight, There Are No Ghosts at the Grand, and more! You can also read reviews for titles including Ghost of Yōtei, Borderlands 4, Hell is Us, and Sonic Racing: CrossWorlds. 

By subscribing to Game Informer, you’ll receive 10 issues a year in both physical and digital editions. We also offer a digital-only subscription for a reduced price.



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Battlefield 6's live action trailer is its biggest jab at Call of Duty yet, makes a point out of blowing up Zac Efron
Game Updates

Battlefield 6’s live action trailer is its biggest jab at Call of Duty yet, makes a point out of blowing up Zac Efron

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A new live action Battlefield 6 trailer has been released which takes shots at Call of Duty’s celebrity-focused marketing strategy, introducing a squad of household names including actor Zac Efron before quickly blowing them up.

This squad, which also features basketball player Jimmy Butler, country singer Morgan Wallen, and MMA fighter Paddy Pimblett walk across a ravaged bridge to Smashing Pumpkin’s The World Is A Vampire. They all represent one of the classic Battlefield specialist classes, with weapons covered in colourful camos and charms.

After Zac Efron and his crew explode, they are replaced with a collection of standard looking modern military soldier types take their place and engage in typical video game live action trailer shenanigans. It’s a two-birds with one stone affair where EA has clearly taken a little pot shot at its largest competitor, while also highlighting several key selling points for Battlefield 6 – those being a lack of gaudy cosmetics and the death of a limiting specialist system.

Here’s the launch trailer for Battlefield 6!Watch on YouTube

Battlefield 6 has proved exceptionally popular judging by its open beta tests, and has established itself as a real competitor to Call of Duty this year. It’s done so by tackling many problems FPS players have had with Call of Duty for several installments now – those being the prevalence of crossover and cameo skins, as well as a shift away from its modern military roots (at least as far as the multiplayer is concerned).

EA and Battlefield Studios recently showed off the campaign in a recent Sony State of Play, which is sticking true to the modern military presentation people seem to be craving, whereas Black Ops 7 is diving into a more mind-bending space with its campaign. It’s a real clash for the hearts and minds of FPS lovers, with Battlefield 6 on track to do the best the series has ever done in the dustup.

Earlier today, EA announced it is to be acquired by the Saudi Arabian Public Investment Fund, investment firms Silver Lake, and Affinity Partners for $55bn. Now a private company, the deal was financed with roughly $36bn from the trio and $20bn worth of debt. This deal marks the largest all-cash sponsor take-private investment in history according to EA’s official press release on the matter.



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Photo of Team Spirit after winning IEM Cologne.
Esports

CS2 crowd cheating controversy reignites debate over live event security measures

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The recent controversy at FISSURE Playground 2 has reignited conversations about competitive integrity in esports, with professionals across the scene demanding stronger security measures at live tournaments.

The incident unfolded during the semifinals between Team Falcons and FURIA, where Falcons player Kyxsan repeatedly wiggled his crosshair through smoke at suspected enemy positions, relying on crowd reactions to guide his decisions on Nuke. The tactic quickly spiraled out of control, forcing organizers to disable the X-ray spectator feature mid-match to prevent further abuse.

Industry voices were quick to criticize the situation. Complexity general manager Messioso made his stance clear: “Crowd cheating is one thing. Players enticing the crowd into cheating for them by wiggling their crosshair into smokes or walls is significantly worse and should be punished severely.” His words highlighted just how damaging intentional crowd manipulation can be for the credibility of top-level competition.

Mild take

Crowd cheating is one thing.

Players enticing the crowd into cheating for them by wiggling their crosshair into smokes or walls is significantly worse and should be punished severely.

Disgraceful behaviour.

— Graham Pitt (@messioso) September 20, 2025

This problem is not new to Counter-Strike. The 2018 Boston Major saw Olofmeister engage in similar antics, though back then, the community largely laughed it off. The climate in 2025 is different, with multiple CS2 events this year facing crowd-related controversies; the issue is now systemic rather than isolated.

Tournament organizers are exploring several fixes. Some events have tested separating audiences from players, while others have leaned toward stricter penalties for disruptive spectators. As seen at FISSURE, protocols now allow for cutting off spectator features like X-ray when necessary, though such measures raise concerns about the overall viewing experience.

Discussions are also emerging around standardized penalties for players who deliberately exploit crowd reactions, though the industry lacks a unified regulatory framework. With more international tournaments approaching, each boasting massive prize pools and global audiences, pressure is mounting to strike a balance between maintaining fairness and preserving the electric atmosphere that makes live esports so compelling.

IEM Chengdu is set to feature crowds during the group stage as well. Photo via ESL

Ironically, despite the controversy, FURIA pushed through the distraction, taking both the semifinal and eventually the championship. Their victory reinforced that disciplined execution can still prevail, even when external factors threaten to tip the scales. The incident, however, has left the esports community with pressing questions about how to safeguard integrity while keeping the live spectacle alive.

Dot Esports is supported by our audience. When you purchase through links on our site, we may earn a small affiliate commission. Learn more about our Affiliate Policy





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Klipsch Flexus Core 300 soundbar on stand with TV in background
Product Reviews

Klipsch Flexus Core 300 review: a seriously immersive soundbar system with Dirac Live room correction

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Klipsch Flexus Core 300 Soundbar: One minute review

Klipsch Flexus Core 300 soundbar with optional Flexus SURR 200 rear speakers and Flexus SUB 200 subwoofer (Image credit: Future)

The Klipsch Flexus Core 300 isn’t the cheapest Dolby Atmos soundbar you can buy, but those who can afford it will find it matches the best Dolby Atmos soundbars on just about every level.

Now, it might not be the best soundbar for everyone. Aside from the big price tag, it’s also physically big. But it does everything else right. It has all the ports one could want, and it has all the features you’d expect to see in the best soundbars. Most importantly, it sounds really good. And once you set it up with the Dirac Live feature, the sound quality goes from really good to great. It’s that last bit that really puts it over the edge for me.

If you’re looking for a soundbar system that gives a true theater experience at home, the Klipsch Flexus Core 300 is more than capable, and the experience gets even more immersive when you add the accompanying surround speakers and subwoofer.

  • Klipsch Flexus Core 300 at Sweetwater Sound for $1,199

Klipsch Flexus Core 300 review: Price & release date

Klipsch Flexus Core 300 system packaging (Image credit: Future)

  • Price: $1,199.99 / £1,049.00 (about AU$1,830)
  • First available: September 2025

The Klipsch Flexus Core 300 soundbar system reviewed here is anything but cheap. In fact,the Core 300 soundbar, with the Sub 200 subwoofer, and Surr 200 surround speakers that I tested will set you back an eye-wateringly high $2,299.97 / £1,827 (about AU$3,500).

Individually, the Core 300 soundbar goes for $1,199.99 / £1,049.00 (about AU$1,830), while the Sub 200 subwoofer is $599.99 / £419.00 (about AU$910) and the Surr 200 surround sound speakers are $499.99 / £359.00 (about AU$760) per pair. There are cheaper versions available of the subwoofer and surround speakers, so you can get away with a lower system cost, but you won’t have the same experience.

Also. Aussies will have to sit this one out (at least at the time of writing).

Klipsch Flexus Core 300 review: Specs

Swipe to scroll horizontally

Dimensions (W x H x D)

soundbar: 54 x 3 x 5 inch / 1371 x 76.2 x 127mm; subwoofer: 15.25 x 15.25 x 15.25 inches (387 x 387 x 387mm); surround speaker: 4.1 x 8.75 x 4.31 inches 105 x 222.25 x 109.5mm

Speaker channels

5.1.2 (soundbar), 7.1.4 (with sub and surround speakers)

Connections:

HDMI 2.1 passthrough, HDMI eARC, USB-C, optical digital, subwoofer output, Bluetooth

Dolby Atmos/DTS:X

Yes/Yes

Sub included

Available separately

Rear speakers included

Available separately

Features

4K 120Hz passthrough, Dirac Live room calibration, AirPlay, Google Cast, Google Home support

Klipsch Flexus Core 300 review: Features

The Klipsch Flexus Core 300 soundbar and the optional wireless sub and rear speakers uses wireless dongles to transmit and receive audio signals (Image credit: Future)

  • Dolby Atmos and DTS:X support
  • Night and dialog
  • Can adjust the volume of individual speakers

As you would expect from its price, the Klipsch Flexus Core 300 is feature-filled. It supports both Dolby Atmos and DTS:X, and you can add an optional subwoofer (or two subwoofers since dual subs are supported) and wireless surround speakers for a full surround sound experience. On top of that, it has built-in Dirac Live, a calibration software that minimizes the effects of room reflections on the sound.

The Flexus Core 300 features movie and music modes, along with a night mode that compresses the audio dynamic range for late-night viewing. A dialog mode offers three different levels to emphasize the specific part of the mid-range where dialog sits. This is a bit more subtle than what I’ve found on other soundbars, but still effective.

In the app, there are quite a few additional options for fine-tuning the sound. There’s a three-band EQ, and you can adjust the individual volume of each channel if you feel like something is out of balance. The only thing missing, surprisingly, is any kind of voice assistant support – a feature typically found on the more expensive soundbars.

WiFi streaming supports Spotify Connect, Tidal Connect, AirPlay, and Google Cast. Google Home is the only supported smart home ecosystem.

Klipsch Flexus Core 300 review: Performance

Both the Klipsch Flexus Core 300 soundbar and SUB 200 subwoofer are large compared to most soundbar systems (Image credit: Future)

  • Basic sound quality is very good
  • Dirac Live elevates sound clarity
  • Immersive soundstage

There are two experiences when listening to the Klipsch Flexus Core 300: with and without Dirac Live. Without it, the soundbar sounds very good. Action movies like The Workman have that oomph you expect from a movie theater experience, where you can just feel the subwoofer. Whether it’s a sound effect of someone getting punched or the low notes in the score that add a sense of foreboding, the sound has an impressive sense of weight to it.

The treble is as good as you would expect from a soundbar this pricey as well, with synths, flutes, and windchimes sounding crisp with no loss of detail.

The mid-range is what suffers the most without Dirac Live as it sounds a bit overstuffed without adjustments and dialogue can get lost just a little bit. You can offset with a three-band EQ that provides a 6 dB boost or cut, and changes to the EQ, even with presets active, are noticeable.

But, the real solution is to use Dirac Live (which I describe below in the usability and setup section). Once you’ve gone through the Dirac Live setup, the soundbar will create a custom EQ profile to adjust for the reflections of soundwaves bouncing around your media room, and the difference is stark. Dirac Live makes this soundbar go from good to amazing, with everything sounding clean, especially in the mid-range.

I watched The Batman, the first episode of The Residence, and an Eagles vs Cowboys football game, along with plenty of music during my testing. No matter how complex the soundtrack or music was, I could hear everything with precision. That alone justifies the Flexus Core 300’s price. Other room calibration systems I’ve tried can be very good, but this one is great.

I also experienced immersive sound when testing the surround sound speakers, even when they were not as widely placed as they should be. For the most part, their presentation was subtle; I would almost not realize that there was audio coming through them until I paid attention and realized that I was hearing the sound of wind.

Klipsch Flexus Core 300 review: Design

The Klipsch Flexus Core 300 has a bright alphanumeric LED display for control feedback (Image credit: Future)

  • Modern, elegant look
  • Large soundbar and subwoofer
  • Extensive ports

While the Klipsch Flexus Core 300 comes in basic black, there’s something about its look that’s more elegant than a lot of the competition. (A walnut version is also available.) The soundbar and subwoofer both have wood grain showing through the black (not so for the surround sound speakers), and a silver Klipsch logo is featured prominently on each unit.

Now, don’t mistake that elegance for compact. This isn’t Apple. The Klipsch Flexus Core 300 soundbar is 54 inches wide, and the SUB 200 subwoofer is a 15-inch cube. The SURR 200 surround speakers are just under nine inches tall and a bit over four inches wide and deep. If you’re limited on space, this is not the system for you.

Focusing on just the soundbar, I really appreciate that the Klipsch Flexus Core 300 has an alphanumeric LED display that’s bright and sizable enough that it’s easy to read.

As far as controls go, most of the functionality is either on the remote or in the app. The soundbar itself just has power, input, and volume up and down buttons situated off-center on top.

The Flexus Core 300 comes with just about everything portone could ask for, including but not limited to multiple HDMI ports featuring eARC and 4K 120Hz passthrough, along with an optical digital input and RCA subwoofer output. Of course, there’s Bluetooth as well.

Most of your interaction with the soundbar will probably be through the remote. While I wish it was rechargeable instead of using AAA batteries, that’s really the only criticism I can throw at it. It feels good to hold with its rounded back, and the layout allows you to adjust most functions without having to use the app, including switching sound modes and adjusting the volume of the surround speakers and subwoofer.

Klipsch Flexus Core 300 review: Setup & usability

Klipsch’s control app lets you adjust all system functions and is also used for Dirac Live calibration (Image credit: Future)

  • Generally easy to set up
  • Sub and surround speakers use wireless dongles
  • Dirac Live calibration requires silence

Klipsch packs the soundbar, subwoofer, and surround speakers with their own manual, and setting them up is a fairly straightforward process, though not exactly plug-and-play. I’ve set up a few soundbar systems with wireless connections before, and those typically get paired right out of the box. Here, both the subwoofer and surround sound speakers come with their own wireless dongle that needs to be plugged into the soundbar before pairing.

Considering that the sub and surround speakers are separate purchases, that makes sense. But it’s an additional step, and you have to press the pairing button on each external speaker and wait for the soundbar to connect.

If you want to get the most functionality out of Klipsch’s system, you also need to set up the app. This part was easy – all I had to do was connect it to Wi-Fi and answer some personalization questions.

The only thing I found a little difficult was setting up the Dirac Live calibration, which is finicky compared to other automatic calibration systems I’ve used. But then again, Dirac Live is the standard that audiophiles use for room correction.

The soundbar comes with a wired microphone that gets placed around the sitting area, and the calibration process requires complete silence. If a pet passes by or someone calls out during the ten-minute Dirac Live calibration, or if the air conditioner is too loud, then the test will fail and need to be run again.

  • Setup & usability score: 4.5 / 5

Klipsch Flexus Core 300 review: Value

Klipsch’s SURR 200 rear speakers are easy to setup and deliver immersive surround sound (Image credit: Future)

  • Expensive compared to other premium soundbars
  • Other premium systems not as well designed
  • Competition doesn’t support Dirac Live

As great as the Klipsch Flexus Core 300 Soundbar System is, it’s expensive compared to the competition. That’s especially true if you compare the system to premium models from large manufacturers like Samsung and LG, and not boutique audiophile brands that typically go for even more money.

As far as specific examples go, the LG S95AR is an impressive soundbar system in its own right – I gave it a very favorable review – and comes with surround speakers and a subwoofer without requiring an extra purchase. Its price tag of $1,699.99 (about £1,260 / AUD$2,610) might seem higher than the Flexus Core 300’s price tag of $1,199.99 / £1,049.00 / AU$1,695, but it’s actually a good deal when you consider it’s a complete package. The Klipsch is more aesthetically pleasing and sounds better, but both are quality systems.

The Samsung HW-Q990F, which retails for $1,799 / £1,699 / AU$1,995. Is a feature-filled 11.1.4 system that also makes the Klipsch Flexus Core 300 Soundbar System feel overpriced. Again, there’s a difference in aesthetics and the Samsung (along with the LG) doesn’t support Dirac Live room calibration, although they do provide their own proprietary calibrations.

Should I buy the Klipsch Flexus Core 300?

Swipe to scroll horizontally

Section

Notes

Score

Features

Dolby Atmos, DTS:X, Night and Dialog mode are all here along with Dirac Live room EQ

5 / 5

Performance

Very good immersion and basic sound quality that is strongly enhanced by Dirac Live

5 / 5

Design

Classy looking and with an LED display, but large for a soundbar

4.5 / 5

Setup & usability

Relatively easy to set up, though Dirac Live calibration can be finicky if you don’t have complete silence

4.5 / 5

Value

As great as this soundbar system is, it’s among the more expensive options

4 / 5

Buy it if…

Don’t buy it if…

Klipsch Flexus Core 300 review: Also consider

Swipe to scroll horizontallyHeader Cell – Column 0

Klipsch Flexus Core 300

Samsung HW-Q990F

LG S95AR

Sonos Arc Ultra

Price

$1,199.99 / £1,049.00 (about AU$1,830)

$1,999 / £1,699 / AU$2,099

$1,699.99 (about £1,260 / AU$2,610)

$999 / £999 / AU$1,799

Dimensions (w x h x d)

Soundbar: 54 x 3 x 5 inch / 1371 x 76.2 x 127mm; subwoofer: 15.25 x 15.25 x 15.25 inches (387 x 387 x 387mm); surround speaker: 4.1 x 8.75 x 4.31 inches 105 x 222.25 x 109.5mm

Soundbar: 1232 x 70.8 x 138 mm (48.5 x 2.8 x 5.4 inch); Subwoofer: 249 x 251.8 x 249 mm (9.8 x 10.0 x 9.8 inch); Rear speaker: 129.5 x 201.3 x140.4 mm (5.1 x 8.0 x 5.5 inch)

Soundbar: 49.2 x 2.5 x 5.3 in (1250 x 63.5 x 134.6mm); subwoofer: 7.9 x 16 x 15.9 in (200 x 406 x 404mm); rear speakers: 6.3 x 8.8 x 5.6 in (160 x 223.5 x 142mm)

2.95 x 46.38 x 4.35 inches (75 x 1178 x 110.6mm)

Speaker channels

5.1.2 (soundbar), 7.1.4 (with sub and surround speakers)

11.1.4

9.1.5

9.1.4

Connections

HDMI 2.1 passthrough, HDMI eARC, USB-C, optical digital, subwoofer output, Bluetooth

1x HDMI out (with eARC), 2x HDMI 2.1 in, optical digital audio, Wi-Fi, Bluetooth

2x HDMI (1 with eARC), optical, digital, Bluetooth, USB type-A

1x HDMI with eARC, Ethernet, Wi-Fi, Bluetooth

Dolby Atmos/DTS:X

Yes/Yes

Yes/Yes

Yes/Yes

Yes/No

How I tested the Klipsch Flexus Core 300 Soundbar

(Image credit: Future)

  • I used the Klipsch Flexus Core 300 Soundbar system for several weeks
  • Tested with TV, movies, games, and music

I used the Klipsch Flexus Core 300 Soundbar System regularly for several weeks with TV, movies, games, and music. I tested the different modes and inputs, and I spent a lot of time with the Dirac Live calibration.

I’ve tested plenty of tech gear over the years ,from laptops to keyboards and speakers, and so have been able to use my expertise towards giving an honest and fair opinion, not to mention a critical eye, to any product I test.

Read more about how we test

  • First reviewed: September 2025

Klipsch Flexus Core 300: Price Comparison



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Sinclair Backs Down, Will Resume Airing 'Jimmy Kimmel Live' on Local Stations
Product Reviews

Sinclair Backs Down, Will Resume Airing ‘Jimmy Kimmel Live’ on Local Stations

by admin



In a classic Friday news dump move, Sinclair announced that it will end its unofficial boycott of Jimmy Kimmel and will once again broadcast the comedian’s late-night show, ‘Jimmy Kimmel Live,’ to its ABC affiliate broadcast stations, ending its completely principled and not at all politically motivated stance to pre-empt the show after all of two days.

“Our objective throughout this process has been to ensure that programming remains accurate and engaging for the widest possible audience,” the company said in a statement. “We take seriously our responsibility as local broadcasters to provide programming that serves the interests of our communities, while also honoring our obligations to air national network programming.”

Sinclair—which operates 30 ABC affiliate stations in 27 markets, including cities like Portland, Baltimore, and Minneapolis—announced last week that it would choose to air “news programming” in place of Kimmel’s show, which returned to the air Tuesday after a brief hiatus. The program, which was briefly suspended by ABC after Kimmel made a frankly pretty innocuous comment about the political ideology of the person who allegedly shot and killed conservative influencer Charlie Kirk in Utah earlier this month.

Sinclair, along with fellow media conglomerate Nexstar, announced they would pull Kimmel’s show from the air following a statement from Federal Communications Commission head Brendan Carr, who warned broadcasters, “We can do this the easy way or the hard way,” and said, “These companies can find ways to change conduct to take action on Kimmel or, you know, there’s going to be additional work for the FCC ahead.”

Both companies currently have business in front of the FCC and are pretty motivated to show fealty to the Trump administration to ensure their deals get pushed through—not that they need that much motivation, considering both companies are owned by conservative-aligned media magnates. Sinclair CEO David Smith has been shifting its editorial coverage to the right for years, and Smith reportedly told Trump in 2016, “We are here to deliver your message.” Likewise, Nexstar chairman Perry Sook has repeatedly praised Trump and poured money into the coffers of GOP groups.

Sinclair attempted to get in front of the obvious criticisms that it would face as a result of both its initial decision not to broadcast ‘Jimmy Kimmel Live’ and its latest call to bring him back to the airwaves in Sinclair markets.

“Our decision to preempt this program was independent of any government interaction or influence,” the company said. “Free speech provides broadcasters with the right to exercise judgment as to the content on their local stations. While we understand that not everyone will agree with our decisions about programming, it is simply inconsistent to champion free speech while demanding that broadcasters air specific content.” It apparently took the company a solid week to remember that commitment to free speech, but it got there.

The reality is that Sinclair was going to back down eventually, if only for legal reasons. As a broadcast executive explained to Deadline, local affiliates contractually can only preempt a program so many times before it breaks the contract and loses the ability to broadcast the show entirely. Sinclair’s “principled stance” was destined to last for exactly as long as it didn’t actually cost them anything and likely not a second longer.

Once word started spreading that Disney might threaten to withhold live sports broadcasts from affiliates who pulled Kimmel, it was only a matter of time before Sinclair suddenly found its unwavering belief in “free speech” again. There may be a subset of people pissed off that Kimmel is back on Sinclair’s airwaves, but you can bet even more would be pissed if they couldn’t watch LSU play Ole Miss on Saturday. That would hurt Sinclair’s real primary principle: always maximize profits.



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