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Dyson’s eye-popping Zone headphones promise “pure air and pure audio”

Dyson Zone
(Image credit: Dyson)

If you like the idea of looking like a DC supervillain, breathing purified air and wearing noise-cancelling headphones, then Dyson’s Zone could be the product you’ve been waiting for.

The company’s first piece of wearable technology, Zone is designed to tackle the issues of air quality and noise pollution simultaneously. It’s based on six years of research and 500 prototypes.

The earcups on the Zone contain compressors that draw air through the dual-layer filters. The theory is that allergens, other particles and gas pollutants are captured, with the compressor channelling purified air into the wearer’s nose and mouth via a contact-free visor.

On the audio side, the Zone promises a pure, rich sound and advanced noise cancellation, with both passive attenuation and ANC in play. The ear cushions are designed to mould around the listener’s ear, with the medium density foam and headphone clamp force being engineered to optimise comfort and noise reduction.

Commenting on the launch of the Zone, Chief Engineer Jake Dyson said: “Air pollution is a global problem - it affects us everywhere we go. In our homes, at school, at work and as we travel, whether on foot, on a bike or by public or private transport.

“The Dyson Zone purifies the air you breathe on the move. And unlike face masks, it delivers a plume of fresh air without touching your face, using high-performance filters and two miniaturised air pumps. After six years in development, we’re excited to deliver pure air and pure audio, anywhere.”

The Zone will be available in the Autumn, with full specs (and, presumably, a price) set to be confirmed in the coming months. In the meantime, you can find out more on the Dyson (opens in new tab) website.

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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