The front panel of the Cambridge Audio EVO 150 amplifier combines luxury and the strictness of minimalism. Luxury is a bright color information display with a diagonal of 6.8 inches, which occupies almost two-thirds of the device’s front panel. The second visual accent of the front panel is a large handle of a double rotary-push control, through which not only volume control and input switching are implemented, but also menu navigation. Between this handle and the display, small buttons for playback control and switching the main operating modes of the component are lined up vertically.
The Cambridge Audio EVO 150 amplifier is based on the audiophile dual-channel DAC chip Sabre Reference ES9018K2M from ESS Technology, capable of processing audio data with parameters up to 32 bit / 384 kHz and DSD – up to DSD256. The streamer is equipped with a full-fledged MQA format decoder, which is relevant for using modern streaming services such as TIDAL. Connection to a home computer network can be wireless via dual-band Wi-Fi, or using a cable, for which the switching arsenal includes an Ethernet RJ45 port. The maximum speed of a wired connection is 100 Mbps, and this is more than enough for broadcasting audio. Cambridge Audio EVO 150 also supports wireless Bluetooth protocol version 4.2 with the aptX HD codec, allowing you to transmit audio with parameters of 24 bit / 48 kHz. Moreover, via Bluetooth you can not only stream music from your smartphone or tablet to the EVO 150, but also connect wireless headphones.
To make the Cambridge Audio EVO 150 amplifier compact and lightweight, it uses Hypex Ncore® amplifier modules operating in class D. Their record energy efficiency allows you to do without large and heavy power supplies, as well as without massive radiators for cooling the output stages. As a result, we get a compact and lightweight component with serious power. Thus, the number 150 in the name of the Cambridge EVO 150 means the power in watts when working on a load with a nominal resistance of 8 ohms. This is more than enough to work not only with shelf monitors, which will be the most stylistically harmonious partners for the Cambridge EVO 150, but also with full-size floor-standing acoustics.
The switching arsenal located on the rear wall of the case pleasantly surprised. In addition to the above-mentioned Ethernet RJ45 port and two pairs of high-quality screw-type speaker terminals for connecting speakers, there is a balanced analog input on XLR connectors, a linear unbalanced input on RCA and even a phono input for moving magnet (MM) pickup heads. Digital switching includes two optical and one coaxial input and an HDMI ARC port for connecting a TV. There are also two USB ports – type B for connecting a computer as a source and type A for playing audio files from an external USB drive. At the same time, Cambridge EVO 150 understands a wide range of modern audio formats, including WAV, FLAC, ALAC, AIFF, DSD (x256), WMA, MP3, AAC, HE AAC AAC+, OGG Vorbis. The component is also equipped with analog outputs – a pair of pre-outs on RCA connectors allows you to use an external power amplifier if desired, and there is also an output for an active subwoofer if you prefer a triphonic.
You can control playback via the proprietary StreamMagic mobile app, or use the Cambridge Audio EVO 150 as part of the Roon ecosystem and control it using the Roon Music Player app. In addition, if desired, you can use streaming service apps by selecting the Cambridge Audio EVO 150 as the output device.
The Cambridge Audio EVO 150 amplifier comes with wooden side panels, which, paired with a large control on the front panel, are designed to remind you of the company’s debut model – the P40 amplifier, which was released back in 1968. If vintage notes do not fit into the design of your room, then these panels can be completely removed or replaced with those made of innovative eco-friendly Richlite material – a product of waste paper recycling, which are included in the kit.
Cambridge Audio EVO 150 Review by SalonAV
Having seen this elegant device in person, you will probably suspect the Cambridge company of imitating another well-known English company from Salisbury, which produces network components called Uniti. The similarity is certainly traceable, and even if it is not accidental, Cambridge Audio designers still made a cool reference to historical roots – once upon a time, the same style in the components of these brands was much more obvious, and it was CA that set the trends. In general, the company has always followed its own path. The most amazing thing is that its recognizable ideology of sound reproduction – transparent and detailed, accurate in the transmission of complex timbres and dynamic contrasts, technical, but not mechanical – was formed over 50 years not by one person, but by several generations of various audio engineers and scientists who at one time had the opportunity to work in Cambridge under the leadership of Gordon Edge. Moreover, the company he founded never sat in technology for too long – it constantly tried simple solutions, non-standard ones, and all sorts of innovations in its developments, sometimes even using what others did not have. It was hardly the first in the industry to install toroidal transformers in power supplies.
If you look at the new Cambridge Audio EVO 150 from this angle, then we have a real “Cambridge” in front of us, where there is plenty of bold, new, and original. Let’s start with the control interface. Add to this ports for integration into external control systems and control via a mobile application. The Cambridge Audio EVO 150 has both an MM phono input and a decent set of digital inputs, including USB Type B with three modes (!) of ground connection, and HDMI ARC. There are also a pair of balanced analog inputs in addition to the linear one, there are pre-outs, a subwoofer output, and even dual selectable speaker outputs. Since the device is positioned as an all-in-one system, the proprietary StreamMagic streaming platform is also included – it is quite advanced, suitable for network playback of high-res music via UPnP/DLNA or Roon, for working with storage devices and wireless sources (AirPlay 2, Chromecast, Bluetooth aptX HD), for connecting to online services (Spotify, Tidal, Qobuz, etc.). Although, perhaps, the most important thing is that it has already been well-tested – StreamMagic went through its childhood illnesses in the Cambridge Audio CXN player and already worked perfectly in the second version.
What is so bold then? You probably noticed the number in the model name. It indicates the nominal output power in each channel. And such a solid output is achieved by abandoning the traditional CA amplification in class AB in favor of pulse-width amplification from Hypex (modules from the advanced Ncore line). The combination of such with rather “sharp” ESS 9018 DACs is also somewhat of a challenge.
Cambridge Audio EVO 150 has a younger brother, Cambridge Audio EVO 75, with a reduced switch. Other components are also being prepared for the new series – EVO CD Transport and EVO S monitor systems. Now, taking advantage of the opportunity, we will connect two pairs of floor-standing speakers at once – the neat Opticon 6 in their price category and the thunderous Opticon 8. The choice fell on the first generation models, since their midbass required quite strict damping from the amplifier, and their hybrid tweeters were quite strict judges – especially in combination with class D power amplifiers. However, the new EVO, it seems, does not care what acoustics to cooperate with. Control in the lowest range is literally a blast! Particularly impressive is the tandem with the “eights”, whose super-lows are abundant and not too obedient – what with some amplifiers or receivers can sound too loose, booming or heavy, here falls on the listener with powerful and clear shock waves. There are noticeable differences only in the high bass – the “sixes” in combination with the Cambridge Audio EVO 150 are not so restrained there and provide a more convex presentation with a cool transition to the textured middle (which can be a solid plus when playing any acoustic music or for dry bass rock or jazz releases from the 60s and 70s).
In general, everything was reproduced in such a way that the sound was primarily recognizable as the signature of Danish acoustics, not the amplifier. In the middle – a slight “glossy” touch, characteristic of the Opticon series. In the area of transition to high frequencies – a small and slightly aggressive accent. Higher – complete clarity, exceptional airiness and expressive softness. Here it was
absolutely impossible to notice any “impulse” or “digital” shade from the Hypex modules. Now let’s deal with the rest of the features. The wireless and network path is clear and honest – the difference between “Bluetooth”, “AirPlay” and “Chromecast” was very indicative (the advantage of the latter in delivering dynamics and a subtle microdynamic pattern was obvious). The difference in quality of the same tracks from different streaming providers was easily noticeable – here you yourself choose which one you like best and can afford. Playing the most ultimate Hi-Res and MQA from local network storage was in no way inferior in accuracy and musicality to direct playback of the same files from a computer via asynchronous USB. By the way, different versions of the “ground” in this connection did not have a special effect on the test “MacBook” on battery power, but in a system with a stationary “dirty” PC, the differences, I believe, can be significant.
The device reads from hard drives and flash drives formatted not only in FAT32, but also in NTFS without any hitches. The sound quality on the telephone output is quite decent. Minor interference and noise of the path are detected only when connecting super-sensitive IEM headphones. With regular ones, the sound is dynamic, quite dense, with a slightly highlighted middle, with comfortable neutral high frequencies. But if the headphones themselves are “soapy”, you will not hear anything good. I noted how fast the network subsystem works – switching from track to track is almost instantaneous. On the one hand, this suggests that it works literally on the fly, with minimal buffering to protect against errors and jitter. On the other hand, there are no sound “jambs” either: Cambridge Audio EVO 150 is always neutral in the middle, provides the signature heightened detailing, clearly lays out bass structures, forms clear virtual images in the sound space…
We are pleased to note the genre versatility of the Cambridge Audio EVO 150. It is equally good at large-scale symphonic works, chamber jazz recordings, cheerful and dynamic rock compositions, and electronic tracks shaking with bass rhythm. You can find fault with the softened attack of the guitar parts in the compositions from the album Hardwired…To Self-Destruct by Metallica, but this is largely a complaint about the acoustics, for which such material is not quite “in size”. In conclusion, I would like to say about the cost of the Cambridge Audio EVO 150. At first, the price tag may be a little upsetting – a quarter of a million is quite a serious amount. But then you remember that this component includes everything you need to build a stereo system, except for the acoustics. Each element of a classic multi-component audio system may cost you less, but in total the set will certainly be more expensive. At the same time, with the Cambridge Audio EVO 150 you get a compact and stylish solution that can become an accent in the design of your home.
Cambridge Audio EVO 150 Specifications
Amplification – Class-D Hypex Ncore®, 2 x 150 W (8 Ohm)
Frequency response, Hz – 20 – 20,000 (-3 dB)
DAC – ESS Sabre ES9018K2M
Signal handling parameters – PCM: up to 32 bit / 384 kHz, DSD: DSD64, DSD128, DSD256
Supported digital audio formats – ALAC, WAV, FLAC, AIFF, DSD (x256), WMA, MP3, AAC, HE AAC AAC+, OGG Vorbis
Wireless interfaces – Wi-Fi 802.11ac (2.4 / 5 GHz), Bluetooth 4.2 with aptX HD support (24 bit / 48 kHz)
Digital inputs – Ethernet RJ45, USB-A, USB-B, digital Optical x 2, Digital Coaxial, HDMI ARC
Analog Inputs – XLR, 2 x RCA, Phono MM
Analog Outputs – 2 x RCA Pre-Out, RCA Subwoofer Output
Display – 6.8 inches
Additional – UPnP support, Airplay 2, Chromecast built-in, Internet Radio, Spotify Connect, TIDAL, MQA, Qobuz, Roon Ready
Power Consumption (max.), W – 700
Dimensions, cm – 31.7 x 8.9 x 35.2
Weight – 5.3 kg
