Variations on a stream

NEVER HAVE THERE BEEN SO MANY WAYS TO STREAM YOUR FAVOURITE MUSIC.

WE'D BET THAT even the staunchest proponents of physical media will stream at least half their music. It isn't just simpler, or more convenient, it's been properly embraced by hi-fi manufacturers to the point you can enjoy your favourite albums in hi-res pretty much anywhere.

These seven class-leading products run the gamut from a $60 bolt-on to your existing hi-fi in the shape of Google's Chromecast Music, to our most expensive choice for streaming in the shape of Moon's Neo MiND.

We also take the opportunity to showcase everything in between. Cambridge Audio's Azur 851N is a real performer, and will justifiably tempt anyone with a generous budget, while the same company's CXN (V2) caters for those aiming to spend a little less.

Completing that quartet of trophy winners is Bluesound's Node 2i, which brings hi-res streaming capability to your hi-fi as part of – or alone from – one of our favourite multi-room families over the years, while we also shine a light on the Arcam rPlay.

And because high-quality streaming is no longer the preserve only of the home, there's room here for Chord's Mojo/Poly combination that lets you take your hi-fi on the road and set it up just about anywhere.

The stream is very much alive.

Google Chromecast Audio THIS SIMPLE AND SLICK GOOGLE DEVICE BREATHES NEW LIFE INTO YOUR OLD HI-FI SYSTEM.

GOOGLE KNOWS A thing or two about streaming. You only have to look at the success of the Chromecast, now in its second generation. The company is turning its expertise to music streaming with the Google Chromecast Audio, bringing wireless streaming to your offline speakers and amplifiers.

What you get is a small disc the size of a Jaffa Cake. At first glance, it is almost identical to the new ‘regular’ Chromecast, but the Chromecast Audio has tiny circular grooves to evoke the image of vinyl records. There are two hard-wire connections: a micro-USB port – used purely for power, with a wall adaptor included in the box – and a hybrid 3.5mm/digital optical output.

The premise here is essentially the same as with the other Chromecasts. The device connects to your wi-fi network, streams directly from the internet and is controlled by smartphones, tablets and computers. A key difference here is that the Chromecast Audio does not plug into an HDMI slot at the back of your TV; instead it plugs into your audio inputs: 3.5mm (cable included), RCA and optical.

That means you can bring web-based music to a host of existing, but offline, devices: active speakers, soundbars and integrated amplifiers, for example. It’s a neat way to expand the capabilities of your ‘dumb’ hi-fi system.

MIRROR, MIRROR

So where does the music come from? You’ll need a Cast-compatible app. There are many free and subscription options, including Spotify, Deezer, Rdio, TuneIn Radio, NPR and Google Play Music. Apps aside, you can play or ‘mirror’ directly from any computer running a Chrome browser. Setting up is a breeze – just use the excellent Chromecast app to speak to the Chromecast Audio and connect to your wi-fi.

The Chromecast app is no longer just a set-up portal either. Now it also serves as a discovery tool: it lists all of the apps in your drawer that are Cast-compatible, with the option to download others. It also lets you manage your network connection settings and, more importantly, your sound settings.

There is a ‘guest mode’, which lets other people control and play music on the Chromecast Audio without joining your home’s wi-fi, and a multi-room mode, for those with several units of Chromecast Audio. Assuming you already have speakers in different rooms, attaching this little $59 dongle would be a cheap way to get them online and take the fight to the likes of Sonos. The feature is not fully ready yet, but Google promises it will be made available with a future software update.

INSTANTLY HOOKED

We hook it up to a number of devices: a stereo amp in a full hi-fi system, a micro system, a portable speaker and even a pair of headphones. They all work flawlessly, with quick set-up and a stable connection. We are listening within minutes, and changing tracks on our smartphone is as responsive as doing so on a physical remote control.

The Chromecast Audio’s wi-fi (802.11ac, 2.4 GHz/5 GHz) has a good range, thanks to multiple internal antennae, but don’t expect it to work where you don’t normally get a signal. No cellars, but it may work in your garden or garage.

Before you do any listening, we’d advise a quick dip into the settings. Activate the option for ‘high dynamic range’. Switched off by default, this stops the Chromecast Audio from really singing. If your set-up is half decent, it will benefit from leaving it on.

How the Chromecast Audio sounds depends on what device you use it on and what service you’ve chosen. As a general rule, we’d say that you get a performance not far short of what you get when physically plugging in a device.

We take an old Denon DM30 for a spin with both Chromecast Audio and a plugged-in LG G4, and the performance is broadly of a similar level. Next we try the Chromecast Audio with a B&W T7 Bluetooth speaker. That is somewhat redundant given the speaker’s built-in wireless capabilities, but Google stresses that wi-fi has a huge advantage over Bluetooth, namely less compression. The Chromecast Audio’s wi-fi sound offers noticeably greater detail and dynamism than we get over Bluetooth.

ON FULL ALERT

Connecting over wi-fi also means your music doesn’t get interrupted by text messages and alerts, as it does with Bluetooth. The Chromecast Audio also saves you battery power, as your smartphone doesn’t actually handle any data.

Google is tight-lipped about the technical specifics, but we do know the bitrates are dictated by the individual apps. The Chromecast Audio is a simple and slick device with one goal: to bring wireless music streaming to systems that are in need of updating. Google has definitely achieved that particular objective.

We are big fans of the original Google Chromecast, and we’re hugely excited to see that bag of streaming tricks being used for music. In a world increasingly defined by the latest products, it is great to see something that rewards you for holding on to your existing kit.

“THE CHROMECAST AUDIO IS A SIMPLE DEVICE WITH ONE GOAL: TO BRING WIRELESS MUSIC STREAMING TO SYSTEMS IN NEED OF UPDATING”

Arcam rPlay THE RPLAY IS AN AFFORDABLE, EASY-TO-USE WAY TO INTRODUCE MYRIAD STREAMING SOLUTIONS.

NEW HI-FI ISN’T always ‘out with the old and in with the new’; sometimes it’s just about adding to a system. Meet Arcam’s rPlay: the latest addition to the brand’s rSeries and a compact, wireless-router-resembling streamer that can turn even the most traditional, physical-format-centred, ‘dumb’ system into a plug-and-play-almost-anything network streaming ecosystem.

That’s thanks to the DTS PlayFi streaming platform, built into the rPlay, as well as a few products from Pioneer, Onkyo, Rotel and McIntosh. It unlocks the ability to stream music wirelessly from smartphones, tablets or laptops to speakers throughout the home, and from a range of music sources.

ALL BASES COVERED

With PlayFi’s impressive music streaming inventory comprising the likes of Amazon Music, Tidal, Spotify, Napster and Deezer, as well as expanding to internet radio, Apple Airplay and compatibility with NAS drives on the same network, you’re pretty much covered – unless you subscribe to Qobuz or have an undivided loyalty to Bluetooth, both of which are left off the rPlay’s resume.

Download the dedicated DTS PlayFi app (there’s no physical remote) and you’ll be able to simultaneously stream services on up to eight rPlay devices connected to the same network. Did someone say multi-room?

That asks for some multitasking of the app, and while flaky software joins internet drop-outs and video buffering in our list of pet hates, the DTS PlayFi is stable, as well as intuitive to use. It isn’t fazed by our NAS drive’s lengthy library and in our week with it, we aren’t subject to dropouts or meltdowns.

There are momentary lapses when changing songs within streaming services compared with using the apps directly, but we’re talking blink-and-you’ll-miss-it periods. We’re genuinely pleased; when a product is as much about the software as the hardware, it’s crucial it works.

The rPlay supports PCM files up to 24-bit/192kHz, although if you’re taking advantage of the Arcam’s multi-room capabilities, hi-res files will be compressed to CD-quality. The DTS PlayFi app has a ‘Critical Listening’ mode to get round that, allowing native streaming up to 192kHz without downsampling, however it isn’t compatible with the rPlay. It’s disappointing for anyone looking to stream their hi-res collection, but hopefully Arcam will reconsider that for future updates.

INTERNAL ARCHITECTURE

Naturally, the most convenient internet hook-up is via wi-fi, although going through the direct ethernet route will provide more stable results. In typical Arcam fashion, careful consideration has been taken with the internal architecture of the box itself to reduce noise and distortion; the four-layer circuit board reduces interference between components, and the use of multiple low-noise power supplies aims to deliver the cleanest signal to the output stage.

Connecting an rPlay to an amplifier or external DAC can happen either by its line-level outputs (one fixed, and one variable which uses the same volume control as the company’s A49 flagship amplifier), or its single coaxial output.

Whichever route you choose, the rPlay reveals a competitively solid, tonally even and articulate presentation. Well-versed in Arcam’s signature sound, we expect it to have ample size and scale, however here it’s confined and lacks space compared to the Pioneer N-50As.

That’s not the end of the world though, especially as that’s perhaps the rPlay’s only sonic shortcoming. Stream Hot Chip’s Ready For The Floor from our Naim NAS drive and the rPlay proves as much of a fan of the electro-pop quintet as we are. The sanguine synth-driven melodies are entertainingly dynamic and energetic, and the driving drumbeats solid and forceful. We dare you to keep still during the Arcam’s rendition of the album’s catchy rhythm-infused tunes.

We don’t expect streamers of this calibre to be about tip-top timing – you’ll need something like the Cambridge CXN ($1,479) for that – but the Arcam’s seemingly natural fusion of the two is credit to its cohesiveness.

QUALITY STREAMS

The quality and stability of the streams will encourage you to keep your subscriptions to Tidal or Amazon Music going. Whether wading through the melodic rock ambience of The American Dollar or firing up for Pearl Jam’s grunge-rock jamming, the rPlay renders each track wholesale, devouring the textures of the former, and keeping Vedder’s vocal clear above the intense guitar lines in the latter. The detail on offer isn’t short of benchmark at this price.

Arcam has long been providing useful and affordable add-ons for easily expanding your system’s functionality and the rPlay is the latest (and perhaps greatest) aid yet. It presents a compact, easy to use and solid-performing opportunity to anyone who wants to reach past the physical-format confines of their traditional system without spending a fortune.

“THE RPLAY TURNS EVEN THE MOST TRADITIONAL SYSTEM INTO A PLUG-AND-PLAY-ANYTHING NETWORK STREAMING ECOSYSTEM”

Bluesound Node 2i

EVEN GIVEN THE NODE 2I'S SPEC SHEET, WE COULDN'T FORESEE IT BEING THIS MUCH IMPROVED. FOR A MOMENT, just put to the back of your mind the fact that the Node 2i wireless streamer is part of Bluesound’s multi-room family, and avert your eyes from its strong features list. In our view, this is simply the best sounding product of its type you’ll get your hands on for less than a grand.

The new and improved Node 2i marks quite the return to grace, given that the original Node 2 has found itself overmatched by more recent competition.

FALL AND RISE

The arrival of Arcam’s rPlay streamer last year was a further spanner in the works. It offered improved sound in a similarly compact unit at a substantially discounted cost, and consequently, the Node 2 dropped from five stars to three. “There’s no two ways about it, the Node 2 ain’t what it used to be,” we concluded, three years after it had first launched.

If you simply take a cursory glance at the Node 2i’s spec sheet compared with its predecessor’s, nothing much appears to have changed between the models to dictate so dramatic an upturn in this generation’s sonic performance. However, Bluesound has worked on improving its wireless streamer, and not just in the places you may expect.

Between the releases of these two generations of multi-room products, the company created the NAD Masters M50.2 BluOS network streamer, and the Node 2i’s upgrades begin with trickle-down high-end circuit design and architecture from there. The layout was then optimised to accommodate its new chassis, and further isolation was put in between audio and wi-fi frequencies.

The new, smaller wi-fi chipset has given Bluesound the freedom to play with the circuit layout – but the company has admitted to being surprised by how much this affected the Node 2i’s audio performance.

What’s easier to understand are the bonus features Bluesound has added to its streamer, including the dual-band wi-fi, Apple AirPlay2 and two-way Bluetooth, which means you can use wireless headphones via the BluOS 3.0 app, as well as a faster processor for a more seamless user experience.

The 32-bit/192kHz DAC remains, as does its long list of connections, including RCA, coaxial, optical and subwoofer outputs, with physical inputs for optical, analogue and USB-A alongside wi-fi, Bluetooth aptX 4.1 and AirPlay2.

ANIMAL INSTINCT

We wire the Node 2i into our reference system of Gamut D3i/D200i amps and ATC SCM50 speakers, and it is clear that this is a different animal altogether from its predecessor.

The richness across the frequencies is retained from the original, but the soundstage appears further opened and with even more granular detail fed in. Even when we plug it in to our reference system, the Node 2i feels far from out of place, the high-end kit merely allowing the Node 2i a better grade of canvas upon which to display its abilities.

What’s most striking is the improvement in this streamer’s organisation, timing and dynamic expression. Those facets were bettered by the Arcam, but Bluesound has not only cleared the confusion within the Node 2’s presentation for this upgraded model, but the company has also made musicality one of its most alluring fortes.

It is in the subtleties of a composition that the Node 2i really thrives, showing its ability to pick out the varying intensities of a fingerpicked guitar, arpeggiated piano line or call-and-answer arrangement that may provide rhythm as much as hold a melody.

MORE ENTHUSIASM

There is greater life to the performance as well; the Node 2i shows not only an increased level of expression than before, but also significantly more enthusiasm. Its considerable bass weight, while previously supporting a full-bodied midrange, now also adds kick and drives forward proceedings.

The Arcam rPlay remains a fine streamer for the money, indeed its functionality, design and ease of use are among the best we’ve seen for its price, but that really serves to highlight just how far Bluesound has come since its previous generation. Though the space between them is not massive, the Node 2i betters its rival pretty much across the board.

As far as sub-$1,000 wireless streamers go – whether incorporated into a Bluesound multi-room system or not – you almost certainly won’t achieve sound quality superior to that of the Node 2i.

“WHAT’S MOST STRIKING IS THE IMPROVEMENT IN THE NODE 2I’S ORGANISATION AND DYNAMIC EXPRESSION”

“IF IT AIN'T BROKE, DON’T FIX IT HAS BEEN CAMBRIDGE AUDIO’S MOTTO WHEN IT COMES TO THE CXN (V2)'S BUILD QUALITY”

Cambridge CXN (V2)

MAKING THE BEST EVEN BETTER, THE CXN (V2) IS THE BEST STREAMER OUT THERE AT THIS PRICE. TO IMPROVE ON something that’s already pretty good, sometimes all you need is a light touch. That’s what Cambridge Audio has done with the second iteration of its CXN streamer – an update to the Award-winner we reviewed in 2015. Now, alongside Tidal built-in and Spotify Connect, you can also stream music via Google’s Chromecast.

The CXN (V2) has kept all of the great sonic characteristics of the original. That same vibrancy, and enthusiasm that greeted us three years ago hasn’t changed much in the time since. We play Landslide by Fleetwood Mac, and Stevie Nicks’ soulful, sweet singing is full bodied and beautifully conveyed. The way she shifts between notes is smooth, and the occasional words clipped to keep her rhythm are snappy and insightful. Even the odd vocalisation – the hums and aahs – are detailed and full of melancholy musings.

Most half-decent streamers could reproduce the basics of this song, but it takes something more talented to dig into the emotional core of this track and deliver it – and that’s what this Cambridge does.

A GOOD KICK

With something more bouncy and upbeat, such as Warren Zevon’s Werewolf Of London, the CXN delivers both a punchy bass and a tinkling treble simultaneously. For those few opening bars, a good streamer needs to balance both the deep drum and the piano – which the CXN (V2) does well. The bottom end is weighty, but lithe enough to give you a good kick, while the piano is light and airy without being overly bright.

The timing is tight and gets your foot tapping immediately. We thought the original’s sound was ‘wonderfully entertaining’, and it’s nice to hear that Cambridge Audio has retained that quality in the V2.

We play Childish Gambino’s This Is America, a song that overlays a grumbling, rolling bass with the clicks and taps of percussion and a multitude of different voices. Some hi-fi will lose sounds in the turmoil, but the V2 manages to separate each element out and present it as a cohesive whole. No need to keep it simple, the CXN (V2) is able to keep the complex coherent.

Top of the list of new features is the Chromecast capability that sets this version apart from the original. Following a firmware update in September 2018, the CXN (V2) now supports Chromecast Built-In, enabling users to stream content wirelessly from compatible apps. We set up the Chromecast with no problems, and in just a few moments are casting music and videos to other devices.

SOMETHING IN THE AIRPLAY

For those on Apple’s ecosystem, AirPlay is built into the streamer so you can send your music via your iPhone, iPad or other Apple device to your speakers. Although you’ll get only first generation AirPlay for the moment, Cambridge Audio says it’s working on a solution for implementing Airplay 2.

Spotify subscribers can also use Spotify Connect to send their music to the CXN directly from the app, while Tidal subscribers can search the streaming service’s database directly from the streamer, once you’ve logged into your account using the Cambridge Connect app. The app, available on iOS and Android, can also be used to control playback.

But, as always, we’d recommend a wired connection for the best sound quality. This streamer is capable of playing high-resolution files of up to 24-bit/192kHz, upsampled to 384kHz, through the USB type B input for your computer, optical and coaxial inputs. Also included are a pair of RCA and balanced XLR outputs, along with two digital outputs.

The only other change to the CXN (V2) is a faster processor, required to handle the Chromecast functionality. Cambridge Audio claims the CXN will operate faster, and with the two streamers side by side, the newer one boots up faster and gets to our music notably quicker than the original.

If it ain’t broke, don’t fix it seems to have been Cambridge Audio’s motto here – and the build quality of the CXN (V2) seems exactly the same as the old CXN.

PREMIUM QUALITY

The premium quality is reflected in the buttons and the recently redesigned remote control – both of which are easy to use and responsive – while the volume dial retains that signature weighted resistance that gives a satisfying sensation when moving through menus.

The 4.3in screen displays track, artist, album and sampling rate, with album artwork in full colour. It never feels cluttered and each bit of metadata is spaced nicely. Having input labels printed upside down on the back panel is also a thoughtful touch – meaning you can easily read them when looking down on the streamer.

While we don’t believe in foregone conclusions, this updated version of an already superb streamer might be the closest we’ve come to one. The CXN (V2)’s additional Chromecast technology grants only more functionality to an already great streamer.

Chord Mojo with Poly

DESPITE IMPERFECT USABILITY, THE CHORD POLY IS AN EXCELLENT STREAMING. SOME OF THE best things in life come in pairs that complement each other perfectly – fish and chips or wine and cheese, for example. You can add to that list the Chord Mojo and Chord Poly, a DAC and network streaming solution that could be described as a match made in hi-fi heaven.

If you already own the Award-winning Chord Mojo DAC ($739), adding the dedicated Poly streaming module will gift it the likes of DLNA, AirPlay, Bluetooth and micro SD card playback. The Poly is designed to work exclusively with the Mojo, and cannot be used with any other DAC, but the pair make a network streaming solution that’s a force to be reckoned with.

LIGHTING UP

On its own, the Poly would hardly dwarf your typical cigarette lighter. When the two are attached, their size is closer to that of a small hipflask. It’s certainly portable, one of the Chords’ main selling points, and integrates into the Mojo’s design, slotting neatly into its counterpart’s digital connections.

Those familiar with the Mojo will probably like its colourful buttons, which denote power and the sampling rate of the playback file. That still applies when the Poly is connected, though its own lights are more functional, denoting Mojo pairing, battery life and set-up status.

At the Mojo’s output end, the twin 3.5mm jacks are ideal for most headphones, although to connect it to a system you’ll need a 3.5mm-toRCA cable. If you’re doing that, the Poly takes up the Mojo’s digital inputs, so you’ll have to unplug any connected sources as you stream.

Whereas setting it up for DLNA use once demanded more from you than it probably should have – with an old-school foldout paper manual providing instructions for making the Poly’s network discoverable – thankfully, it now has a set-up app called Go Figure. Once you’ve connected your device to the Poly’s network, and to your own via the pop-up screen, the Poly is ready to stream your networked files.

At this point, the Poly should really come clean about not having its own app, the basic usability experience of most music streamers. You have to download a third-party app, and while Chord gives Plex and 8 Player as examples, they both cost extra for full access. On this occasion, we opt for the Androidfriendly BubbleUPnP app on an LG G6 phone.

There’s also an unlimited-capacity micro SD card slot for DLNA and local playback, and you can also play music via Roon software on a PC or Mac, enabling Tidal and MQA file streaming. Streaming over AirPlay and Bluetooth is simple, while Google Chromecast also features. The Poly doesn’t strip the Mojo of its vast file support, as it’s also capable of handling PCM files up to a staggering 784kHz, as well as DSD256.

LET LOOSE IN THE LIBRARY

Set-up and usability are more laborious than they should be, but that pales into insignificance when the pairing is let loose with your music library. We connect the pair to our reference Gamut amplifier’s RCA input, and compared with the Cambridge Audio CXN (our choice music streamer/DAC at this price), the Chord combo is clearly more articulate and rhythmically adept. Playing Bon Iver’s 666, they deliver the opening guitar pangs with more clarity and texture, pursuing the harmonics of the distorted instrumentals with greater resolve.

The stepping-stone pattern, which rides underneath as Bon Iver stacks his synth-washed canvas layer-by-layer, has a closer correlation with everything else. There is a level of articulacy and dynamic discrepancy that the Cambridge can’t quite match, and that insight extends to the low-end, with heft anchoring the tuneful bassline. We play Biffy Clyro’s Wave

Upon Wave Upon Wave and the Mojo/Poly doesn’t duck out of the meaty riffs. The guitar thrusts and tripping drum have the desired impact, too.

The Poly/Mojo pairing may not offer quite the expanse of the bigger-sounding CXN, but it hardly lacks scope either. While streaming over AirPlay and Bluetooth (from a combination of Apple’s iPad, Apple MacBook Air and the LG G6 smartphone) isn’t quite as precise, open or transparent, expectations are well met. To test the Chords’ portability, we plug our B&W P5 headphones into the Mojo, and play Slowdive’s Sugar For The Pill from Tidal over Bluetooth. Taking them out of the equation by plugging headphones directly into the smartphone, the performance isn’t half as clear, solid or detailed.

This is a brilliant product, but not quite the finished article. Chord’s Poly and Mojo won’t be for everyone – it’s lacking a dedicated app, a mains-powered option and accessibility to physical inputs to increase its practicality. But the Chord Mojo is a five-star product, and the extra for streaming privileges doesn’t change that. Doing what most Chord digital products do best, the Poly/Mojo duo sounds fantastic.

“TOGETHER, THE POLY AND THE MOJO MAKE A NETWORK STREAMING SOLUTION THAT’S A FORCE TO BE RECKONED WITH”

“THE AZUR 851N IS THE IDEAL HIGH-END STREAMER IF YOU’RE AFTER SOMETHING TO SIMPLY SLOT INTO YOUR EXISTING SYSTEM”

Cambridge Audio Azur 851N

THIS KNOCKOUT CAMBRIDGE STREAMER JUSTIFIES ITS RANK ABOVE THE AWARDWINNING CXN. ONCE THE DADDY of Cambridge Audio’s network streamers, before that spot was taken over by the Edge NQ, the Azur 851N is part of the company’s premium Azur 851 Series. It’s a step up from the midrange CXN, which also features in this test, and as you’d hope for the price, it’s a pretty giant step at that.

Like the CXN, it doubles as a preamplifier and can plug straight into a power amp thanks to a volume output controlled by a 32bit Blackfin digital signal processor. Music signals pass through two 24-bit Analog Devices DACs in dual differential mode, meaning each stereo channel processes information separately for, Cambridge says, greater accuracy.

Connections are greater in number too – it adds second coaxial and optical and third USB inputs, as well as a AES/EBU input. But it’s the leap in performance over the CXN that really gives it grounds for the heavier price tag.

BONE-RATTLING PUNCH

The CXN’s muscular, full-bodied presentation, lathered in enthusiastic drive, bone-rattling punch and class-leading insight, is present in the Azur 851N, yet everything is served with extra helpings of expression and dynamic skill, not to mention extra space and openness.

The thrashing electrics in the opening of Band of Horses’ Cigarettes, Wedding Bands that feel a little mashed together through the CXN, are more coherent through the Azur. With a lo-res Spotify stream of Cold War Kids’ Lost That Easy, there’s a sense of depth to the recording that isn’t palpable through the CXN. It just about beats its little brother in every way, as it really should do, leaving you with a remarkably entertaining and versatile performer.

Rhythmic cadence and precision come to the fore; the track’s polyrhythmic structure isn’t lost on the Cambridge as it keeps tabs on the hypnotic bass beat and jagged and melodic synth rhythms, juggling the two without compromising their collaboration. It’s punctual and decisive with the fluctuating tempo too. With balance on point, there’s punch down low and sparkling bite up top, with solidity fleshing out a clear and articulate midrange.

The Azur really shows what it can do with a 24-bit/192kHz of Hans Zimmer’s Born In Darkness – giving it a wonderfully insightful, open and layered presentation – but it doesn’t sound too compressed when fed an MP3 either; the sound closes in notably, yet there’s still plenty of space and detail to enjoy.

The 851N’s design looks ‘expensive’ and we don’t doubt its solid full-metal casework or polished (silver or dark grey) finish would stand the test of time. It towers over the CXN, being taller and chunkier – and just as elegant.

The crisp display looks almost identical to that of the CXN, and the album artwork that fills it piles on the class. The on-unit buttons running across the front make the Azur’s panel look busier, but the large volume dial is helpful for manually scrolling music libraries.

While the intuitive remote is on hand too, the free Cambridge Connect app (iOS and Android) is the best way to access and browse your music. It works well, promptly picking up the servers on our network. The interface is easy to navigate, although it’s more functional than fancy. If you have more than one Cambridge streamer in the household, it’s easy flicking between them in the app too.

HANDLE WITH CARE

Whether you connect the Azur over wi-fi with the supplied USB adapter, or via ethernet cable, networked music files up to 24-bit/192kHz can be streamed (and upsampled to 24-bit/384kHz) from your PC, laptop or NAS drive. And where file compatibility is concerned, it can handle everything from DSD64 to FLAC and WAV.

Spotify Connect and AirPlay are there, as is Bluetooth if you purchase an optional dongle. At this price, we’d expect it built-in or, at least, included in the box. Building on the CXN’s impressive connectivity list, the Azur 851N is well furnished around the back. Analogue outputs are taken care of by a pair of RCAs and balanced XLRs, and there are digital optical and coaxial outputs too.

Twin optical and coaxial inputs join a single asynchronous USB input for your laptop, and there are three standard USB sockets (one on the front, two at the rear) for connecting external hard drives and memory sticks. Like the CXN, all the digital inputs are capable of playing hi-res files up to 24-bit/192kHz. There are also system connections for universal control of a multicomponent Cambridge system too. It’s an exhaustive list, although if we’re being picky we’d like to see a pair of analogue inputs onboard for hooking up older kit.

Cambridge Audio has done it again. The Azur 851N, a natural sonic upgrade to the CXN, says all the right things, and is the ideal premium streamer if you’re looking for a capable digital pre-amplifier or are after something to simply slot into your existing system.

We’d like wi-fi and Bluetooth connectivity to be more streamlined, but having dongles sticking out of the box is a small price to pay for its accomplished, all-round performance.

Moon Neo MiND

THE NEO MIND DELIVERS A PERFORMANCE WE RARELY HEAR FROM STREAMERS AROUND THIS PRICE. THE NAME MIGHT evoke some Orwellian government brainwashing faction rather than a class-leading hi-fi component, but despite its rather eerily menacing acronym, the Moon Neo MiND is simply a really good streamer. It is worth noting that MiND actually stands for ‘Moon intelligent Network Device’. Effectively this means it does everything you’d expect from a streamer, drawing from all your mobile devices, NAS drives and streaming services via its control app to collate one whopping great music library.

BLENDING IN

Physically, the MiND seems happy enough in its role, quite content just to blend in to your hi-fi rack. The black chassis is rather featureless, apart from a pair of logos, a trio of control buttons and LEDs to indicate input selection and sampling rates on its facing edge, and a modest vent on its top.

There is considerably more to report round the back, with the headline being its lack of analogue output. So if you’re without a standalone DAC, or don’t have one built into your amplifier, you’ll have to factor that into your budget. As an example, we tested our MiND sample with a Chord Qutest, which adds a considerable amount to the already pricey Moon streamer you have here.

On a positive note, there are AES/EBU, SPDIF and optical digital outputs, so compatibility with any outboard DAC shouldn’t be a problem. Alongside these, through the back gate is also where you’ll find the power socket and switch, ethernet input, terminals for wi-fi and Bluetooth antennae and SimLink connections for use with other equally enabled Moon components.

REGAINING CONTROL

There’s also a one-size-fits-all remote in the box, which is useful for skipping tracks someone else has chosen when you’ve relinquished control of the iPad, but you’ll probably be doing most of your interaction with the MiND via its designated control app.

This is usually the point in our review where we insert a line about how the app looks nice, but keeps losing connection, or opts to play Alanis Morissette when we type Schubert in the searchbar. Thankfully, the MiND app is without such teething problems, however, it is a bit on the clunky side.

Some functions, such as searching for artists on Tidal, take us through too many menus for it to be described as intuitive. We end up building a queue of songs, when all we really want to do is select a tune and play it.

If all this is beginning to sound a little negative, then rest assured the caveats end here. Because as soon as you start to listen to the MiND, you stop caring that playing your next song might take a fraction of a second longer than it should, and you start to appreciate why Moon omitted a DAC in order to focus on its digital performance.

NOT YOUR TYPICAL STREAMER

In simple terms, the Moon Neo MiND doesn’t sound like a typical streamer. It is almost entirely free from those telltale deficiencies in timing and dynamics, offering up a performance with a level of musicality we’ve heard rarely, if before at all, in this price bracket.

We feed it Manchester Orchestra’s A Black Mile To The Surface, and get the texture of Andy Hull’s luscious, wavering vocal lines, set among harmonies painted with broad, bold strokes. The MiND renders voices with full body and plenty of detail, but more importantly with such a level of expression that songs’ characters are not lost even when playing over Bluetooth or via a compressed stream.

The natural delivery of vocals catches our attention, but, as the album livens up in terms of instrumentation, the MiND swings open its doors and shows us the amount of space available, and just how much it is able to offer each instrument without losing composure or a sense of organisation.

Fans of Moon’s signature sound will be pleased with the tuning here: there is no lack of punch, no sense the MiND is short of intensity, but it has that more laid-back temperament of many of its stable-mates. It’s nothing really to do with timing – it does that well – but it has a generally more relaxed character, siding toward a more human performance than the uptight and mechanical delivery of some competitors.

ELEGANT PERFORMER

Sonically, we can’t really criticise the MiND: it is a balanced, elegant and all-round truly musical performer. There are some minor issues with the functionality of the app, but the only real drawback here is the price. If you don’t already have a suitable DAC, or one built-in elsewhere in the chain, then you will need to factor in the cost of purchasing one separately. If used with a Chord Qutest, as we did for testing, that would really make this a a seriously expensive setup.

But it’s testament to the quality of the MiND that for a sound this natural coming from a streamer, even that price would represent something of a bargain for those with the funds.

“SONICALLY, WE CAN’T REALLY CRITICISE THE MIND: IT IS A BALANCED, ELEGANT AND ALLROUND MUSICAL PERFORMER”