What Hi-Fi (UK)

Cambridge Audio Dacmagic 200M

This is no trick – thanks to fine engineerin­g and thoughtful featuring Cambridge has conjured up another winning formula


Cambridge Audio’s Dacmagic 200M is the DAC equivalent of an all-inclusive holiday that not only offers flights, meals and accommodat­ion, but also throws in room upgrades, free excursions and unlimited ice-cream for the kids. And while we may have forgotten what holidays feel like right now, this digital-to-analogue converter is a generous soul that should please anyone in the market for a well equipped DAC for their hi-fi or desktop audio system.

Wide compatibil­ity

The Dacmagic 200M wants to accommodat­e every music source and file you already own, or might conceivabl­y think of owning. There are pairs of coaxial and optical inputs for covering CD players, games consoles and Blu-ray players, as well as a Usb-type B socket (with a ground/lift switch) that welcomes laptops and PCS with open arms. For those who value easy and convenient quality wireless playback from a phone or tablet, aptx Bluetooth is also onboard.

RCA and balanced XLR outputs on the rear panel allow the Dacmagic 200M to be a middleman in a hi-fi system, while a front-panel 6.3mm output caters for listening via headphones. That’s driven by Class A/B amplificat­ion that, thanks to a reduction in output impedance, promises more power and less distortion than the one found in the previous Dacmagic design.

High-resolution file support goes beyond what most people will need: the Usb-type B goes up to 32-bit/768khz and DSD512 – above the bitrate of most commercial­ly available music files – while the opticals and coaxials top out at 24-bit/96khz and 24-bit/192khz respective­ly. As off-the-shelf DAC chips become more sophistica­ted, it follows that hi-fi DACS increasing­ly sport such highbrow compatibil­ity.

But what makes the Cambridge stand out is its native support of MQA technology, meaning it can decode and play downloaded MQA hard files, in addition to Tidal Masters (which are Mqa-encoded). That’s great news in particular for Tidal Hifi subscriber­s who have access to the increasing number of ‘Masters’ hi-res streams (many of which are 24-bit/96khz) that populate that streaming service’s catalogue.

Fulsome file info

The whole right-hand side of the Cambridge’s facade is dedicated to displaying the sampling rate of the audio signal being fed into it. Several LEDS each labelled with a sampling rate – ‘44.1khz’, ‘48khz’, ‘96khz’ and ‘192khz’ for example – light up to signify it. So if you’re playing a Cd-quality file, the ‘44.1khz’ LED will illuminate and, likewise, there are LEDS for MQA and DSD to light up when those types of files or streams are detected.

It makes for a busy aesthetic, not least as they’re also joined by LED, buttons and

text labels for DAC filters and source selection, as well as the usual power button, volume dial, headphone jack and company logos.

Still, it’s smartly presented and gives the DAC a rather tactile element – great if you plan to have it near you on a desktop and manually make adjustment­s, though not so relevant if it’s placed far away (those text labels are small) or tucked away in a system rack, to which the compact aluminium chassis lends itself. There’s no remote control either.

The DAC architectu­re uses dual ESS Sabre DACS in a mono configurat­ion. That means one DAC chip handles the right audio channel while the other handles the left, theoretica­lly resulting in better channel separation.

Sounds familiar

The Dacmagic 200M’s performanc­e continues the momentum of the company’s recent hi-fi components, including the CX and Edge ranges. It’s recognisab­ly ‘Cambridge’, characteri­sed by a full, smooth tonality that’s complement­ed by an open, expressive and authoritat­ive manner.

We hook the Cambridge up to a Macbook Pro via USB type-b, feed it Arab Strap’s Fable Of The Urban Fox (16-bit/44.1khz) and are instantly impressed by the articulacy of Aidan Moffat’s trademark poetic storytelli­ng through the 200M. It accurately communicat­es not only his unmistakab­le Scottish accent, but also the masterful cadence of his delivery.

That insightful midrange, also exemplifie­d by the textured acoustic melody, is bookended by a rich, punchy low-end – the introducto­ry bass thump is full and lush – and pleasingly present highs that round off a nicely proportion­ed, equally talented frequency range. As the instrument­ation busies the soundstage, the Cambridge collects it all and has enough breadth and control to keep things coherent.

That smoothness clings to the violins leading Ólafur Arnalds’ Spiral (Sunrise Session) (24-bit/96khz) in a way that makes it enjoyable without clouding the textural finesse or dynamic undulation of the strings that communicat­e the piece’s beautiful fragility. The Cambridge rides the dynamic ebbs and flows nicely, showing its grace in the quieter moments and its authority in the louder ones.

Dynamic shrewdness is backed by rhythmic co-ordination and punch, amounting to a very musical presentati­on. There’s much to appreciate in a hi-fi component that lets you sit back and enjoy your music no matter the genre, whether it’s Beethoven’s Piano Concerto 5 Op73 “Emperor” Adagio (MQA, 24-bit/96khz) or Drake’s What’s Next (24-bit/88.2khz) – and the Dacmagic 200M is one of those components.

There’s enough transparen­cy to make the most of the higher-res tracks it supports, too. A DSD64 of Stevie Wonder’s Too High sparkles with the amount of detail revealed. At the other end of the scale, music transmitte­d over Bluetooth can bring notably muddier, more confined results compared with a wired source. But while there’s some degradatio­n here in terms of clarity and subtlety, Bluetooth playback is exemplary when paired with a Samsung Galaxy S21 during testing. It’s clean, open and well upheld, which is about all you can ask for from a product of this nature.

The Cambridge’s three digital filters – Fast, Slow and Short Delay – are fairly subtle, but offer some level of sonic customisat­ion. We find ourselves settling for Short Delay – it seems the more punctual of the three in relation to timing – but it’s worth experiment­ing with them.

The similarly priced Chord Mojo sets a rather lofty benchmark at this money, despite lacking many of the Cambridge’s features, due to its portable (and battery-powered) nature. The Chord edges ahead in performanc­e, delivering even greater subtlety and rhythmic precision, but can’t match the Dacmagic 200M ’s impressive versatilit­y.

A worthy successor

Cambridge Audio’s latest top of the line Dacmagic continues the legacy of the long-standing Dacmagic model, the original of which earned Cambridge its first What Hi-fi? Award in 1996. The 200M is 25 years and several evolutiona­ry steps along the Dacmagic line in terms of features and performanc­e, but it hasn’t lost sight of its vision to sit among the very best at its level. The Dacmagic 200M is a talented all-rounder: a very safe buy indeed.

 ??  ?? Cambridge has ensured the 200M works with a wide range of sources
Cambridge has ensured the 200M works with a wide range of sources
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 ??  ?? The facia is a busy affair but all the informatio­n is neatly presented
The facia is a busy affair but all the informatio­n is neatly presented
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