Cambridge Audio EVO 150 All-in-One Player
All-in-one streaming integrated amplifiers have arrived. It seems streaming amps are taking over the reign held by once ubiquitous AM/FM receivers as the anchor of everyday Hi-Fi systems. The Cambridge Audio EVO 150 All-in-One Player is not the first and certainly won’t be the last entrant in this rapidly proliferating market segment, but its smart looks and extensive features help it stand out. It’s an auspicious debut in the category from the venerable UK-based brand known for high quality yet attainable Class A/B integrated amplifiers. With a retail price of $3000, the EVO 150 represents a substantial outlay, especially for a first Hi-Fi system. However, if it can smoothly deliver all its promised functionality and sound great at the same time it could represent a high value just-add-speakers proposition.
I sense an ongoing philosophical conflict among audiophiles when it comes to all-in-one amplifiers. I have even confessed my own gravitation toward separates simply for the audiophile credibility. Beyond the pretense that more boxes are better, one reason I hypothesized while using the EVO 150 is that it’s simply improbable for some audiophiles to embrace an amp that so closely resembles a computer. A mobile app may not replace the magic of analog buttons and knobs but for a more connected demographic an app is the default method of interaction with any electronic device.
With the EVO 150 in particular I found children (yes, I share my listening space with them) were much more in tune with the EVO’s purpose than with any other audio equipment I’ve had in my living room simply because the LCD provides a constant visual reminder of what is playing. The music is coming from inside this box. By contrast, the way a boutique line stage or austere looking Class A power amp facilitates musical enjoyment requires a more nuanced explanation to the uninitiated. Streaming amps like the EVO 150 dangle a promise of musical enlightenment without the pretense the full experience requires a complex stack of gear. Is it possible to reach paradise and maintain one’s audiophile innocence?
Design & Build
Serious effort went into the industrial design and layout of the compact EVO 150. It’s relatively lightweight at around twelve pounds but it’s densely packed with components, unlike full width Class A/B designs whose mass is mostly attributed to a copper transformer. It feels solidly built which is impressive considering the variety of materials used in its construction.
The EVO 150 has a great face as well. A sleek vertical column of buttons separate the large LCD screen from a nicely executed volume knob with an outer ring for input selection. The 3.5mm headphone jack hides in the lower right corner below the volume knob. That’s about it—very clean.
My personal favorite design feature of the EVO 150 is the hidden ventilation scheme incorporated into its base. The underside of the case is shaped like a low profile truncated pyramid (technically, a frustrum—I had to look that one up) with vents along the sides. Cool air drawn in through the base can carry heat out through horizontal vents along the sides of the unit. The best part is the base design gives the illusion the amp is floating, especially in a dimly lit room.
Features & Specifications
Technical specifications for the EVO 150 ($3000) are refreshingly straightforward. Hypex Ncore modules provide 150 watts of power into 8 ohms. The DAC section features an ESS chip. What else is there to know? Cambridge Audio’s tidy product page is light on audiophile circuitry jargon and full of details about connectivity and compatibility.
ANALOGUE AUDIO INPUTS
1 x RCA, 1 x balanced XLR, 1 x Moving Magnet Phonostage
DIGITAL AUDIO INPUTS
2 x TOSLINK optical, 1 x S/PDIF coaxial, 1 x TV ARC
USB AUDIO INPUT
USB Type B conforming to USB Audio Class 1 or USB Audio Class 2 (user selectable)
BLUETOOTH
4.2 A2DP/AVRCP supporting SBC, aptX and aptX HD codecs
COMPATIBILITY
TOSLINK optical: 16/24bit 32-96kHz PCM only S/PDIF coaxial: 16/24bit 32-192kHz PCM only USB Audio Class 1: Up to 24-bit 96kHz (asynchronous) USB Audio Class 2: Up to 32-bit 384kHz (asynchronous) and up to DSD 256 Bluetooth: 4.2 A2DP/AVRCP supporting up to aptX HD (24bit 48kHz) UPnP, Local USB media, Airplay 2, Chromecast built-in, Internet Radio, Spotify Connect, TIDAL, MQA, Qobuz, Roon Ready.
AUDIO FORMATS
ALAC, WAV, FLAC, AIFF, DSD (x256), WMA, MP3, AAC, HE AAC AAC+, OGG Vorbis
OUTPUTS
Speakers A+B, 3.5mm headphone, Preamp Output, Subwoofer Output, Bluetooth: 4.2 A2DP/AVRCP supporting up to aptX HD
ETHERNET
IEEE 802.3, 10 Base-T or 100 Base-T
WI-FI
Dual Band 2.4/5gHz
DIMENSIONS (W X H X D)
317 x 89 x 352mm
The rear panel is the opposite of the EVO’s sleek face—any connection that could reasonably be desired is available, including balanced input, subwoofer output, preamp output and two sets of speaker outputs. In terms of technology, the achievement here is not esoteric circuit design, rather the successful integration of many capabilities into a well executed design.
Daily Use
Although a great aluminum remote is included, complete operation through the StreamMagic app characterizes the daily use of the EVO 150. For better or worse, dependence on an app is a defining trait of the all-in-one streaming amp category. In this case it’s for the better. The app was easy to set up, intuitive to use and glitch free.
It’s pretty damn convenient to start a pot of coffee and fire up some morning radio news with just two taps on the iPad. That pre-dawn instant gratification is perhaps only topped by passing the tablet around to friends without having to explain how to pick the next track.
In terms of functionality, streaming operated flawlessly during the entire review period. In fact, the only time the EVO lost its Wi-Fi connection was after my toddler switched off my power conditioner. Even then a quick power cycle was all it needed to get back online.
Review System
At the beginning of the review period, the EVO held court as the only electronic piece in my system besides my turntable and Wharfedale Diamond 10.2 speakers. Break-in consisted of a few days of background listening only. Once I had some substantial critical listening done I began to incorporate other components and speakers for comparison and further analytical listening sessions.
Digital Sources: Yamaha DVD-S1700, Macbook Air (AmazonHD via USB), iPad (Integrated Spotify, AmazonHD via Airplay)
Analog Source: Pro-Ject Debut Carbon, Ortofon 2M Red
Amplification: Parasound P/LD-1100, Parasound HCA-750A, Xiang Sheng DAC-01A,
Speakers: Wharfedale Diamond 10.2, Focal Aria K2 936 (Audiophilia review forthcoming)
Headphones: Massdrop x Sennheiser HD6XX, KZ ZSN Pro
Your choice of side panels to suit your mood or decor.
Listening
There are so many options for streaming today, with virtually all accommodated on the EVO 150. I don’t have the time (or the golden ears) to search for audible differences between streaming services, sampling rates and codecs. My largest streaming library is with AmazonHD so this was my preferred source for convenient digital listening with the unit. 16-bit / 44.1 kHz streams via AirPlay 2 easily allowed the quality of each and every recording to show through.
Reading about the immediately unattainable Craft Recordings reissue of Yusef Lateef’s Eastern Sounds got me looking for other standouts in his discography. Live at Pep’s (Impulse!,1965) is an excellent choice for readers new to Lateef’s cool eastern influences, tight band, live ambience, and excellent recording quality. Worth a listen for fans of John Coltrane’s legendary 1961 Village Vanguard sessions. Digital streams don’t always pop the way their vinyl counterparts do but this album must be an exception. The EVO impressed with all the expected audiophile fireworks. Clarity, pinpoint imaging and tone were all fantastic. What did surprise me was the ability of the system, anchored by the Evo, to transport me to the club. This communication, creating a believable illusion and transporting the listener, is a hallmark of a true audiophile product.
For an occasional break from convenient streaming, I gave the EVO’s DAC a try using my Yamaha disc player. I use string quartets for evaluating digital playback to listen closely for any treble harshness that could lead to listening fatigue. On the Brodsky Quartet’s New World Quartets (Chandos, 2014) I was moved by their performance of Dvořák’s ‘Quartet No. 12, “American.”’ To my ears it’s approachable pentatonic scales and contagious optimism bridge the gap between European romanticism and American populist styles. The Brodsky Quartet’s lush, melodic reading was rendered effortlessly by the EVO, with no edginess to distract from the bows on strings reverberating in the hall. All I could do was sit back and enjoy a healthy dose of that ‘go west’ feeling. When I worked the volume, the Evo didn’t strain a bit. Congestion in the lower registers due to my room acoustics were apparent well before any other issues creeped in.
The majority of my general listening with the unit was streaming, but the majority of my critical listening was done spinning LPs.
I love André Previn and Shelly Manne’s late ‘50’s west coast jazz albums for Contemporary Records. They cut numerous records between them and some titles (both OJC reissues and originals) are conspicuous values considering the quality of the music and the recordings. Perhaps the albums of show tunes just aren’t hip right now? My original copy of Modern Jazz Performances of Songs from Gigi by André Previn & his Pals (Contemporary, 1958) is all about convincing tone. When played through the 150, piano, drums, and bass all had excellent tactile qualities. Brushes on skins in particular were almost goosebump inducing. Previn’s piano did not simply emanate from a point in space. I could hear keys, hammers on strings and reverb as if I were leaning over and peering into the belly of the instrument. Sure, this is a well recorded acoustic trio, but I was not expecting to experience this level of performance from the EVO. If there was anything to be desired from the presentation it would be a touch more front-to-back depth in the soundstage, but we can’t have everything.
The built-in phono stage seems solid for an integrated amplifier in the EVO’s price bracket. I detected a touch of noise but that is understandable given the density of electronic circuits packed into the compact unit. The iFi ZEN Phono cleaned things up a bit with quieter backgrounds and a bit more detail. I happen to have a couple phono stages laying around but otherwise would not have felt compelled to upgrade.
With the ZEN Phono in the chain I was taken for a wild ride spinning The Mars Volta’s recently reissued Frances the Mute (2021, Clouds Hill Records). This record is packed with frantic instrumental assaults interspersed with mellow, almost creepy Latin-tinged breaks. Omar Rodriguez-Lopez’s cryptic vocals range from sinuous to shrieking in both English and Spanish. It's a dense mix and a proper workout for any system. The EVO was certainly able to capitalize on the level of detail offered by the ZEN Phono. This reissue is a slight improvement over the compressed 2004 CD release and the EVO projected a wide soundstage to reveal more of this recording than I had experienced previously.
The 150 was a fine match for my Wharfedale Diamond 10.2, injecting some extra detail into their laid back presentation. The amp took charge until cabinet resonance and loose bass showed the Diamonds had been worked into submission at high volume. With the Focal Aria 936 K2, the EVO had plenty of power on tap to cleanly deliver uncomfortably loud listening levels. It’s unlikely this amp would be matched with a more current hungry speaker than the Aria with a minimum impedance of 2.8 ohms and it held its own.
Relative to my near-vintage Parasound pre/power combination, the EVO 150 delivered more detail and nuance but also a better ability to scale up a performance along with the volume. That is, increasing the volume resulted in experiencing ‘more’ music not just ‘louder’ music.
My impression from trying the EVO with two speakers of different personalities is the unit is well rounded in terms of tone and solid enough in terms of amplifier performance that any speaker in its price bracket would be an easy match. Speaker selection would simply be a matter of taste.
The headphone section does better with sensitive IEMs—just be sure to match your headphones carefully during an audition if private playback is important to you. Fortunately, the unit can output to Bluetooth headphones which is a convenient alternative.
Conclusion
The EVO 150 ($3000) is, no doubt, an audiophile gem in terms of performance, but philosophically it won’t suit every audiophile. This is a music lover’s solution. It’s a set it and forget it product that may not be exciting to some hardware focused hobbyists. With that understood, those considering the piece are sure to be impressed. It offers a direct path towards musical enlightenment, avoiding unnecessary distractions along the way. My expectations were thoroughly exceeded. Very highly recommended.
Further information: Cambridge Audio
