Cambridge Audio's flagship DacMagic 200M is the DAC equivalent of an all-inclusive holiday that not only offers flights, meals and accommodation, but also includes room upgrades, free excursions and unlimited ice cream for the kids. And while we may have forgotten what the holidays are like right now, the fact that this D/A converter is a generous soul should make anyone in the market happy with a well-equipped DAC for their hi-fi or desktop system.
Possibilities
DacMagic 200M supports any music source code and file that you already own or are thinking about owning. There are pairs of coaxial and optical inputs for connecting CD players, game consoles, and Blu-ray players, as well as a USB Type B connector (with ground/boost switch) that fits laptops and PCs with open arms. For those who value simple and convenient wireless playback from their phone or tablet, aptX Bluetooth is also on board.
Cambridge Audio DacMagic 200M Specifications
Bluetooth aptX
High resolution 32-bit/768 kHz PCM, DSD512, MQA
Inputs USB Type B, Optical (2), Coaxial (2)
Outputs RCA, XLR
Size (hwd) 52 x 215 x 191 mm
Weight 1.2 kg
RCA and balanced XLR outputs on the rear panel allow the DacMagic 200M to mediate a Hi-Fi system, while a 6.3mm output on the front panel is designed for headphone listening. This is aided by Class A/B amplification which, thanks to lower output impedance, promises more power and less distortion than what was found in DacMagic's previous design.
Support for high-resolution files goes beyond what most people will need: USB Type B reaches 32-bit/768 kHz and DSD512, which is higher than the bitrate of most commercially available music files, while optical and coaxial cables have a maximum speed of 24 bit/96 kHz and 24 bit/192 kHz respectively. As standard DAC chips become more advanced, Hi-Fi DACs increasingly exhibit this kind of highly advanced file compatibility.
But what makes the Cambridge stand out is its native support for MQA technology, meaning it can decode and play downloaded hard MQA files in addition to high-resolution Tidal Masters files (which are MQA encoded). This is great news, especially for Tidal HiFi subscribers who have access to an ever-growing number of Masters streams (many of which are 24-bit/96kHz) filling the catalogue.
CAMBRIDGE AUDIO DACMAGIC
THERE ARE NO EXTRA BUTTONS
Cambridge Audio DacMagic Black RUB 14,900
- USB interface version 1.1
- DAC 2 x Wolfson WM8740
- Texas Instruments TMS 320VC5501 DSP Digital Filter (Upsampling up to 24-bit/192 kHz)
- Analog filter bipolar double differential balanced
- Frequency range (±0.1 dB), Hz 20 - 20000
- THD (1 kHz) <0.001%
- Signal-to-noise ratio, dB 12
- Jitter, ps <130
- Output impedance, Ohm <50
- Dimensions, mm 52 x 215 x 191
- Weight, kg 1.2
Just a little over three thousand rubles - this is the price difference between the previous participant in the review and the Cambrige Audio product, but this ephemeral amount for these times is enough to give up dry asceticism and allow yourself stunning technical luxury. On the front panel, made of thick aluminum, there is an input selector, a tunable phase-switchable filter (the manual describes its operation in detail, with graphs), as well as an input signal sampling rate indicator, all with elegant blue LEDs. The rear is even cooler: balanced outputs (duplicated with regular RCA), two sets of digital inputs (optical and coaxial in each) and the same digital input. And, of course, the USB interface.
Power is supplied from an external 12-volt transformer, and rectifiers and stabilizers with filters are located in the device itself.
The set includes a stand for vertical installation and rubber feet with Velcro for horizontal installation. The stand is made of rubber-plastic, it is something between plastic and rubber, it is soft and at the same time holds its shape perfectly. On the packaging box there is a warning that there are no cables, but in fact there is one - USB, although it’s very thin, I wouldn’t use it. However, according to indirect indications, DacMagic has an interface version 1.1 installed, which has a low bandwidth and therefore does not place special demands on the cable. My guess is also confirmed by the fact that the device does not support USB transmission of audio streams with a bit depth higher than 16 bit/48 kHz. Accordingly, experiments with high-resolution files are unnecessary here. However, in terms of optics, no one forbids transmitting them to a DAC, and they will be reproduced. Let me note in passing that the device is capable of receiving a Dolby Digital 5.1 digital stream - it is mixed in stereo.
The Cambrige Audio website describes in detail all the wonderful technologies that are implemented in DacMagic. I will not retell them in detail - those interested can do this on their own, especially since with basic skill in using search engines it is not difficult to find all this in Russian. I will especially note only what the developers themselves consider the most significant - their DAC is built on the principle of converting sampling frequencies, this is the so-called “Upsampling DAC”, as evidenced by the inscription on the device itself. The meaning of the technology in brief is this: standard PCM 16 bit/44.1 kHz (or more) arriving at the input is forcibly converted to 24 bit/192 kHz, which then makes it possible to more effectively suppress quantization noise and other conversion artifacts, as well as more accurately restore the original form wave analog signal. But in practice, everything is not so simple, so this method also has opponents who prefer to do without upsampling. True, the developers from Cambrige Audio can object to this that their upsampling is not simple, but special, proprietary, and it is carried out using Adapted Time Filtering (ATF) technology. In addition, special care has been taken to suppress jitter - this is done in DacMagic by a 32-bit DSP. However, it is difficult for us to judge who exactly developed all these devices - designers or marketers. There have been cases when a beautiful brand name was invented for some well-known and publicly available technology. And sometimes they even managed to take out a patent for it. That is why we do not limit ourselves to presenting information from the manufacturer (which sometimes may not exist at all), but prefer to conduct our own tests. So let's get started.
When connecting to a computer, no additional drivers are required, which is good. The new USB device is detected by the system as a C-Media Headphone Set, which, however, does not prevent it from functioning normally.
It plays surprisingly pleasantly and at the same time transparently. Exceptionally detailed tops, beautifully framed scene. But it feels cold. I'm not saying it's bad, I'm just stating a fact.
The reference DAC is denser, a little louder, and there is no chill in its sound. The scene is perhaps the same in depth, but the sound images are more “material”. And loud places are cleaner. He is clearly more emotional and comfortable. Wow, but he always seemed to me too smoothed out and correct! Now let's connect via optics and make a new comparison.
The resolution of the DacMagic increases, and a ton of detail emerges, especially in the highs, which was not audible when connected via USB, although the overall tonality remains cool. Oddly enough, but recordings in 16 bit/44.1 kHz play somehow more humanely than in 24 bit/96 kHz. More precisely - denser, although rougher. It turns out that upsampling makes the standard signal sound more attractive than the high-bit studio original.
But comparison with the reference dispels the “magic”: it is softer, more pleasant and, I would say, more noble. His scene is deeper and more stable. At DacMagic, musicians walk around the stage, but at Markan they have no time for walking - they are busy with business.
PLEASED
Impressive technocratic appearance, impressive functionality. Ability to work with two digital sources, not including a computer.
DISAPPOINTED
The USB interface has limitations that prevent it from accepting signals higher than 16-bit/48 kHz. Reduced stage stability compared to more expensive competitors. Analyticity, which not everyone likes and can sometimes become unnecessary.
USB DACs
- AMC CD6D
- BLACKNOTE DSS 30 TUBE
- CAMBRIDGE AUDIO DACMAGIC
- E-MU TRACKER PRE USB
- LEHMANNAUDIO BLACK CUBE LINEAR USB
- MUSICAL FIDELITY V-DAC
- PERREAUX ELOQUENCE 150I + EDAC
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The entire right side of the Cambridge facade is dedicated to displaying the sampling rate of the audio signal fed into it. Several LEDs are each labeled with the sampling rate - "44.1 kHz", "48 kHz", "96 kHz" and "192 kHz", for example - light up to indicate this. So if you are playing a CD quality file, the "44.1kHz" LED will light up. Similarly, the LEDs for MQA and DSD will light up when these file types or streams are detected.
This makes for a busy aesthetic, not least because they're also joined by LEDs, buttons and text labels for DAC filters and source selection, as well as the usual power button, volume rocker, headphone jack and company logos. However, it's nicely designed and gives the DAC quite a tactile element - great if you plan on having it around. desktop computer and manually make changes, although this isn't as relevant if it's located far away (those text labels are small) or tucked away in a system rack, since the compact aluminum case is suitable for this. There's no remote control here either.
The DAC architecture itself uses two ESS Saber DACs in a mono configuration. This means that one DAC chip handles the right audio channel and the other the left, theoretically resulting in better channel separation.
Appearance
At first glance, the DacMagic XS gives the impression of being a solid and reliable device. The body is made of anodized aluminum and painted black with a texture in the form of vertical stripes.
The device is very compact (30x10x53.5 mm) and weighs about 40 grams. On top are two round volume buttons, which also allow you to switch operating modes between USB 1.0 and 2.0 (more on that later). At one end there is a Micro-USB connector for connecting to a laptop, and at the other there is a standard 3.5 mm headphone output and a small LED informing about the current sampling frequency of the input signal: at 44.1/48 kHz it glows blue, at 88.2/96 kHz is green, and at 176.4/192 kHz it is pink.
The device does not contain a built-in battery and is powered from the computer’s USB port, so in the case of a laptop, its battery life is slightly reduced (by 10 percent).
During operation, the DAC heats up quite noticeably, and there is a corresponding warning about this in the instructions.
Sound
The performance of the DacMagic 200M continues the momentum of the company's latest hi-fi components, including the CX and Edge ranges. It is recognisably "Cambridge", characterized by a full, smooth tonality complemented by an open, expressive and authoritative manner.
We connect the Cambridge to a Macbook Pro via USB B, feed it Arab Strap's Fable Of The Urban Fox (16bit/44.1kHz) and are instantly impressed by the articulation of Aidan Moffat's signature poetic storytelling through the 200M. Not only does it capture his unmistakable Scottish accent, but also the masterful cadence of his delivery.
Astute mids, also exemplified by a textured acoustic melody, are accompanied by rich, punchy lows—the opening bass is full and lush—and there's a pleasingly present treble that rounds out a beautifully proportioned, equally talented frequency range. Because the instrumentation takes up the soundstage, the Cambridge has enough breadth and control to maintain cohesion.
This fluidity is inherent in the violins leading Ólafur Arnald's Spiral (Sunrise Session) (24-bit/96kHz) in a way that makes it enjoyable without overshadowing the grace of the texture or the dynamic undulation of the strings, which convey the beautiful fragility of the work. The Cambridge handles the dynamic ebb and flow beautifully, showing off its grace in the quieter moments and its authority in the louder ones.
Dynamic acumen is supported by rhythmic coordination and drive, making up a musical performance. A Hi-Fi component that lets you relax and enjoy your music, no matter the genre, be it Op73's Piano Concerto 5 "Emperor" (MQA, 24-bit/96kHz) or Drake's What's Next (24-bit/88.2kHz) - and the DacMagic 200M is one of them.
There's just enough transparency to make the most of the higher resolution tracks it supports. DSD64 Stevie Wonder's Too High sparkles with the amount of detail it reveals.
At the other end of the scale, music streamed via Bluetooth often produces noticeably muddier and more limited results compared to a wired source. But while there is some degradation here in terms of clarity and subtlety, Bluetooth playback is exemplary when paired with the Samsung Galaxy S21 during testing. The presentation is clean, open and ultimately well-presented, which is pretty much everything you could want from a product of this nature.
Cambridge's three digital filters - Fast, Slow and Short Delay - offer fairly subtle differences, although some level of audio customization. We find ourselves settling for Short Delay - it seems to be the more accurate of the three in terms of timing - but they're worth experimenting with.
The similarly priced Chord Mojo sets the bar pretty high at this price point. , despite lacking many of the Cambridge's features due to its portability (battery powered). The Chord excels in performance, delivering even greater finesse and rhythmic precision, but it can't match the impressive versatility of the DacMagic 200M's features.
Exploitation
DacMagic XS can operate in USB 1.0 and 2.0 modes, which are switched by simultaneously pressing the “+” and “-” buttons. In the first case, the maximum sampling frequency of the input signal is up to 96 kHz, and in the second – up to 192 kHz.
To support USB 2.0 mode in Windows, you need to install a special USB driver from the developer’s website. After this, in the properties of the sound device you can select the maximum sampling frequency value.
On a MacBook, USB 2.0 is supported natively, so you just need to select CA DacMagic XS 2.0 in the Sound control panel. From now on, all sound will be output through it, bypassing the built-in audio card. After disconnecting the device, everything will return to its place, and you can again connect headphones to the standard output or listen to music through speakers.
Verdict
The latest version of Cambridge Audio's top-notch DacMagic continues the legacy of the long-standing DacMagic, the original of which won its first What Hi-Fi? award at Cambridge. in 1996. 200M - 25 years. and several evolutions of the DacMagic line in terms of features and performance, but he has not lost sight of his vision to be one of the best at his level. The DacMagic 200M is a talented all-rounder: a truly safe buy.
ASSESSMENTS
- Sound 5
- Characteristics 5
- Assembly 5
Listening
In our setup, we will listen to music from the MacBook via a USB connection (which, by the way, supports asynchronous mode). At first, the DAC stubbornly refused to transmit the desired 192 kHz. It turned out that we forgot to enable USB 2.0 support on the device itself. This is done using the source button (everything is described in detail in the instructions). The volume and detail of the transmitted musical material fully corresponds to the level of the device. The sound is open, quite light, but too straightforward. This presentation of material will be most interesting for modern electronic and dynamic rock music. Pop hits, if you don't take into account the old classics, sound detailed and convincing. I would like to point out that I am writing such conclusions 10 years after the device was released, when my ears have already been spoiled by various high-res players. The task of finding a system that would soulfully play jazz classics in the budget of the DacMagic 100, although solvable, is not very simple. I had to listen to DACs that perfectly conveyed “tearful music scenes”, but at the same time completely killed the dynamics. In this regard, DacMagic 100 easily gets an A for density and attack in the bass.
DAC Cambridge Audio DacMagic 100, black
conclusions
To summarize, I propose to return to the question we posed at the beginning. How relevant is the Cambridge Audio DacMagic 100 today? There are a lot of polar reviews about this model on the Internet, on forums and in stores, and the debate is still raging. In my opinion, this is a sign of continued interest in the DAC. When I talk a lot with customers, I often hear about the same story. There is a relatively old and inexpensive amplifier that you are used to, that you like, and that you don’t want to part with, and you want to connect your favorite stereo system to your TV or play music from your computer. Very often we are even talking about banal MP3 files. As a rule, such requests come from older people or from those who inherited such a system but do not have money for a new one. In such cases, I can safely recommend trying to revive your system with DacMagic 100, even though it is already 10 years old!
Digital to Analogue Converter & Preamplifier
The DacMagic Plus has fantastic new features including wireless device connectivity and stunning audio performance from music of all formats. Thanks to twin DACs it instantly improves audio fidelity from all your favorite digital products allowing you to make your computer, TV, Blu-ray player and other devices a true part of your hi-fi system.
“Benchmark, price/performance leader, giant-killer… call the Cambridge Audio DacMagic Plus anything you'd like, but the bottom line is that it can deliver a surprisingly high level of performance and ergonomic elegance at a price that will leave plenty of money left over for the other components in your system.”
