Hardware Reviews

Cambridge Audio EXA100 amp is hard to beat at the price

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

Cambridge Audio EXA100 integrated amplifier

Cambridge Audio’s marketing slogan proclaims, Sounding Great since 1968 and shows just how long the brand has been around. Originally a division of Cambridge Consultants, its first product was the 20W/ch P40 integrated amplifier (one of the first to use toroidal transformers).

The firm became Cambridge Audio Labs based in nearby St. Ives where, in 1970, the 50W/ch P50 was put into mass production. In 1971 the business was sold to Colin Hammond who, at the time, handled Revox. Cambridge Audio Ltd was created and Stan Curtis became its technical director as the St Ives facility was extended to house 300 employees; virtually everything was made and tested in house.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

In 1985 we saw their first two-box CD player, in the CD1, before Hi-Fi Markets acquired the brand but sold to Wharfedale two years later when production began in Leeds. In 1994 the company was bought under the Audio Partnership umbrella where it now produces a wide range of audio equipment including headphones, lifestyle systems and separates, designed in the UK and made in China. The latest EX range (just two models, so far) comprises the EXN100 network player and cosmetically-matching EXA100 integrated amp with on-board DAC, tested here.

Design

Three-years in the making, the Cambridge Audio EXA100 is intended as a huge step up from the CX Series. Indeed, the new model boasts trickledown technology from the flagship Edge M monoblock power amp to produce its 100W/ch RMS of Class AB power (a change from the proprietary Class XD found in previous Cambridge amps). Impressively, this doubles into 4 Ohms which not always the case in relatively affordable amplifiers.

The power is courtesy of two pairs of output transistors per channel, these are the same devices as found in Cambridge Audio’s top-of-the-line Edge M design. The preamp stage is sophisticated, and uses a number of op-amps (from TI and Nisshinbo) alongside a host of other transistors on the four-layer circuit boards. The inbuilt CAP protection system offers power and temperature overload sensing so the unit will shut down and the speakers won’t get fried.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

While there is no onboard streamer or tuner (you need to add the matching EXN100 streamer for that), we are treated to connections a plenty including four analogue inputs (one balanced on XLRs), along with the luxury of HDMI eARC, as well as a pair of Toslink and a digital coaxial connector plus USB. There’s also an RS232 control bus socket for those so inclined.

Ethernet and wi-fi is eschewed on the amplifier but there is an ESS Sabre ES9018K2M DAC, operating at a native 24-bit/192kHz resolution, to handle digital inputs, while Bluetooth (up to aptX) allows wireless connectivity for devices such Cambridge’s Alva TT V2 turntable. Those seeking more bass can make use of dedicated pre-out to add a subwoofer. There is a power amp mode such that the EXA100 may be used with a dedicated preamp or as part of a multi-channel system. We’ve also got dual speaker outputs so that two sets of loudspeakers may be connected, offering a second zone option.

Much of the EXA100’s weight is down to the toroidal transformer, well shielded and flanked by heavy-duty heatsinks. There’s also ample ventilation through the top grille mesh vents which allow a glimpse inside at the workings. The decision not to incorporate an onboard streamer, or indeed Airplay, is addressed by the designers who told me that, “rightly or wrongly, we hope anyone choosing EXA100 will want to stream in hi-res from a dedicated streamer. So, the additional costs to add Airplay, limited to 16-bit/44Hz, felt unnecessary [and would] tip the price over £2k.” As for adding Bluetooth HD, that’s “a convenience feature really, but also keeps wireless compatibility with our Alva turntables.”

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

The milled aluminium front panel, in lunar grey, houses a tactile knurled volume knob and source select buttons alongside indicator LEDs. The central panel is largely redundant but is there to cosmetically match the EXN100 streamer although we do have an on/off button and a 6.3mm headphone socket on the fascia.

Cambridge throw in a system remote handset although many of the buttons are redundant to operate the EXA100 and there is something of a lull between selecting an input and sound appearing, as relays click and circuitry stabilises.

Set-up

Needing some inputs, it was time to connect the trusty Escape M1 Air streamer, almost compact enough to fit inside the EXA100. This offers Apple Airplay, internet radio, Chromecast and Spotify, is Roon-ready and is app-controlled. Everything the amplifier lacks, in fact.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

As Neat’s brand-new Momentum JS stand-mounts were already in the room they seemed a natural starting point, although when the listening panel came we also tried the much-acclaimed Q Acoustic 5040 floor-standers and I later lived with the EXA100 using my trusty Revival Atalante 3s.

Sound quality

Immediate impressions of the Cambridge Audio EXA100 are of a full-bodied sound and an immersive feel to the music across many genres. As the panel enjoyed their coffee, I finished listening to the massive force of Mahler’s Eighth Symphony (CSO/Solti on Decca from 1971) which was handled so well. The amp has sufficient power reserves to cope with huge forces such as this without muting their full impact; creating a large, open and well-organised soundstage which spread the performers out deliciously in front of me. There is also a wonderful space around each member of the orchestra and choir; sufficient for them to remain positioned rock solidly and with room to articulate. Overall, the sheer vastness of the recording is revealed very well through the Cambridge, we were off to a flying start.

Given the season, the panel began with Ralph Vaughan Williams’ Fantasia on Christmas Carols (King’s Cambridge/Willcocks on Decca ). The atmospheric score juxtaposes complex melodies with simple folk tunes, interspersed with carols, and revealed the EXA100’s ability to reproduce delicate detail while allowing the vocalists to convey their emotions. Adding to the exemplary midrange, the top-end possesses a delightful twinkle with sufficient bite to make the entire believable. Surely the essence of any well-engineered product.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

 

Upping the tempo, we moved to Seal’s Amazing from 2007. The artist’s beautifully gravelly/smooth soul voice came across in compelling fashion via the EXA100, making it sound like electronics costing much more. We can certainly tick timing ability off the EXA100’s abilities as the track was delivered with punch and drive to push us back in our seats, but not in a tiring or unnaturally forced way as can be the case with some modern amplifier designs. Formidable was a word used by one panellist, and I have to agree.

The EXA100’s treatment of textures was ably demonstrated with Gary Jules’ Mad World as we were immersed in this haunting, introspective ballad. The amplifier seems unflappable, replaying whatever material it’s asked to with ease and proving itself a true all-rounder. We upped the volume, to near neighbour-disturbing levels, and were amazed at how well the amp coped. If anything, the circuitry was happier at higher SPLs than at very low ones. While we had party-level volume it came without the common compromises of dullness or an overtly-forward balance; a testament to unit’s engineering prowess.

Rhythm, too, is another facet that the Cambridge Audio EXSA100 handles with aplomb. With Calvin Harris & Ellie Goulding’s Miracle, the trance anthem with its big, bold chorus was driven along superbly by the amplifier. We had punch and pace a plenty. The top-end noticeably crisp and detailed while the recording’s complexity caused the electronics no angst whatsoever. The EXA100 is clearly closer to its top-line Edge sibling than the entry-level CX range, whatever your listening habits.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

 

Full-bodied with Q

Switching the partnership to Q Acoustics’ 5040 floor-standers we had both our best but also least successful pairing as we sat back to enjoy the vocal polyphony of Morten Lauridsen’s O Magnum Mysterium. The soundstage became immense, as might be expected with the step-up in loudspeaker size, and we were treated to more of everything. The increased bass response made for a much more realistic sound and really helped to bring the performance into the listening room in a lifelike way, but the extra treble output tended to verge on the sibilant, reminding us that amplifier/speaker pairing needs to be made with care. That said, the EXA100 is not a ‘bright’ amplifier per se.

The panel departed and I reinstalled my reference Atalante 3 speakers from Revival Audio. This made a great combination and I enjoyed many of my radio drama recordings to appreciate the overall neutrality of the Cambridge EXA100. Certainly, this is an amplifier that allows the original recording timbre to come through without trying to stamp its own sonic signature on the sound. I delighted in how well the amp could communicate in such a fluid and articulate way through its midrange, that all-important part of the audio spectrum for those of us who wallow in speech-based material. The results were really most engaging as I forgot about the equipment to be transported into other sonic worlds.

Cambridge Audio EXA100 integrated amplifier review https://the-ear.net

HDMI delight

That the Cambridge Audio EXA100 is so telly-friendly is a delight. By connecting its HDMI input to a TV or satellite receiver, when the amplifier detects a signal the ARC/eARC function allows it to switch on the amp and control the volume from the TV remove. Pure magical convenience which other manufacturers need to adopt. I only wish that the EXA100 was able to respond in a similar fashion with optical and coaxial digital signals. One day, perhaps?

Conclusion

This amplifier’s sound is highly competent, the soundstage generated is huge and, given suitable loudspeaker pairing, it’s a highly enjoyable amplifier to use. The matching streamer does duplicates facilities to some extent, such as having its own DAC, but will make a matching pair capable of a lot more than the amp alone can provide.

That said, the EXA100 is well worth considering if you already have your input sources, while that HDMI television input is a big plus point that more designs need to incorporate. The inclusion of two loudspeaker zones will also be a bonus for some users. It’s difficult to fault the Cambridge Audio EXA100 and hard to beat at the very competitive price. It offers a lot in a compact and well-built package, and is great value-for-money. Easily a Best Buy.

Specifications:

Type: Integrated stereo amplifier & DAC
Analogue inputs: 3x RCA, XLR, pre-in
Phono input: no
Digital inputs: coaxial, 2x optical, USB, HDMI eARC
Analogue outputs: sub out RCA, pre-out RCA
Bluetooth: aptX
Headphone output: 6.3mm jack
Speaker outputs: 2x 5-way binding posts
Power Output: 100W into 8 ohms; 155W into 4 ohms
Dimensions (HxWxD): 115 x 430 x 341mm
Weight: 12.8kg
Warranty: 2 years

Price when tested:
£1,999
Manufacturer Details:

Cambridge Audio
T: +44(0)20 7940 2200
http://www.cambridgeaudio.com

Type:

integrated amplifier & DAC

Author:

Trevor Butler

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