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In order to appreciate the true significance of the Melomania Touch, a (very) quick history lesson: Cambridge Audio’s inaugural set of headphones weren’t just the British audio outfit's first truly wireless earbuds, they were its first earphones of any description. As such, they shouldn’t by rights have been as good as they were. Those talented headphones – named Melomania 1 – burst onto the scene in the carefree summer of 2019 with a detailed, expansive sound that belied their bashful aesthetic and price-point and scooped up What Hi-Fi? Awards two years on the bounce.

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Given the considerable success of its debut headphone proposition, it is surprising that the firm’s design engineers have chosen to consign it to history and go back to the drawing board for a second stab at the true wireless market. At first glance, the next-generation in-ears are recognisable in name only, in that the Melomania prefix has been retained.

Also surprising is that while a new transparency mode promises to feed ambient noise in when you want it, noise cancelling doesn't feature. The company has instead concentrated on applying its own hi-fi grade amplification to the headphones in what it is billing a “unique High Performance Audio Mode”.

Having launched the Melomania Touch at just £10 ($20) more expensive than the older iteration’s original asking fee, has Cambridge Audio knocked it out of the park yet again, or are we about to cast them on the disappointing sequel pile like a Blu-ray disc in the January sales?

Build and comfort

A single line of five little LED lights on the case to denote the remaining battery life might be the only visual similarity we can draw between the original Melomania 1 and the new Melomania Touch headphones in our palm. The case itself is now pill-shaped, opens like a suitcase (rather than a backpack or box of dental floss) and is clad in microfibre leather. 'Cambridge Audio' is now inscribed on the buds and the case too, alongside the spherical branding, and the buds themselves are teardrop-shaped – the result of crafting using the datapoints from more than 3000 pairs of ears, apparently.

The six sets of eartips provided span three sizes – you get two sets each of small, medium and large – but they are silicone only; there’s no longer a memory foam option. You do also get three sets of separate fins in total, which are fussy to fit but do aid security and sound quality when you get it right. We downsize once and are all set.

Unlike the novel bullet-shaped Melomania buds we grew to love, Cambridge Audio’s new driver-housing is a shape with a proven track record – it’s not dissimilar to the Sennheiser Momentum True Wireless 2 – and it’s a solid step in the right direction. The buds feel comfortable, secure and relatively light in our ears.

The drivers here are bigger than those in the original Melomania 1 by 1.2mm, and bigger than those in the Award-winning Sony WF-1000XM3 by a millimetre precisely. Inside each overhauled Melomania Touch unit, you now get a 7mm dynamic driver with Graphene-enhanced diaphragm, rather than the 5.8mm Graphene-enhanced diaphragm found in the originals.

It is slightly disappointing to see that while the Melomania 1 carried an IPX5 rating (meaning both case and buds can resist a sustained, low-pressure water jet spray from multiple directions), after completely reworking the design, Cambridge Audio engineers have released a model that carries only a splash-resistant IPX4 rating.

While these are hardly billed as headphones for sports use, it might be nice to know that a particularly sweaty spin class or a spell in a storm won’t hurt them, especially when cheaper 2020 models now carry an IPX7 rating – meaning they can be submerged for up to 30 minutes in water at up to a depth of 1m without issue.

When wearing such a design – a teardrop shape without a ‘toothbrush stem’ – fitting them is a case of sliding them in, then twisting to lock the earfins in and get a decent seal. The problem is that this involves touching the buds, and because the entire top surface of the unit is touch-sensitive, we find ourselves inadvertently stopping and resuming playback when fitting them and, when trying to lock in the fit, upping or lowering the volume – often to uncomfortable levels when touching the right earpiece.

The touch controls can be customised or turned off entirely in the app, but that seems a shame. It’s far preferable to have on-device controls, but here they’re really quite awkward. It’s not that they’re unresponsive – far from it. Even when trying our best just to handle the very outer edges of the earpieces during testing, we find ourselves pausing playback in error. Fiddly on-device controls are hardly an issue unique to the Melomania Touch, but nevertheless it’s our job to notice.

Pairing is not the hassle-free experience we’d hoped for, either. Despite making sure both earphones are flashing blue/white and are thus ready to pair, we select ‘Melomania Touch L’ (where ‘Melomania Touch R’ is also an option) in our phone’s Bluetooth list, and are assured both buds will now pair – once we have accepted the right bud’s request to do so. Only, this doesn’t happen. We get sound only from the left earphone, and the app registers the presence and battery life only of the left earpiece.

After a few tries we remember that, helpfully, Cambridge Audio has supplied a bright yellow card underneath the case in the box, explaining how to reset its product and start again. It’s almost as if this is to be expected. While we might have turned a blind eye to such connectivity snafus even 18 months ago, it seems a disappointing stumbling block in 2020 – especially when Award-winners such as the considerably cheaper Earfun Air handle pairing (and re-pairing) after charging with ease.

Features

The Melomania Touch's battery life looks outstanding on paper. 50 hours is the claim (nine hours from the buds plus more than four full charges from the case, before it too needs charging via the USB-C port), thus upping the 45-hour total playtime of the inaugural model. But there’s a catch – those figures are for Low Power Mode listening.

Cambridge Audio claims its new default High Performance Audio Mode uses the same method of amplification found in the company’s award-winning CX range of hi-fi amplifiers. The promise is of lower noise levels and a higher dynamic range – again, it sounds impressive, but to get it you take a hit in terms of stamina. In High Performance Audio Mode, the claim is seven hours of battery life from the earbuds, plus up to a further 33 hours via the charging case. While still competitive, the keen-eyed will notice that this is five hours under the firm’s own Melomania 1.

We decide to switch between High Performance Audio to Low Power mode, but can’t help thinking as we do so (it’s a somewhat lengthy process, with the app urging you not to leave the page while the transition is completed) that anyone purchasing a set of Cambridge Audio headphones will do so based on the promise of superior sound quality. As such, a proposition that downgrades this in return for a maximum 10 hours of lower-quality playback feels counter-intuitive. Our right earpiece makes the transition first, turning off and then back on once switched over. The left earpiece follows. A few minutes later, we should’ve made the change to Low Power Mode, but the app crashes before the switch in our last earpiece has been finalised – twice, and with two different samples of earbuds.

Once we eventually manage to achieve Low Power, we hear a modicum of noise in the background compared with High Performance Audio Mode. It’s barely audible, and while the sound is still otherwise musical and passable, we are left wholly unsure whether such a feature is advisable given our success rate – other than to win battery bragging rights over the predecessor, when it works.

The new Melomania app looks slick, is well-designed and here you are getting a wealth of extra perks for the money, all of which perform with far greater reliability in our tests. On the app’s hub page, you can see battery life in each individual bud, activate Transparency Mode (which has a percentage slider from 0 to 100 from very little ambient noise to maximum external noise pickup, and is very effective) or select ‘Find My Earphones’ if you’ve misplaced them.

There are six distinctive EQ presets, or you can create your own custom five-band EQ setting and save up to three of them. There’s a lot of enjoyment to be found toying with them, and the Transparency Mode in particular – which can also be deployed with a triple-press of either earpiece – is useful if you’re waiting on a train platform and listening for an announcement about a delay to your journey.

Otherwise, the spec sheet reads well, albeit devoid of aptX HD support, with the same cVc noise-cancelling mic as the Melomania 1 in each bud plus Bluetooth 5.0 with aptX, AAC and SBC codecs – although you can actually switch off any codecs you never want to hear again in the Melomania app, if you’d like. During phone calls, we find the mic pickup clear and the call quality very good.

Sound

Once the earphones are paired, situated in our ears, and with most controls toggled off, (for our tests, we reset all EQ settings to ‘Balanced’ or neutral) fans of the original Melomania 1 will find much to enjoy sonically in the updated Melomania model. Expect similar levels of attack and agility – the Melomania Touch earbuds dutifully celebrate the electric guitar solo and Richie Sambora’s Dunlop Heil HT1 talkbox solo at the outset of Livin’ on a Prayer, but it’s never at the expense of the twinkling chimes at the start of the track.

Here We Are Juggernaut by Coheed and Cambria allows the Melomania Touch to display their talents further in a cohesive, detailed mix, and while there’s a slightly more bass-heavy presentation to be gleaned from the Sony WF-1000XM3 (our reference set of class-leading headphones, albeit one level up), you’ll actually get a bit more bite and dynamic build from the Melomania Touch proposition. It’s a case of marginally less refinement but more zeal – the kind that makes our music exciting.

Kings of Leon’s Use Somebody makes us aware that when compared with the Sonys, the newer and cheaper product offers a slight step up in terms of timing, too. The new Melomania are faithfully nippy and agile, especially when it comes to the lower registers, where they actually offer a marginally more accurate representation than the Sony Award-winner. When it comes to sonics at this level, we find ourselves scratching our heads to find an issue.

Verdict

Cambridge Audio’s new Melomania Touch true wireless earbuds offer a potentially class-leading proposition at the level sonically, which is why our persistent issues with the software and pairing are a real shame. The new design is comfortable, the app integration offers plenty of customisable tweaks over the originals, and the sound is everything we remember from the Award-winning Melomania 1.

Sadly, the fact that we had to perform several resets of the buds themselves and had to relaunch the app more than once to complete the promised audio functions means we’re unable to recommend them confidently as things currently stand.

We truly hope we can look at these again soon because, true to form, Cambridge Audio has given us much to celebrate in the sound department.

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SCORES

• Sound 5
• Build 3
• Features 3

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Read our Beyerdynamic Amiron review

Cambridge Audio is a British manufacturer of high-end audio equipment. As the name suggests, it has its origins in Cambridge, England, where in the early 1960s a group of young technology graduates established a high-technology R&D and prototyping business: Cambridge Consultants.

Company history[edit]

Origins[edit]

Cambridge Audio began life as a division of Cambridge Consultants in 1968. The company's first product was the 2 × 20W P40 integrated amplifier, which was created by a team that included Gordon Edge and Peter Lee. In addition to an advanced technical specification the P40 had a slim case design by Roy Gray, from Woodhuysen Design.

The P40 would also make history as the first amplifier to use a toroidal transformer,^[1] which would go on to be a standard component inside virtually every high-end amplifier produced since.

Cambridge Audio became a standalone business from the group when a new company, Cambridge Audio Laboratories Ltd, was formed, operating from extensive premises alongside the old Enderby's Mill in St. Ives, Cambridge. The P40 was an immediate success, but would prove difficult to manufacture in any volume, a problem that would be resolved in 1970 with the introduction of the new 2 × 25W P50 model, which was a very similar product with regards to both circuit design and appearance, but had been engineered for mass production. Despite strong sales and rapid growth, the company required increased investment and so was sold in 1971 to Colin Hammond of CE Hammond & Co Ltd – then a very successful distributor of Revox tape recorders and other audio products in the UK, Canada and the USA.^[2]

A new company, Cambridge Audio Ltd, was formed, with leading UK electrical engineer Stan Curtis joining as the organisation's technical director. The St. Ives factory was extensive and at its peak employed more than 300 people. Most of the required components were made under one roof including the circuit boards and the aluminium cases. All transistors were made to CA's specification and even carried the company's own part numbers. Every product was extensively tested after manufacture and a printed certificate was produced for every individual unit detailing the actual measured performance results.

1970s[edit]

1971 also saw the introduction of Cambridge Audio's first loudspeaker with the launch of the R50 transmission line speaker, designed by Bert Webb and also produced at the St. Ives plant.

In 1972 new models included the P100 and P50mkII integrated amplifiers, the R40 transmission line loudspeaker and the T50 FM stereo tuner.

Export sales had also begun and were proving very buoyant, in part due to the introduction of export-only products, including the TL100 and 200 transmission line speakers, the P75X integrated amplifier and the T75X stereo tuner.

Stan Curtis put together a new team and re-designed the existing products as well as introducing a raft of new models. 1973 saw the introduction of the P110 integrated amplifier and the company's first turntable, while the P140X integrated amplifier was introduced for export markets.

Other innovations included the design of what was believed to be the world's first digital tuner, the T120, which worked well but proved impractical for volume production.

A major change occurred in 1974 with the introduction of the P60 integrated amplifier, which was designed to be not only better performing than the existing models but also significantly easier to manufacture and therefore at a lower cost. The P60 sold in large numbers and became the best-selling Cambridge model to date with a weekly production run of more than 400 pieces.

Also new were the PA100 dedicated power amplifier, the R40mkII and R50mkII loudspeakers, the P80X integrated amplifier and the TL200mkII loudspeakers for export markets.

Probably the most significant new product arrived in 1975 with the launch of the Classic One 2 × 25W integrated amplifier, one of the first to feature a new circuit design from Cambridge Audio and with much of the circuitry contained in custom-made integrated circuits – another world's first – and using multi-layer boards for the first time.

The first production batch was to be followed by the Classic Two amplifier of similar performance, but offering 100 watts per channel output. Such plans were however soon abandoned with the closure of the St. Ives factory as CE Hammond & Co decided to merge their production assets for all their many businesses into one extensive factory in Byfleet, Surrey.

Many of the experienced Cambridge Audio production team also left the business at this time and after some production issues at the new facility the decision was made to abandon the relatively complex Classic Series in favour of an updated version of the P60 called the P80.

Cambridge Audio ceased to be a priority in the CE Hammond empire and sales declined, until in 1980 the business was sold to Vince Adams, a successful UK hi-fi entrepreneur at the time.

1980s[edit]

The business was relaunched as Cambridge Audio Research Ltd. with former technical director Stan Curtis charged with designing a new line of products.

The new range had styling echoes of the original Cambridge products, but broke with tradition by being physically larger, starting with the P35 integrated amplifier launched in 1983, closely followed by the C75 preamplifier and A75 power amplifier. Financial difficulties for the parent company in 1984 led to Cambridge Audio Research being taken over by Stan and Angie Curtis and renamed Cambridge Audio International. The company moved back to St. Ives in Cambridge.

The next four years saw a rapid expansion of the business with over 16 new products being launched and with export markets re-established in over 28 countries across the world. The amplifier range – C75mkII preamplifier, P40, P55 integrated and A250 power amplifier – received excellent reviews.

In 1985 a major innovative step was made with the launch of the CD1, the world's first two-box CD player. At the time this CD player was widely recognised as the best player available and its design featured many new ideas and a ground-breaking specification. Apart from putting the DAC stages into a separate case, the transport was mounted on a lead beam suspension to reduce disc reading errors; a unique audio stage offered the choice of six alternative playback filters; and the digital-to-analogue conversion was performed by six matched DACs to give linearity down to −120 dB at a time when most players were only linear down to about −94 dB.

The CD1 soon became a three-box player with the arrival of a Quality Assurance Module, which monitored all the errors on the disc and quantified those that could not be corrected. This proved popular with many audiophile enthusiasts and also with specialist record companies around the world. The player used Philips' digitally filtered 14-bit 4x DACs, but with a difference: three DACs were used per channel, two in parallel and one for ranging, rounding the result up to 16 bits overall. While the CD1 remained an audiophile player, there was also demand from both customers and distributors for a more affordable model, which arrived in 1986 with the launch of the CD2. At the time many of the best CD players still used a 14-bit, 4 times oversampling conversion technique, so the Cambridge Audio team set out to achieve a step change in performance by offering for the first time a model with 16-bit 16 times oversampling: a massive improvement in the resolution of the fine detail on the disc. Magazine reviews were outstanding and the company found itself in the enviable position of being back-ordered by six months even before the first unit was delivered.

A new C50 pre-amplifier and A50 power amplifier were introduced and by 1987 – on the back of the success of the new products – turnover had grown to £1M per annum.

The next CD player to be introduced was a mark II version of the CD1. This was launched at the Consumer Electronics Show in January 1988.

Like its predecessor it was a two-box player, but it incorporated a radical 16-bit 32 times oversampling conversion technology derived from that used in the CD2. Production was very limited in volume as the company decided to focus on the mainstream Cambridge Audio product line.

The continued expansion of the company put a strain on both its physical and financial resources and at the end of 1988 Cambridge Audio became part of the Hi-Fi Markets Group. The product range underwent another significant change in appearance with the low profile black cases giving way to full height cases finished in a neutral grey colour. Internally though, the existing Stan Curtis circuit designs were retained with key new product launches for the DAC2 and DAC3 digital-to-analogue converters and the T40 FM tuner.

Within two years Cambridge Audio was purchased by the Wharfedale company, best known for its loudspeakers, which set up a production line at its large facility in Leeds, Yorkshire.

Wharfedale was undergoing major re-organisation by a team that included Stan Curtis. Despite his sentimental attachment to Cambridge Audio, he realised the company needed a new home that could focus on the electronics and so the decision was made to divest Cambridge Audio and in 1994 the company would be sold for the last time before beginning more than 20 years of growth, innovation and profitability.

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Audio Partnership[edit]

The purchaser of the business in 1994 was the newly-established Audio Partnership, which was formed by two entrepreneurial businessmen, Julian Richer and James Johnson-Flint, who were already enjoying significant success with audio retailer Richer Sounds.

Cambridge Audio Asio Driver

Audio Partnership was specifically formed to look for opportunities in acquiring under-developed brands with the intention of providing the investment to allow stability and growth, both in the UK and overseas. Target companies would be ideally British brands that had already developed exceptional technical and design credibility and popularity, but had been lacking in resources or funding to be consistent market leaders in the UK or other markets.

Cambridge Audio was considered a perfect fit and became the company's first acquisition and remains Audio Partnership's prime focus some 22 years later.

A key element in the purchase of Cambridge Audio by Audio Partnership was the determination that the brand would continue as a true creator, developer and manufacturer of its own dedicated products. From the start of this new era the company was committed to the idea that Cambridge Audio should continue to create ground-breaking, original and proprietary technologies.

From the first day of ownership, work commenced to build an in-house engineering team starting with mechanical engineering and industrial design while exclusive contracts were signed with the most prominent and successful freelance audio electronics engineers of the day, including: Mike Creek of Creek Audio, John Westlake and the engineering team at Pink Triangle (audio manufacturer)

1990s[edit]

One of the first products to benefit was the DacMagic 1 digital-to-analogue converter, which was launched in 1994 – and later, as Dacmagic 2, was Cambridge Audio's first outright What HiFi? Awards winner as the best DAC of the year.^[3] Another product was the launch of the A1 amplifier in 1995, which was initially only available the UK. Consequently, the A1 integrated amplifier was a success both in the UK and on this high the company began to rebuild Cambridge Audio's international network, adding new distributors in France, Canada, the US, Hong Kong, Germany and Denmark.

The A1 would stay in production – latterly as the MKII and MKIII versions – for more than a decade, becoming one of Cambridge Audio's more popular products with more than 200,000 units sold.

In 1999 the company launched the first Cambridge Audio web site while also moving into the home cinema market with the V500 Dolby Digital Decoder.

1999 also saw the S700 Isomagic, combining a DAC with an isolation platform to mount a CD player and other electronics. The S700 was also the world's second DAC to be compatible with the then new HDCD format, after Pink Triangle's Dacapo DAC, whose HDCD implementation was developed in partnership with the inventor of HDCD, Pacific Microsonics.^[4]

2000s[edit]

The creation of a complete in-house team also allowed Cambridge Audio to begin work on its first coherent range of products, culminating in the launch of the Azur series in 2003.

The Azur range featured seven models designed together as an identifiable family that included the 340A, 540A and 640A integrated amplifiers. There were also 340C, 540C and 640C CD players plus the 640T DAB/FM tuner.

2005 saw the introduction of another product with the launch of the M1 touch screen 8-in-1 remote control. Also by 2005, Cambridge products could claim to be on sale in more than 50 countries worldwide.

2006 was another key year in the development of the Cambridge Audio brand with the introduction of the Azur 840A integrated amplifier, 840E preamplifier, 840W power amplifier and the 840C CD player, the first products that the company described as 'affordable' high-end audio.

The 840A integrated amplifier also introduced Cambridge Audio's Crossover Displacement (Class-XD Amplifier) design, which combined the performance of a class A design with the efficiency of class AB. The technology would go on to help the 840A be selected as the 2007/2008 two-channel amplifier of the year at the prestigious EISA Awards.^[5] The 840C was the first product to feature another new technology that Cambridge Audio had developed with Swiss-based Anagram Technologies, Adaptive Time Filtering (ATF) up-sampling.

ATF up-samples any digital signal – such as CD's 16-bit 44.1 kHz – to a 24-bit, 384 kHz signal, which presents a much more accurate audio soundwave.^[6] Both Class XD and ATF remain proprietary technologies only found on Cambridge Audio high-end products.

2006 also saw Cambridge Audio launch the first truly affordable music server, the Azur 640H, a networked CD player that also featured a 160 GB hard disc.

2010s[edit]

2010 saw another product with the arrival of the first Minx loudspeakers, designed as a sub/sat system, but with the emphasis on sound quality.

BMR technology uses a single flat panel to produce an ultra-wide range of frequencies, eliminating the need for a separate tweeter and mid-range driver.^[7]

2011 was another landmark year for Cambridge Audio with the introduction of the NP30, the brand's first network music player using Cambridge Audio's proprietary StreamMagic streaming platform.^[8]

The core IP for the StreamMagic platform, a joint development between Cambridge Audio and Cambridge-based technology company Reciva, brought Internet radio to Cambridge products for the first time.

One consequence of the close cooperation with Reciva on such a strategically important technology was Cambridge Audio agreeing to acquire the company's IP in 2011 as well as taking on the company's software team and establishing a technology hub in Cambridge responsible for the ongoing development of the StreamMagic platform.^[9]

The StreamMagic platform has continued to be developed in the subsequent period and has gone on to power some of the company's products including StreamMagic 6 introduced in 2012 and the Minx Xi introduced in 2013.

The 840 Series was given a thorough update in 2012, with the new 851 series taking a significant step upmarket for both build and sound quality.^[10] The range launched with the 851A integrated amplifier and 851C CD player/DAC but would go on to include the 851E and 851W pre- and power amplifiers, the 851D dedicated high-end DAC and the 851N network player.

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The 851A and 851C would also win Cambridge Audio their second EISA Award as the Best Two Channel System in 2012–2013.^[11]

Harking back to some of Cambridge Audio's earliest products, the new range of Aero bookshelf and floor-standing loudspeakers were launched in 2013 and again made use of BMR technology, but in a new third-generation proprietary version.

With the BMR driver covering both mid-range and high frequencies a much simpler and less intrusive crossover could be used lower in frequency in a region where the ear is less sensitive. The result was lower distortion and a more cohesive, immersive and better-distributed sound – which integrated particularly well when used as a 5.1 system with the dedicated AV products from the range.^[12]

The Aero range enjoyed won What Hi-Fi?Sound and Vision magazine's Best Speaker Package of the Year award in both 2013 and 2014^[13][14] as well as pride of place in a key What Hi-Fi? AV reference listening room system. The Aeromax range followed in 2014, using new in-house developed fourth generation BMR drivers, improved cabinet construction and upgraded crossover components.^[15]

2013 also saw a major new development for the brand with the introduction of the first wireless speakers,

initially with the mains-powered Minx Air 100 and Air 200 products, closely followed by the battery-powered Minx Go speaker.

The wireless speakers would introduce Cambridge Audio to a new more mainstream audience; in particular, the Minx would become the brand's fastest selling product.

Reaching a new customer base would also require Cambridge Audio to adjust its distribution model, with direct sales from the company's web site beginning in 2014. In the same year UK retailer John Lewis also partnered with the brand.2015 would see a completely new range introduced with the launch of the CX series, the result of Cambridge Audio's largest investment in a product range and representing a significant step forward in terms of product design, build and sound quality.^[16] The new CX Series included: the CXA60 and 80 integrated amplifiers, the CXC CD transport, the CXN network music player, the CXU universal Blu-ray player and the CXR120 and CXR200 AV receivers.

Cambridge Audio Usb 2.0 Driver

The CX Series was launched to huge critical acclaim, in particular the CXA60 and CXN were voted Product of the Year at the 2015 What Hi-Fi? Awards,^[17][18] with the CXC also winning Best CD Transport under £500^[19] and the CXU winning the Award for Best Blu-ray Player £300+.^[20]The success continued for a second year at the 2016 What Hi-Fi? Awards, when the CXA60 retained its crown as the outright amplifier of the year,^[21] while the CXN won the award for the best music streamer between £500–£1000. The CX series products were joined by the 851N, which won the outright award for best music streamer 2016.^[22]

Continuing their range of wireless products, Cambridge audio partnered with Marton Mills to release Yoyo, a new range of three Bluetooth speakers revealed in September 2016.

2020s[edit]

Cambridge Audio announced the release of the Melomania 1, a bluetooth wireless earphone in June 2019. The Melomania 1s had reviews from WhatHiFi?^[23]Techradar^[24] and Forbes.^[25] The difficulties of getting a good fit in the ear were noted.

Manufacturing and the company today[edit]

Audio Partnership set up production facilities in China, with Cambridge Audio products manufactured in the country from 1994.

The company established an office in Hong Kong in 2001 and an office in mainland China in 2011, allowing Cambridge Audio to have its own production and QC engineers on site. Sales offices and teams were established in Germany and Hong Kong in 2015.

Investment in new products continues and the company now employs 91 people including an in-house engineering team of 24, based at the Cambridge Audio HQ in London, SE1 and at the company's Cambridge base.

Cambridge Audio Azur 851d Driver

The current annual turnover is in excess of £20 million.^{[citation needed]}

References[edit]

1. ^Colloms, Martin (2009). 'HiFi Critic Vol 3 issue Number 4'. HiFi Critic.
2. ^Cotton, Charles (May 2012). The Cambridge Phenomenon.
3. ^What Hi-Fi team (1996). 'The year's best hi-fi'. What Hi-Fi?.
4. ^http://www.uhfmag.com/Issue61/Isomagic.html
5. ^'www.eisa.eu'. Archived from the original on 14 September 2016. Retrieved 8 September 2016.
6. ^Harley, Robert. 'CAMBRIDGE AUDIO AZUR 840C CD PLAYER'. The Absolute Sound.
7. ^'Cambridge Audio'.
8. ^'Cambridge Audio'.
9. ^'Home'. What Hi-Fi? Sound and Vision.
10. ^'The Latest Flagship Components From Cambridge Audio'. Tone Publications.
11. ^'EISA'. Archived from the original on 14 September 2016. Retrieved 8 September 2016.
12. ^'Cambridge Audio Aero 5.1 review'. What Hi-Fi?.
13. ^'Whathifi.com/awards'.
14. ^'Whathifi.com/awards'.
15. ^'Cambridge Audio'.
16. ^'Cambridge Audio'. 26 August 2017.
17. ^'Whathifi.com/awards'.
18. ^'Whathifi.com/awards'.
19. ^'Whathifi.com/awards'.
20. ^'Whathifi/awards'.
21. ^'2016 Stero Amplifiers'. What Hi-Fi?.
22. ^'Best Streamers 2016'. What Hi-Fi?.
23. ^June 2019, What Hi-Fi? 27. 'Cambridge Audio Melomania 1 review'. whathifi. Retrieved 8 September 2020.
24. ^February 2020, Olivia Tambini 04. 'Cambridge Audio Melomania 1 review'. TechRadar. Retrieved 8 September 2020.
25. ^Sparrow, Mark. 'The Melomania 1 True Wireless Earphones From Cambridge Audio Sound Superb, And They'll Play For Up To Nine Hours On A Single Charge'. Forbes. Retrieved 8 September 2020.