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Cambridge Audio opposes the smart device obsolescence trend by delivering free firmware updates instead of discontinuing features on older Smart Audio products.
The update adds Spotify Connect with Lossless audio, Amazon Music HD, and newly introduced Qobuz Connect to devices up to 12 years old.
Network streamers using StreamMagic platform generations 2 and 3, dating back to 2014, remain fully supported and compatible with current apps.
What makes Cambridge Audio’s stance technically noteworthy is not the headline feature list, but the fact that the underlying StreamMagic architecture has evidently been designed with long-term protocol agility in mind. Streaming services are not simple “apps” bolted on top; each integration requires ongoing certification, API compliance, DRM handling, and often increased processing overhead. Keeping legacy StreamMagic hardware compatible suggests that Cambridge selected SoCs, memory allocations, and network stacks with significant headroom—something many competitors optimized away to shave costs. In audiophile terms, this is closer to over-spec’ing a power supply so the amplifier never runs out of current, rather than designing to the bare minimum and hoping nothing changes upstream.
The contrast to discontinued platforms like Bose SoundTouch is instructive. Bose’s approach leaned heavily on cloud-mediated control and proprietary service layers, which become liabilities once backend support is withdrawn. Cambridge, by comparison, appears to rely more on local device intelligence and service-native control paths (as seen with modern “Connect”-style handoffs), reducing long-term dependency on centralized infrastructure. From a signal-path perspective, this also minimizes unnecessary resampling or app-level audio handling, preserving bit integrity until the DAC stage—an aspect often discussed in audiophile circles but rarely prioritized in mass-market smart audio.
There is also a sustainability angle that goes beyond marketing rhetoric. Extending functional lifespan through firmware requires internal engineering resources that could otherwise be spent pushing new hardware cycles. That Cambridge continues to allocate those resources implies a belief that a stable digital transport—clocking, buffering, and network isolation sorted years ago—does not suddenly become sonically obsolete. In an industry increasingly defined by disposable “smart” features, StreamMagic’s longevity reads less like nostalgia and more like a quiet endorsement of modular, service-agnostic digital audio design.
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