When I started out in this hobby, I was part of that club, with a turntable and tape deck. I hardwired my TV’s audio output to the auxiliary input on a Marantz receiver and enjoyed “stereo” movie sound. The Arcam SR250 Stereo AV Receiver is just a more sophisticated and powerful update to that scheme. Unlike most other stereo receivers, the Arcam SR250 has two features that set it apart from the competition; Class G amplification, which provides Class A sound quality with ample reserves, and Dirac Live room correction.

If you are like me, your spouse has allowed you your own room in the house where you can indulge your audio and videophile fantasies. Some of you call it your “man cave”, but I prefer “multimedia room”. The point is, you may only have this one space for both movies and music. Most have the music room setup for stereo listening, either with digital or analog sources, but the new Ultra HD TV you got for Christmas is also on the wall in this room and you want to hear it over your system and not the tiny built-in speakers. Since you have chosen not to go with a full 5.1 surround system and want to keep things simple, you chose to run it through your receiver, but alas, your older receiver doesn’t do 4K. The Arcam SR250 Stereo AV Receiver is designed for you. Now you can watch the latest 4K movies and still enjoy listening to your stereo music without having to purchase a multi-channel receiver.

So why would you consider a two-channel home theater product? The thought seems a bit strange at first, but as I spent more time with the SR250, I began to appreciate its unique character and functionality. Because I have immersed myself in surround sound for over the last decade, I had forgotten that there is still a large portion of the consumer base that does not have a dedicated home theater with speakers on the side and back walls. Many people like listening to stereo sound and prefer to run their TVs through those same speakers. Why would you spend the money on a multi-channel receiver and never utilize those extra channels? Enter the Arcam SR250. Now you can have seriously decent stereo sound for your music (both hi-res and streaming) while enjoying an occasional movie with just one box.

The Arcam SR250 utilizes 90 watts per channel of Class G amplification, which in the lower power range is essentially Class A. When the demand for more power kicks in at around 20 watts, the amplifier jumps into a more traditional Class A/B amplification as multiple power supplies start adding into the mix. This allows for excellent sound, robust power, and little wasted energy dissipated into heat. The DAC chipset is Cirrus Logic’s CS42528. The SR250 weighs in at 33.2 pounds and has a very uncluttered and clean front panel made from extruded aluminum. The overall feel and heft of the SR250 gives the impression of a solid build and quality design. The dark color helps it blend nicely into a home theater décor and the florescent display is easy to read from across the room. The display can be turned off or dimmed if you find it too intrusive. Centered on the unit is a large volume knob that feels like quality. To the right and left are small buttons that control the inputs, listening modes, info, and menu navigation. Of course, all these features are included on the fully backlit remote. At the far right is a headphone jack, auxiliary input, and a power button that leaves the SR250 in standby mode when off.

Moving on to the back panel, we have seven HDMI inputs (4k HDMI 2.0a with HDCP 2.2 and HDMI 1 utilizing ARC), three HDMI outputs, six assignable analog inputs, two coaxial, and two Toslink connections, one set of analog preamp outs and two sub-woofer outputs. An Ethernet connection, Zone 2, and USB round out the back side of the SR250. The speaker terminals are solid and heavy duty five-way binding posts that are closely spaced together. For a “home theater” receiver, the back has a clean and simple layout that a novice would not be intimidated by during the setup process.

For this review, I hooked up the SR250 to my Revel F36 towers and ran the sub out to my Earthquake Audio CP-8 sub under my seating position. I connected an Xbox One S gaming console via HDMI and an OPPO UDP-203 universal disc player with Morrow Audio analog interconnects. The SR250 will automatically downmix all multi-channel signals to stereo, but will display the actual incoming format information so you know at a glance what’s going on. The real magic of the Arcam SR250 is the secret sauce; Dirac Live. This was my first foray into this room correction software and I was anxious to put it to the acid test in my room. The setup for Dirac includes the use of a supplied microphone (you have an option to provide your own, more sophisticated mic), and a laptop. The instructions were easy to follow and a typical setup can be done in about 20 minutes. Mine took an hour (I discovered I had loaded the wrong mic correction file) and it seemed that during the crucial measuring of the room response, a motorcycle club would drive past my house. It is imperative to take your measurements in a quiet room! Once I was done, Dirac displayed the speaker response curves and asked if I wanted to apply the filter for correction. After confirming this, the software loads via ethernet onto the SR250 and the corrected curves are displayed over the original curve for comparison.

The other thing that surprised me was the few days of listening it took for me to get accustomed to the corrected sound. I liked the enhanced soundstage and greater presence of the vocalists, but the dynamics seemed a bit suppressed. This was most likely because my mid-bass was probably much more emphasized prior to Dirac being applied and now I was hearing it more the way it should be for my room. In any case, as time went on, I liked it more after a few days of intensive listening. I could always dial up my bass output to taste if I wanted to at any time. Bottom line – Dirac makes the SR250 much more than just a stereo receiver. If you are listening to 4K movies on your current stereo receiver, the SR250 could be a game-changer if you are thinking of moving up to something better. Though it is not as good as a real surround setup, it opens up the sound in front of you so well that you’ll barely notice you’re watching a movie in stereo. It also will transform your stereo music catalog listening experience. Though the Arcam SR250 is not inexpensive, Dirac alone could easily justify the price of admission; it’s that good!

Running the Dirac setup from my laptop was fairly easy and intuitive. I did make a slight mistake that cost me about an hour of time, though. When selecting the microphone correction file, I chose the wrong one (hey, it was one of only two options, next time I’ll pay attention). I could not get the positions to pass the setup test, but once I discovered my error, the actual process went well and I was finished measuring all nine locations in less than 20 minutes. The mic is furnished, but the other file allows you to use your own more sophisticated mic if you have one. Once the corrected file was loaded into the Arcam SR250, it allowed you to see the before and after curves and then it allows you to customize it to your specific taste. You can toggle Dirac on and off for comparison, which is nice because the changes are pretty dramatic.

My only complaint is the volume changes when toggling, so an accurate comparison is a bit tougher to make. I found Dirac presented a much wider sound field, with a slightly more forward presentation than with it disengaged. It was definitely more 3D, but dynamics were a bit relaxed. Because you can adjust your curves or turn Dirac on and off on the fly, it makes for some fun comparisons, especially with music. I had to turn my sub down after Dirac, as it boosted the output too much, but with an SPL meter, I was able to pull it into shape quickly. (Again, I want to iterate the importance of always checking things out the old school way, with your ears and a good SPL meter. Dirac is good, but it is not always perfect). Internet radio stations and Spotify were easy to set up and navigate. Streaming stations online gives you an almost unlimited selection of music from all corners of the world. What a wonderous age we live in!

I recently acquired a few action movies on Ultra HD Blu-ray that allowed me to evaluate the Arcam SR250’s ability to reproduce the expanded sound field that Dirac was able to provide. Atomic Blond is an action spy flick that takes place during the Cold War era. The soundtrack is a hit parade of 80’s dance hits. In both instances, the action and complimentary music was presented with a broad front soundstage, with plenty of bullets and shattering glass sounds extending fully across the front of the room. Many sounds appeared to be coming from around and behind my listening area. The space between my front speakers was broadened and extended more forward with Dirac engaged and audibly noticeable artifacts.

I also recently got all five Transformer movies, and I dare any sane person to watch all of them in one sitting without their brain turning into marmalade. They have a lot of continuous high impact sound, yet its openness allowed what dialog there was to come through the cacophony clearly. The display on the SR250 showed that it was taking a surround signal and seamlessly down-converting it to stereo. Picture quality was pristine and the Arcam passed Dolby Vision HDR beautifully. This is the first processor I have used that allows me to connect to my Vizio P55 without running the video signal directly to the display. This then allowed me to hook my Xbox One S to the Arcam directly and use the SR250 as a UHD switcher, rather than changing inputs on the Vizio.

I played a wide range of music, from solo guitar to full orchestra and was pleased with the way Dirac opened up the sound. For soloists, the Arcam with Dirac moved the overall sound a bit more into the room. The sense of air and space was almost palpable. Solo voices sounded just right with the perfect balance of detail and natural timbre. Orchestral music had expansive room to breathe while maintaining detail and naturalness. The dynamics were excellent without an emphasis on any part of the audio spectrum. I enjoy my organ music, too.

Dirac did a great job simulating the huge space inside a cathedral. It was the great equalizer of sound quality and the effect it gave to my music was almost always preferred to the uncorrected version. Did it best my SACD multi-channel listening experience? No, but it made listening to stereo more enjoyable, and that’s a real win! Since multi-channel music listening is probably considered a niche, the vast majority of two-channel enthusiasts might well like the benefits of having Dirac step in and enhance their listening experience.

THE ARCAM SR250 STEREO AV RECEIVER is premium-priced, but few other components can boast its home theater chops and the enhancement of Dirac Live.

The Arcam SR250 Stereo AV Receiver is an unusual product, but it’s perfectly suited for the music lover who doesn’t want to waste money on a multi-channel receiver, but wants to occasionally be able to watch a movie on the Ultra HD TV he got for Christmas this year. Though the Arcam SR250 is not inexpensive, it offers some features that set it apart from other stereo receivers – solid build quality, Class G amplification, and Dirac Live. If you like music and movies, you can have the best of both worlds in a receiver that is ready for the future, whether it be hi-res music or Ultra HD video. The Arcam SR250 is stereo evolved… into the home theater.

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HDMI 2.1 is just around the corner and with it will come a lot of obsolete receivers. Thanks to NAD’s Modular Design Construction, one can simply swap out a circuit board to enable the latest tech in the T 777 V3. Right now, for $2499, it delivers 80 watts-per-channel with seven amplifiers, Dolby Atmos, Dirac Live Room Correction, and 4K video passthrough. Streaming aficionados will enjoy BluOS and its vast universe of content.

NAD knows it’s next to impossible to prevent receiver obsolescence; or is it? Looking at the back of the flagship T 777 V3 AV Surround Receiver reveals, one sees not a mess of useless jacks, but five card slots that offer the latest connectivity, along with multi-channel inputs, two sub outs, and two tape loops. And all those cards can be replaced to add and upgrade features. So, with that fear allayed, let’s check out what it can do today. There’s plenty of power, 80 watts-per-channel by NAD’s honest power rating. They tend to come in low; I suspect I would measure higher numbers if I had the proper test gear. And in my recent review of the T 758 V3, its 60 rated watts had no trouble driving my four-ohm Axiom speakers. Seven amp channels support Dolby Atmos in a 5.1.2 configuration, or by using the supplied pre-outs, 5.1.4 or 7.1.4 is possible. Six HDMI 2.0a inputs accept high-bandwidth signals at Ultra HD resolution with 10-bit color up to 4:4:4 at 60Hz. And BluOS is included for streamed content. Oh, and did I mention Dirac Live? That superb room correction software is also included along with the obligatory setup mic.

A few weeks ago, I reviewed the T 758 V3 and was impressed by its amazing performance for the money. The T 777 V3 has more of everything that makes that receiver great. Let’s take a look.

• NAD T 758 V3 AV Surround Sound Receiver Review
• NAD M17 & M27 Masters Series Surround Separates Review
• NAD M32 Direct Digital Amplifier Review

Since this review follows closely on the heels of my time with the T 758 V3, comparisons are unavoidable. Here it is in a nutshell – the T 777 V3 has more power, more connectivity, and more upgradability. It’s just… more. NAD’s honest power rating is 80 watts-per-channel with seven channels driven to .08% THD. I don’t have the ability to measure this but given the T 758 V3’s ability to drive my large four-ohm speakers to ear-bleeding levels while barely exceeding room temperature, I have no reason to doubt NAD’s claims. There are likely no speakers that cannot be safely and competently driven by the T 777 V3.

The seven amp channels are Class A/B tuned for high current and low distortion, supported by a toroidal transformer. Video is handled by a VM300 module and can pass Ultra HD signals in 4:4:4 format up to 60Hz. No processing is performed, the material is simply passed through unaltered from source to display. Processing assistance is provided by an ARM chip that enables streaming and video management duties. The T 777 V3 is fully compatible with BluOS and can play content through the sixth of nine assignable inputs. It also works with all Bluesound products as part of a whole-house audio solution. The module comes in the form of a USB dongle that plugs into the back.

Physically, the T 777 V3 looks identical to the T 758 V3 and is in fact, the same width and height while being about an inch deeper. It also weighs 12 pounds more thanks to that toroid and the additional card cages. The front panel is simple and contains just a large volume knob; buttons for source selection, menu, and listening mode; and an information display. To its left is a nav pad that allows many settings to be made without turning on your TV or projector. A small cover on the right opens to reveal RCA, optical, and HDMI inputs.

The back panel is a card-cage design with five slots that supports NAD’s Modular Design Construction philosophy of “planned evolution” rather than “planned obsolescence.” You will have little trouble upgrading and updating the T 777 V3 for a long time to come. While I don’t believe any product is truly future-proof, this receiver comes about as close as it can to that elusive description.

The AM230 digital audio board houses coax and digital audio inputs plus line outs for four more height channels should you want to install a full 7.1.4 Dolby Atmos system. HDMI inputs number six, five in back and one in front, along with two outputs. All are version 2.0a with HDCP 2.2, ARC, and CEC. Two additional cards carry all the analog inputs and two tape loops, something you won’t find too often these days. You also get multi-channel inputs and pre-outs for use with an external power amp. Control options are extensive with RS-232, an IR hub (one in, three out), and three 12v trigger outputs.

The photo shows all five slots populated with cards but my sample did not have the analog video board installed. That one costs extra though I can’t imagine too many users opting for it. By default, the four cards I mentioned in the previous paragraph ship with the unit.

The remote is a significant upgrade from the T 758 V3, mainly because it’s not only backlit, but motion-sensitive too. Just picking it up engages a bright blue glow behind all the buttons. It features discrete keys for power and source. Menu navigation is the middle, then you get a number pad and transport keys. It’s a learning remote too, capable of controlling seven additional devices with macro ability.

In my recent review of the T 758 V3 receiver, I spoke at length about Dirac Live and NAD’s implementation of it. One thing I failed to point out is that in that product, and in the T 777 V3, the LE version is included in the box. If you want the full package, it’s $99 extra. Both versions allow you to edit your target curves, but the Full package provides correction from 20Hz to 20kHz versus LE’s 20-500Hz. In either case though, you get full frequency impulse response correction. This, in my opinion, is Dirac’s big draw over Audyssey and other similar correction solutions. I talked about the effect of this in my T 758 V3 review and in my CES 2018 coverage where I enjoyed an amazing two-channel demo. To refresh your memory, impulse response correction involves not only setting channel delays properly, but also optimizing the phase of the individual drivers in each speaker cabinet. Keeping all transducers in phase is a concept that’s been proven in high-end speakers from the likes of KEF and Thiel who place tweeters on-axis with midrange and bass drivers to create a single-point sound source. Ultimately, quality is best when the sound from every driver in the system reaches your ears at once.

NAD includes a free download of the Dirac software plus a USB microphone in the box. To run the correction routine, you’ll need a laptop computer and a Wi-Fi network to sync everything up and run the measurements.

The T 777 V3 has sufficient speaker outputs for a 5.1.2 setup so I used a pair of PSB Imagine XA Dolby Atmos modules placed atop my Axiom LFR1100 towers as front height channels. I did not wire the rear baffle so they functioned as M100s for this review. The remaining channels were handled by a VP180 center and two QS8 surrounds. The receiver’s binding posts will accept every kind of connector including my chunky locking bananas. Once I tightened their collars down, solid contact was assured.

My single source component was an OPPO UDP-203 universal player. I wired it via HDMI to the receiver’s first input and connected a coax cable for jitter-free two-channel music. I always find a little better-quality listening that way as HDMI sometimes introduces minor timing errors. I wasn’t able to test 4K video this time as JVC asked for their DLA-RS640 back. I made do with my Anthem LTX-500 1080p display.

To configure the extra speaker modules for Dolby Atmos, I had to assign amps to them in the setup menu. That’s a fairly simple matter. Start in Amplifier Setup where you can direct the extra amps to rear surround, front height, or rear height. You can also use them for additional zones if you like. Then in Speaker Configuration, set the height channels to Dolby Enabled Front.

Since Dirac only applies frequency and impulse response correction, and sets levels, you’ll have to input the crossovers yourself. I used my usual values of 40Hz for the front three and 100Hz for the surround and height channels.

The next step is to get the T 777 V3 on the Wi-Fi network. For that, I followed the instructions in the BluOS app. That was followed by a firmware update which took about 10 minutes. Once complete, I installed the Dirac Live software and run the room correction procedure. Following the directions and performing nine measurements took me about half an hour. Everything worked exactly like it did for the T 758 V3. I wondered if I might be able to download the same correction file from that receiver into the T 777 V3 but the projects are specific to each product. I therefore went through the same measurement layout as before, and got identical results. If you’d like to see my graphs, please refer to the T 758 V3 review.

With room correction in place, it’s time for some listening!

With this review coming hard on the heels of my T 758 V3 evaluation, it’s hard not to make comparisons. I realize that a four-week gap is too long to make a fair back-to-back in terms of sound quality, but I decided to watch the same movies and listen to the same music to see if the T 777 V3 made me feel any different. Obviously, they will have similar sound characteristics but there is always an intangible something that appears when listening to really good audio gear.

Wonder Woman has a rich and dynamic Dolby Atmos encode and even though I had just two additional front height channels, the effect was easily perceived. There’s surround sound, then there’s immersive sound. The latter pulls you into the scene and delivers audio the way on-screen characters experience it. When Diana and Steve walk into a large London clothing store, the murmur and bustle of shoppers immediately enveloped me in a way not possible with just 5.1. That extra height information is subtle but it does enhance the film. Bass effects in the final showdown between Diana and Aries were so strong, they rattled the NAD’s remote backlight into action. I actually had to turn it over to avoid distraction.

Sticking with the super-hero theme, I cued up Batman v Superman, Dawn of Justice. I was particularly drawn into an underwater scene where I truly felt like I was diving for treasure. The T 777 V3 sounds amazing here and I was inspired to add more speakers to my theater for even better Atmos. Again, the bass was superbly controlled as it pounded out the action.

Jigsaw is a love-it-or-hate-it kind of film but it has plenty of opportunities for Atmos to show its mettle. In one scene, two hapless victims find themselves in a silo with grain pouring in around them as they are buried alive. I was nearly buried myself in the immersive effect caused by a simple hiss, properly placed. When mixed correctly, Dolby Atmos enhances the experience just as much as things like Ultra HD and HDR.

One note about Dirac Live: I tried watching with and without correction and was surprised at how good things sounded with it off. I still prefer the assistance, especially for the bass but the T 777 V3 delivers an amazingly balanced sound all by itself. While I would normally use Dirac, this receiver doesn’t make it a must like other products I’ve heard.

To check out the T 777 V3’s ability to play a crappy recording of a great performance, I turned to the New York Philharmonic and Shostakovich’s Symphony No. 5. The fidelity is fairly harsh and tinny with little real bass or hall reverb to help matters. Despite those flaws, the NAD had no difficulty rendering the finest details and bringing the brass and woodwinds to the fore when appropriate. Strings had a clean sound that was never mushy and I enjoyed the CD thoroughly.
A much better recording is that of Daphnis and Chloe, performed by the Chicago Symphony. Far more love was given to this exquisite performance. It just shimmers and sparkles with textures found only in French Impressionist music. Ravel was a master, not only of this style, but of orchestration and that expertise shows through, thanks to the T 777 V3.

My real epiphany happened when I spun my copy of Physical Graffiti from Led Zeppelin. My favorite track is In My Time of Dying, a blues classic and a Jimmy Page performance that will never be topped. I’ve heard this song a hundred times but the T 777 V3 introduced me to Jimmy’s amplifier in a whole new way. My Axiom towers were literally turned into a guitar amp as I could hear and feel every bit of that crunchy distortion. The NAD succeeded in creating a texture where I didn’t expect it. Tactility doesn’t only come from subwoofers, apparently. After listening a little longer, I was inspired to do something I hadn’t done in many years, remove my speaker grills. The difference was subtle but audible, and it drew me even further into the music. This is Led Zeppelin at their finest and I’ve never heard this CD sound better.

I kept going with Foo Fighters’ Sonic Highways. These talented guys love their distortion too though here, it’s a little tighter and cleaner, some might say more processed but I love it just the same. I changed my front speakers to Large in the OSD to remove the sub from the equation and found I loved it even more. My LFR1100s are capable full-range towers and the T 777 V3 made them shine. By the time I finished my long, wonderful afternoon of listening, I came to the realization that this receiver is easily the best NAD receiver I’ve heard to date. “Wow” just doesn’t do it justice.

The NAD T 777 V3 AV SURROUND SOUND RECEIVER delivers high-end performance at a mid-fi price. With easy upgradeability, it has few equals at this or any price point.

I’ve talked in the past about the divide between receivers and separates. I’m a separates snob for sure and I really enjoy the power and in-your-face presentation of my Emotiva amplifiers. The NAD T 777 V3 is the first receiver I’ve ever heard that challenges that snobbery. In all honesty, if someone switched my gear and I walked into the room blindfolded, I doubt I could tell anything had changed. This receiver is truly that good. At $2499, it certainly qualifies as a flagship. But it should be noted that there are high-end receivers that cost more without delivering superior sonics.

Feature-wise, it may not have dozens of listening modes or a zillion streaming options but with BluOS, what more could one need? There are thousands of music and content feeds out there, all at your fingertips thanks to the app. And with Dirac Live room correction, it has a tweakability that easily outpaces other solutions. After hearing it and the T 758 V3, I’m just looking for an opportunity to replace my trusty but aging Integra processor and its Audyssey system.

The NAD T 777 V3 AV Surround Sound Receiver can easily compete with and replace separates. It will drive demanding speakers and has more than enough headroom to play loud without distortion. HDMI 2.0a supports the latest 4K video with 10-bit color and HDR. And you needn’t worry about obsolescence. Modular Design Construction makes the T 777 V3 about as future-proof as any product can be. It might even be the last receiver you ever buy. Once you’ve heard it, I think you’ll agree. It earns my Highest Recommendation.

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Their R-N303 is the least expensive of their two Network Stereo Receivers, retailing for $349. Its big brother, the R-N803, sells for $799.

The Yamaha R-N303 features connectivity with AirPlay®, Bluetooth®, Ethernet, Wi-Fi®, Wireless Direct, and a phono stage. So you should, in theory, be able to play music from pretty much any source. I put all of those to the test with the R-N303 for this review.

That’s quite a list of promises, especially for an integrated amplifier selling for $349. I use AirPlay®, Bluetooth®, Ethernet, Wi-Fi® in my house, and turntables. I have begun integrating the R-N303 into my home with a few budget source components to see how it delivers on these promises. I intended to determine what kind of sound quality I could achieve with a system built around the R-N303 and budget components. I also set out to test its wireless capabilities.

With an its all-black chassis, the R-N303 has a utilitarian look to it; of course, at this price point, you can’t expect too much. You interact with it with two rotary dials and nine buttons. The volume dial has a satisfying heaviness to it when you adjust it, but the Select dial, which you can move left-to-right and push in, does feel somewhat flimsy. When you push in the Select dial, the receiver’s front metal skin flexes. But it weighs sixteen pounds, which lets you know that it has some decent metal under its skin.

I straddle both sides of the HiFi fence. Most of my audio hardware was built in the 1970s, back when the very idea of playing without wires, let alone holding a conversation over a telephone without a cord, was the stuff of science fiction. But here we are on the 2010s, and the ever-expanding portion of the universe of music listening has moved away from copper wiring toward the air waves.

My house is built within an Apple, Inc. ecosphere. Most of the computers and portables used for entertainment in my house are Apple products. I have been involved in computer support since 1989 and have held four Apple, Inc. certifications. But when I get home from work I’m not too keen on spending my precious free time trying to get computers and portable devices to work. And if I have to do it, it had better be easy and intuitive. So, at first, I set out to set up the Yamaha R-N303 in my bedroom with some entry-level components and get it playing nicely with my existing network infrastructure.

So first, I did some listening the old-fashioned way, by connecting some old-school physical components to the Yamaha with wires. I connected my trusty Technics SL-1200MK2 turntable, Pioneer SP-BS41 speakers, which retailed for around $120US, and a Sony DVP-NS300 DVD player I bought at a garage sale for $10 about a decade ago. I used BlueJeans speaker cables, some silver RCA interconnects, and a coax digital cable to tie it all together.

First, I connected the Sony DVD player to the Yamaha with both RCA and coax digital cables; it’s nice that the Yamaha has that option. So in went a CD and the reviewing began. Switching between RCA and coax did reveal a difference. The sound through the coax was more open and sharp than the RCA cables. Blame it on cables, the time of day, or the recording, but the sound from the coax input was more fun than that from the RCA.

The Yamaha did have enough power on tap to get the Pioneer speakers engaged; there was plenty enough volume and heft to fill my bedroom with music without it getting too boomy. While the Yamaha did not reproduce much, if any, of the air and soundstage available in the recordings, it did put out enough power to make the reproduction sound engaging. Which is more than you could ask for from a receiver you’d put in an apartment or dorm room.

Saxophones and both acoustic and electric bass feature heavily in this music and the Yamaha did a pretty good job portraying timbre properly. There wasn’t much of the air around the instruments or recording space to be heard, however. But the system made me miss catching a funky brass band in the sweaty Maple Leaf Bar with an Abita beer in my hand in my native New Orleans, and there ain’t nothing wrong with that. I mean it done brought the funk.

I then auditioned the Yamaha with my Shure SRH840 headphones. I noticed that the Yamaha will disable its speakers if there are headphones plugged in, which is a nice touch. The Yamaha made enough power to drive the Shure headphones, and I spent quite a few hours getting lost in the music with my cans on. Tiny pet peeve: I often like to listen to music on headphones in total darkness. Even though the R-N303’s remote will let you dim its LED display, you cannot dim its amber power light.

The Yamaha R-N303 gives you quite a few ways to play music wirelessly. You can choose either Bluetooth® or WiFi (or Ethernet, if you want to forgo wireless altogether), and from there choose which software and source you’ll use to play your music. The manual included with the receiver covers this well and I encourage you to download and read it from Yamaha’s web site.

I keep a library of FLAC files on my iMac which I play on my network with Plex through the DLNA (Digital Living Network Alliance) protocol. As an aside, using Plex to configure a computer to play music over the DLNA protocol couldn’t be easier: install Plex, point it at a directory or two where you store your music, or movie, or picture, files, and you’re on your way. Then any device you have that can recognize DLNA servers will see your stuff and you can play it over that device. My Oppo BDP-105 and UDP-205 will see DLNA servers, and both of my Apple TVs can run Plex, so it’s pretty much set-it and forget-it.

Before I tried to use the R-N303 via Bluetooth®, I ensured the unit’s wireless antenna on the back was pointed upward to get the best possible reception. It was fairly straightforward to get an iPhone or iPad to play music over the Yamaha via Bluetooth®. The sound quality did not suffer when played that way.

The face of the unit includes a two-line LED readout. In order to get the unit to join a network you must interact with the unit’s software with the remote control with output displayed on that two-line LED readout. As you can imagine, that presents a bit of a challenge. I actually renamed one of my WiFi networks to a single character, and gave it an extremely simple password, just to simplify the configuration of the Yamaha. While I strongly recommend against using a weak password with anything on the Internet nowadays, I gave up on trying to enter a complicated ten-character password into the Yamaha. There’s just only so much clicking on a remote I want to do in order to play some music.

But I did manage to get the R-N303 configured to play music via Bluetooth® on my iPad Air 2. Signal strength was good and sound quality did not suffer as I walked the iPad around the house.

Up next was getting it logged into one of the WiFi networks in my house. The R-N303 will only link to a WiFi network on the 2.4Ghz frequency, which is what it also uses for Bluetooth®. I could not find mention of this in the Wi-Fi setup instructions, oddly enough, but only in the Bluetooth® section. Regardless, the R-N303 worked just fine after logged in to the 2.4Ghz Wi-Fi network.

It’s very much like some of Steve Albini’s quieter recordings for artists such as Low or Rachel’s. I’ve heard my Harding recordings played back in a series of systems, ranging from the one I’m writing about to others in the mid-five-figure price range. The speed with which Harding can swing between octaves when singing present a real challenge to a playback system, so “Party” has become one of my new reference recordings.

The Yamaha R-N303 did manage to not disintegrate under the challenge of Harding’s singing, which is no small feat. Streaming over Bluetooth® and WiFi from my iPad, the music was portrayed with coherence and met the dynamic punch of Harding’s vocals. Again, I didn’t hear any of the imaging of the room and the air around the instruments that I know are in this recording, but this wasn’t a particularly fair challenge for this receiver. But as it stands, it did an admirable job.

If you’re looking to build a sound system in a bedroom, dorm room, party room, or even a starter system for a young person in your family, I would seriously consider the YAMAHA R-N303. The YAMAHA RECEIVER delivers enough wireless playback capability to make it versatile and future-proof. And you can listen to vinyl through headphones with it as well.

The Yamaha R-N303 is a versatile, future-proof receiver that delivers more functionality than I’d expect for its $349 price. While it was occasionally difficult to get it logged into wireless networks, this is due mostly to the challenge presented by its two-line LED display. But when it was attached it played music reliably. The sound was fun and engaging, and its build quality and software lead me to believe it’ll provide many years of enjoyment.

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It seems better-made than the average AVR, and for the most part, sounds better too. The feature suite is generous, and having the latest technology extends the service life before becoming hopelessly obsolete, as so many other AVRs are before you even get them home.

The Arcam AVR550 AV Receiver springs from a long line of warmly received FMJ products. The audiophile community has made Arcam a “reviewers’ sweetheart” for its better-than-average sound and its commitment to quality manufacturing standards.

Arcam’s flagship AVR850 was reviewed in September of 2016 by Secrets’ Co-Editor, Jim Clements. Although reviews of premium products are readily available, a frequently-ignored fact is that sometimes, a company’s less expensive models can sound not only as good, but often better than their pricier stablemates.

“So why is that?” (I hear you ask) Well, I have a theory… The more power an audio amplifier develops, the more output transistors or tubes it needs. As the output device count grows, high precision is needed to have those devices “sing in unison.” So sometimes, lower-powered amplifiers can, due to their simplicity and lower output device count, sound more transparent and cleaner than higher-powered ones. This isn’t universally true of course, but over the years, most of the exceptionally good-sounding amplifiers I’ve encountered have been lower-powered ones.

For whatever reason, the Arcam AVR550 AV Receiver has audible strengths that are often lacking in higher-powered receivers and amplifiers.

• Arcam AVR850 FMJ Review
• Arcam AVR750 FMJ Review

Here is where the majority of my criticism lies. To set up the AVR550, the user must first assign inputs. Unlike the majority of Japanese AVRs, where the input assignment is shown in a simple table, each of the Arcam’s inputs has a separate page in the setup menu.

The inputs are not listed in the setup menu in the same order that they occur on the back of the receiver. Therefore, before assigning inputs, one must identify the input by the default Arcam name, matching both the label on the receiver and the name on the menu page.

But the owner is allowed to change the input name via the menu page. And if that is done, then the default menu name of the input is automatically changed as well. For example, if what Arcam calls the “AV” input is selected in the setup menu, and the owner opts to rename that input “My Oppo,” then the “AV” identifier in the setup menu is also changed to “My Oppo.” Once changed, the user has no way to know that the input is still identified by the AVR’s labeling (and on the remote) as “AV.”

So, if you want to go back later and relabel that AV input to “My Network Audio Server,” there is no way to tell which of the inputs was the original “AV.”

Further, if you want to use the remote control, you’d better have written down the user-assigned names and have them linked to the original input names. Because if you don’t have a note saying that “My Oppo” equals “Input AV,” then you’ll have to cycle through all the inputs until “My Oppo” appears on the receiver’s front panel display. The button on the remote (still labeled “AV”) does not identify the user-assigned name.

Additionally, some inputs have multiple types. For example, the same input name can be used by a HDMI input, by a digital input (optical TOSLINK or coaxial digital) or by an analog input. In the setup menu, you must select the type of input to attach to that input name. But the back of the receiver has multiple inputs for each type. Supplying a type alone won’t get you up and running. You’ll also have to plug the input cable into the properly labeled jack. This can be confusing if there are three types of input with the same label. If you accidentally use the “AV-HDMI” jack and the “AV-Coaxial” jack, then one of the two won’t work (the setup menu specifies which of the two jacks the receiver “looks at”).

Once the AVR is set up and working, it’s unlikely that the settings will need to be changed on any frequent basis. So, this irritation will hopefully be a one-time thing. But that first time can be orders of magnitude more difficult than with competitive receivers that typically auto-recognize the active inputs and then allow the user to assign names via a simple table format.

If you’re technologically challenged, you might consider hiring the Geek Squad or a similar service company to set up the Arcam AVR550 for you. Even if you’re highly experienced with AV gear, plan on spending some quality time with the Arcam manual before attempting setup.

It should be noted that this approach to menu design will be familiar to users of past Arcam receivers as they have used the same setup on five previous platforms of the product. But first-timers will have something of a learning curve.

Initially, the Arcam AVR550 sounded amazing. For both stereo and for movies, the soundstage was wider and deeper than any other AVR I’ve heard. In fact, it handily beat many of the expensive separate component setups that I’ve heard and owned.

As the Arcam broke in over a week or two, though, I began to hear a very slight but consistent brightness or glare in the midrange. Since the AVR550 measures flat throughout the audio range, this (by process of elimination) must be an artifact of the low-pass filtering of the Cirrus DAC chip. Using the “RTA” app on my iPhone (as a quick first-check), I saw that the 1K to 3K range appeared elevated by a couple of decibels. The elevation was consistent regardless of the speakers being used.

This is a frequency range where many listeners seem to prefer the greater detail that comes from a slight boost, but to my ears and in my room, I considered it screechy. A touch of equalization through my music server software (JRiver 24 Media Center) corrected the issue for me, although I’d think that most users would simply run the Dirac Live room correction (microphone included) to achieve the same effect.

The remote control, lacking dynamic labeling of the source buttons, also lacks movement-activated back-lighting. This makes it almost impossible to locate in a dark room. Once found, however, a press of any button lights the entire handset. It’s made from plastic rather than aluminum which I’d expect at this price point, but is perfectly functional as is. I’d suspect that many users will opt for an aftermarket universal programmable remote, such as the Logitech Harmony, instead of the factory one.

One of my major concerns about the Arcam AVR550 was potential fan noise. Three fans are provided for cooling – two internal units that ventilate the heat sink, and one mounted on the rear panel to ventilate the circuitry. My fears proved unfounded – I could hear no hum or noise from the receiver at all.

Since I purchased this unit, I took the liberty of removing its outer case to have a look at the internal design. There is a meaty toroidal transformer that feeds the power supply, and a sprinkling of film capacitors among the non-polarized electrolytic ones, as befits a component of this price class.

And as an aside, Arcam has one of the clearest descriptions of amplifier power supply classes that I’ve yet seen. If you’re interested, view the document at: https://www.arcam.co.uk/ugc/tor/avr550/Amplifier%20Class%20FAQ/Amp%20class_FAQ_260814_D.pdf

What I’d also have liked to see are some run indicators or alarms for the internal fans. Should one or both of those internal cooling fans fail, the user might not know. Now the Arcam AVR550 does have high temperature protection and thermal interrupts intended to shut things down before any thermal damage occurs, but I’d still like to know if a fan has failed before the shutdown occurs.

Other equipment used in this review included:

• Oppo UDP-205 used as a movie disc player only (and connected to the Arcam via HDMI to prevent use of the Oppo’s DACs)
• Apple Mac Mini used as a music server via HDMI
• JRiver Media Center 24 software
• Cisco cable box connected to the monitor via HDMI & to the Arcam via optical TOSLINK
• Samsung 8000 series 4K UHD monitor
• Logitech Harmony 650 universal, programmable remote
• Emotiva BasX A300 power amplifier (Front R & L only)
• Emotiva XPA-2, Generation 3 (Front R & L only)
• Thiel CS 1.6 speakers
• Revel M126-BE speakers
• PowerSound Audio S3601 dual 18” subwoofer
• Audioquest interconnects & speaker cables

Without room correction

The Arcam AVR550 receiver worked very well in my room even without Dirac Live enabled. A slight midrange peak was evident, though it was less so when using external power amplifiers for stereo listening. But despite that, the receiver imaged as well as anything else I’ve heard.

With Dirac Live room correction

Dirac seemed to be just what the doctor ordered for smoother frequency response and enhanced clarity. I could achieve the same effect using a plethora of (electronic DSP) parametric equalizers, but why bother? I liked Dirac.

The included microphone makes Dirac setup easy to do. Just put the microphone at the desired listening position and tell the receiver to calibrate itself from the menu. Done.

Other general listening comments

About half the listening notes below were with Dirac enabled, the other half without. Honestly, in my room, it just didn’t make much difference. But the more asymmetrical your room is, and the less damping you have, the greater benefit you’ll derive. On the other hand, tweaking your room acoustics and adding damping materials will make it work even better.

Most of my listening was done with a PowerSound Audio S3601 dual 18-inch subwoofer enabled. Both the Thiel and Revel speakers benefitted from adding the subwoofer’s underpinning to their voices.

Specific listening comments

To determine if the Arcam’s processor or power amplifier section was the source of the midrange bump, I substituted two other power amplifiers, an Emotiva XPA-2, Gen3 and a BasX A300. The shrillness was reduced but still apparent on some material. Despite the slight frequency peak (banished via Dirac or parametric equalization), the imaging was to die for!

In all cases, the Arcam just smoothly let the video tell the story, offering startling audio enhancement on demand, but without any unwanted drama when not needed.

I also fed my player a wide variety of legacy movie formats – everything from “Mrs. Doubtfire” on DVD, to “Adore” on Blu-Ray, and in every case, I got great video and audio. The Arcam passed every signal without issue. And despite the variety of surround sound codecs presented by these discs, the Arcam decoded every one cleanly and without fuss.

The Arcam AVR550 receiver does not support Master Quality Authenticated (MQA) encoding. Some will consider this a profound shortcoming in an AVR this expensive, while others will congratulate Arcam for not being taken in by this latest audio rage. One can, however, play MQA-encoded music without using the MQA decoding. I played some streamed recordings from the 2L website, and they sounded just fine despite lacking the MQA decoding.

Arcam may or may not have future plans to include MQA decoding in their products, but for those to whom this matters, be aware that, as of this time, the AVR550 lacks it.

One could argue that the ARCAM AVR550 AV RECEIVER is overpriced compared to its Japanese competition. But one could also argue that because it sounds better, it’s worth the premium.

I find much to like about the Arcam AVR550 AV Receiver. Of the AVRs that I’ve had experience with, the Arcam images better (particularly with Dirac Live room correction enabled) and just plain sounds better than other AVRs I’ve heard. The best endorsement I can give this receiver is to say that I bought it.

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Utilizing a unique card-cage design, it has been upgraded to the latest HDMI 2.0 interface along with the addition of Dolby Atoms processing into 11.1 channels. It also sports the full version of Dirac Live room correction with its automated frequency and phase adjustments. I’ve experienced Dirac in NAD’s T 758 and T 777 receivers and am looking forward to trying it again with the M17 V2. They have never failed to impress me with their sound quality and the Masters Series represents the very best NAD has to offer. When you see a model number beginning with the letter M, you know you’re about to listen to something very special.

I have long maintained that the ultimate home theater sound comes from separates. There are several extremely-capable receivers available today but none of them can deliver the impact of a good processor and power amplifier combination. I’ve used such a system for the past nine years and there is nothing that would compel me to go back to a one-box solution.

In 2014, I had an opportunity to review NAD’s flagship combo, the M17 processor and M27 power amp. I found they provided fantastic sound quality and phenomenal detail with both music and movies. But high-end processors are often slow to catch up to the never-ending parade of new technologies. Jokes about receivers being obsolete by the time you get them home are getting old. In reality, a good processor can last for many years. Witness – I am still using an Integra DHC-80.1 from 2010. As long as I can continue to buy disc players with separate HDMI audio and video outputs, I have no plans to replace it.

That being said, I’ve recently experienced Dirac Live room correction and Dolby Atmos in my home theater, and yes, it has me thinking. NAD has leveraged its Modular Design Construction technology and added new hardware to the M17. The M17 V2 Surround Sound Preamp Processor brings HDMI 2.0, Dirac, and Dolby Atmos to a design that is already at the zenith of quality. They didn’t mess with what works, NAD simply added in a few new ingredients without spoiling the sauce. Let’s take a look.

NAD T 777 V3 AV SURROUND SOUND RECEIVER REVIEW
NAD T 758 V3 AV SURROUND SOUND RECEIVER REVIEW
NAD M17 & M27 MASTERS SERIES SURROUND SEPARATES REVIEW

The M17 V2 is a fully-balanced design with 11.1 output channels. The rear panel is beautifully organized into distinct sections. At the top are the eight main channels, 7.1 if you will. The additional four outputs, representing four height channels, are included on an MDC card along with four digital inputs, two coax and two optical. Another card offers a bevy of analog video jacks. There are three composite inputs and three outputs, and I must say, it’s been awhile since I saw those familiar yellow connectors. You also get two, three-wire component inputs along with two outputs. This is something that is quickly disappearing from other receiver and processor brands. A third card contains all the stereo analog jacks, seven inputs and three outputs. The final card sports five HDMI inputs plus two outputs. It also has RJ45 and USB ports for networking, along with the silicon for Dirac Live and BluOS. The latter is supported via wired or wireless connection using a small dongle that plugs into the USB port.

All those connectors are of little value unless there is technology to back them up. The M17 V2 serves up a large helping that includes Dolby Atmos and the full version of Dirac Live room correction. With 11.1 output channels, a 7.1.4 system is possible. 5.1.4 is more common and I went barebones for this review with 5.1.2 using a pair of PSB XA Atmos modules placed atop my main tower speakers.

The full Dirac software offers quite a few more options than the Dirac LE that ships with the T 758 and T 777 receivers. The big one is the ability to correct frequency response over the entire 20Hz-20kHz range. Dirac LE only corrects from 20-500Hz. You also get two additional room layouts from which to plan mic placements. The accuracy of any room correction utility is largely dependent on the number of measurements and their locations. Dirac Full adds Chair and Auditorium to the Sofa layout included with LE. It also adds a second license, so you can run it from two different computers.

Physically, the M17 V2 is high-end all the way. From the moment you start unpacking, you know this isn’t your average mass-produced electronics component. My sample arrived double-boxed and opening it brought back the same feelings I had as a child, opening presents on Christmas morning. After lifting out a molded cardboard top protector, I was greeted by the processor, neatly snuggled in a large drawstring bag, and two small boxes with ancillary components. There isn’t a crumb of Styrofoam in sight, and for that, I applaud NAD. All packaging should be like this.

Four magnetic feet attach to integrated spikes on the chassis’ bottom. You can leave them off if your rack allows but they will mar wood surfaces. I used the feet which have thick rubber coatings underneath. The front shows just a small NAD logo, ringed by light when powered, a large center touchscreen, and a volume dial that moves with silky smoothness. On the top edge is a tiny touchpad that serves as the power button. My only nitpick is that the dimmest setting of the touchscreen is still too bright in my completely-dark room. The top panel features large ventilation grills though the M17 V2 doesn’t radiate too much heat. Still, it’s best give them ample clearance.

The remote is the same large and heavy aluminum wand I remembered from the last M17 I reviewed. It’s a substantial piece that only has one flaw, several sharp corners. The aluminum is machined but its edges are not rounded. It would not be difficult to cut oneself. It is backlit in a soft blue that activates when a button is pressed. I thought at first it wasn’t motion-sensitive but a few instructions from NAD showed the appropriate button combination to activate the feature. The handset can be programmed to operate other components in a multi-mode configuration, much like the remotes that come with high-end receivers.

Performing a proper installation of a product like the M17 V2 requires a bit of planning. Configuration starts with a good deal of wiring, then a trip through the processor’s menu, and finally, Dirac Live setup. My system is anchored by Emotiva power amplifiers, an XPA-5 and an XPA-2. I wired the M17 V2’s balanced outputs directly to them using Blue Jeans XLR cables. For the height channels, outputs come in the form of mini-DIN connectors which I had not seen before. NAD thoughtfully provides four adaptors, so you can plug in standard sized cables. I wired them to a pair of PSB Imagine XA Atmos modules placed on top my Axiom LFR-1100 towers. For this review, I only ran the front baffles, effectively turning them into M100s. The center was a VP180 and the surrounds were QS8v3. The sub was an EP800, also connected via XLR.

After confirming operation with test tones, I turned to Dirac Live setup. The first task was to update the processor’s firmware and BluOS. NAD includes a Wi-Fi module to plug in the USB port, but I opted to use the RJ45 jack for a direct connection to my home network. The update took only a few minutes. Then, I added the M17 V2 as a BluOS player in the iPhone app. It allows access to vast amounts of streamed content from carriers like iHeart Radio and Spotify.

I’ve already detailed the running of Dirac Live in my previous reviews of the T 758 and T 777 receivers, so I won’t rehash it here. I was anxious to try the additional features of the full version though. The extra room layouts are intriguing because my theater doesn’t really resemble a sofa configuration. Chair is closer to my actual seating arrangement. And I wanted to hear the effect of correction at frequencies higher than 500Hz.

It was quite interesting to measure nine points within the four square-feet that constitute my theater recliner seat. The layout is shown graphically in the Dirac interface and requires two different heights to work its magic. It’s important to get the channel levels dialed in before starting the measurements runs because if any clipping occurs, you have to start over. The screen preceding the measurements sends a sweep to each channel, so you can tweak them first.

Above are the plots from my front two speakers. The baseline measurement is gray while the correction is shown in green. You can see how Dirac flattened out the frequency response with a gradual roll-off towards the high end. And impulse response is now neutral throughout. The full version also defaults to correcting the entire frequency range which I found to be a distinct advantage. It creates a beautifully layered sound that makes individual elements easier to hear which maintaining an ideal balance. That, coupled with the impulse response correction makes for a far more cohesive sound field than I ever experienced with Audyssey or with no correction applied.

A surround processor is principally a machine for playing movies and that’s where I concentrated my listening sessions. Dolby Atmos not only adds the additional dimension of height to the sound field, discs mixed with the object-oriented format have more presence and impact, even when played through a traditional 5.1 setup. Scalability is the key. Your processor or receiver takes the speaker layout into consideration and adapts the audio to sound its best with the speakers you actually have installed. There will never be missing information or effects that aren’t fully realized. So, I gave up little or no quality by simply adding two PSB Imagine XA height modules to my front tower speakers.

From the first action scene in Kong, where hapless pilots insist on flying their helicopters close to a giant gorilla rather than simply gaining a bit of altitude (but then we wouldn’t have a movie, would we?), the amazing control exerted by Dirac over my EP800 subwoofer was apparent. The room literally shook, yet I could hear every frequency and every nuance. I’ve never heard such loud bass that was also clean and detailed. There’s always a point where it turns to mush but the M17 and Dirac let me drive that sub to ear-bleeding levels. Mid and high range details were equally clean and well-rendered. The presentation brought the word “layers” to mind. Each facet of the action, thumping helicopter blades, screaming humans, roaring animals, rustling trees, was perfectly separated from the rest, yet integrated at the same time. It’s hard to find a single word to describe it but I know I liked it.

Ghost in the Shell, has plenty of subtle details hidden among some intense and loud moments. It’s full of spatial cues and ambient effects in the surround channels. Dolby Atmos provided a great sense of the vertical here, along with a tremendously-wide front sound stage. Through all those effect layers, dialog never wavered in its clarity. Even the quietest mumbling was easy to discern.

With the advent of Blu-ray came uncompressed sound, and we are now all spoiled because of it. Listening to straight Dolby Digital or DTS has become a chore because it sounds so harsh and undefined. Imagine my surprise when I dropped in The Blues Brothers and listened to a few musical numbers. I was sure I was hearing DTS-HD Master Audio but a quick check of the info screen confirmed I wasn’t. If you are looking for a way to revitalize old DVDs and early Blu-rays that don’t have lossless sound, the M17 can make that happen. I’ve never heard this movie sound better. Music, dialog, primitive effects, they all came across with a modern aesthetic rather than that familiar Eighties vibe.

Of course, NAD was around long before home theater became a thing, and their dedication to music has never wavered during that time. The M17 is every bit a high-end audio component, capable of bringing out the finest detail in any recording. With that in mind, I spent several hours listening to two-channel CDs.

Before heading for some classical stalwarts, I went for the latest from Five Finger Death Punch, and Justice For None. Needless to say, that bass slam was a major factor. I’m more accustomed to the way it sounds in my car, so it’s no surprise that the M17 found a whole lot more detail. Metal often sounds like mush on the best systems but here, Dirac and NAD’s unfailing devotion to detail brought out every layer, every effect, and every instrument. And volume? There was no limit to how high I could go. I expected the neighbors to call the cops at any moment. I have to give some credit to my Emotiva amp but the M17 is the absolute king of resolution and dynamic range.

Those video metaphors continued as I dialed it down with Strauss’ Death and Transfiguration in a live performance by the New York Philharmonic. The sound stage was both broad and deep as I was transported to the best seat in Avery Fisher Hall. Even with the recording’s background noise, no pianissimo was left behind. Listening to the M17 is like watching a premium plasma or OLED TV. That contrast really helps every detail pop.

I spent the rest of my time working through Francisco Mignone’s Sixteen Waltzes for Solo Bassoon played by New York bassoonist, Frank Morelli. His sound is quite expansive, made even more so by a reverberant hall. It was a pleasure to crank the volume to where I felt as though I were sitting on stage right next to him. I couldn’t help but break out my copy of the music and make a few performance notes. Listening to solo instruments this way really satisfies my curiosity and wish to understand the process. The M17 is not only a great-sounding preamp, it serves as a professional reference tool.

At no time was I tempted to try the surround modes with two-channel music. The sound is so broad and deep, there is no need for them. Many multi-channel processors focus on surround sound and put their two-channel chops lower on the priority list. NAD does not. The M17 V2 is a premium audio component no matter how many speakers you have.

At $5999, the NAD M17 V2 SURROUND SOUND PREAMP PROCESSOR is expensive, but I defy any preamp to best it for less than twice the price.

Though I write many projector reviews, I know that the most important component in any successful home theater is the audio system. The world’s greatest display becomes meaningless if it isn’t backed by good sound. The NAD M17 V2 Surround Sound Preamp Processor, does that and more. My experience with NAD told me to expect excellent detail, broad dynamic range, and a neutral presentation. But with the addition of Dirac Live, this processor takes things to a whole new level.

Like any room correction system, Dirac requires a bit of fiddling to get right. I spent some quality time with the software and my efforts were rewarded with incredible balance, clean sound at high volumes, and a system that was equally at home playing Hollywood blockbusters and the finest music.

My complaints are less than minor. Stereo subs would be nice though from my perspective, I don’t have a large enough room to benefit from them. And the remote, though extremely competent and beautifully made, would benefit from a little machining to remove those sharp corners.

These are not things that would give me even a moment’s pause. The M17 V2 is not inexpensive but I think it’s worth every penny. Had I the funds, it would not leave my theater. It is truly a reference-level product and with support for HDMI 2.0 and Dirac Live room correction, it appears ready for the future. It requires an investment of both money and time, but I promise you, the results are worth it. It doesn’t just deliver great sound, it provides a great experience. The NAD M17 V2 Surround Sound Preamp Processor receives my highest recommendation.

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The SP4 is Bryston’s first processor for the immersive audio era. The SP4 decodes all three immersive sound formats (Auro-3D, Dolby Atmos, DTS:X) and includes their respective upmixers. The Bryston SP4 combines Dirac Live calibration with unrivaled bass management capabilities. It even natively supports multi-amped front speakers and multiple subwoofer arrays! The SP4 sounded fantastic in my system.

Bryston has over two decades’ experience with multichannel sound. The 16-channel SP4 is the first fruit of Bryston’s partnership with Auro Technologies spinoff StormAudio. The SP4 complements but does not replace Bryston’s 7.1-channel SP3.

“Immersive” systems add speakers above the ear-level surround array to create a 3D bubble of sound. SECRETS recently covered several high-end immersive processors:

• NAD M17
• Anthem AVM60
• AudioControl Maestro M9
• Datasat RS20i

Bryston needs no introduction. You’ve already read about the Canadian audio specialist’s DACs, headphone amps, and speakers, as well as odes to their heritage of reliability and performance. In addition to the lofty channel count, the Bryston SP4 offers the most comprehensive, flexible feature set I have seen on a processor at any price. Its bass management is category-leading.

The SP4 is minimalist in front. In back there are 7 HDMI inputs and 6 legacy digital audio inputs. The 8 assignable analog (RCA) inputs are digitized (48kHz sampling). SECRETS’ Technical Editor, Dr. David Rich, notes Bryston’s older SP3 uses higher-performance DACs than the SP4 (3.5dB better SNR, 15dB lower THD) though the SP4’s ultra-precise laser-trimmed balanced line drivers cost 12x more than typical solutions. The SP4’s 16 balanced outputs are fully assignable. Two additional balanced outputs provide stereo downmix. They can drive a headphone amp and apply SphereAudio immersive binaural upmixing. Due to review time constraints I was unable to give SphereAudio a thorough audition. The SP4 is modular, so future upgrades (DAC upgrade, AES or USB inputs) are possible in addition to Bryston’s current 16-channel unbalanced “Super Zone 2” upgrade.

The SP4 has no physical remote. Who would use it? There is also no on-screen display. Everything flows through Bryston’s browser-based interface (“WebUI”) or iPad control app. While hopefully Bryston will introduce a true iOS control app, WebUI was usable on my iPhone X.

A Bryston SP4 owner (or her dealer/installer) uses WebUI to set up the processor. While anyone with the SP4’s IP address can access the WebUI remote, setup/configuration is password-protected.

I had one setup hiccup. Initially, the SP4 did not pass video from our AppleTV 4K. Bryston’s Gary Dayton accurately diagnosed the issue: I plugged the TV into HDMI output 1. Only HDMI output 2 is HDMI2.0. Once I moved the cable, AppleTV worked. The “Dolby Vision” icon even popped up on our LG OLED!

The SP4 does not officially support Dolby Vision, so my experience may not apply to other installations. That said…our Dolby Vision compatible Marantz AV7703 only passes standard HDR over the same cables. HDMI: go figure.

The SP4 supports a staggering 73 different speaker layouts. It supports 20 different layouts with 7 ear-level speakers!

The “traffic light” color-code indicates suitability for each immersive codec: “7.1.4.0-channel,” highlighted above, gets green for Auro and DTS:X, and yellow for Atmos. Click “View” for a snappy visualization of a given layout. Below, “7.1.4.2m.”

The SP4 can multi-amp front channels, with adjustable crossover, delay, and 10-band PEQ for each “way.” Surrounds, heights, and subwoofers can be clustered. Here is the SP4 configured to run 4 subwoofers.

The SP4’s bass management is the best I have seen. Bass management is a stubbornly persistent shortcoming in AVRs and processors across brands and price points. SECRETS exposed this problem and offered commonsense solutions 11 years ago! More recently, SECRETS’ Technical Editor, Dr. David Rich, discussed issues with common bass management approaches in a technical article. Bryston nails it. Each channel gets adjustable highpass and lowpass cutoffs and slopes, level, delay, and 10-band parametric EQ. Bass from each channel can be routed to that speaker, subwoofers, or both.

It gets even better! Usually, Dirac Live overwrites any manual level or delay settings. However, the SP4’s “Dirac group” option maintains relative settings within a group, effectively replacing a separate DSP subwoofer controller. I grouped 4 subwoofers below:

Purists will rejoice in removing a digital conversion loop. Pragmatists get reduced cable clutter.

The SP4 deploys Dirac Live Calibration Tool (“DLCT”) on your Mac (or PC) for room correction and equalization. Chris Eberle covered DLCT in his NAD T758 AVR Review. The SP4 does not include a microphone. I used my Cross Spectrum Labs calibrated miniDSP UMIK-1. Bryston provides 4 target curves. Additionally, curves are fully customizable in DLCT: add, remove, or manipulate “break points” to change the shape; pull “curtains” to limit the affected frequency range.

Bryston’s DLCT version only stores one calibration, or “Project.” NAD’s version stores 3, and miniDSP’s 4. Multiple Projects allow the user to rapidly switch between target curves. The workaround is to build different “Profiles” and incorporate them into “Presets” that are selectable in WebUI or the iPad app. Profiles store Dirac data, and can include unique bass management and PEQ.

Also, a general DLCT criticism that’s not Bryston-specific: no standalone “measurement mode.” With a measurement mode, one could use Dirac’s measurement engine to aid with initial setup. This feature would be especially helpful for height speakers: external measurement software cannot yet sweep heights, but DLCT can. Currently only Anthem ARC offers this invaluable feature. Hopefully Dirac will add a measurement mode to future DLCT versions.

I installed the Bryston SP4 in a 7.1.4 channel system with on-wall height speakers and 4 subwoofers. I used 1 output from the SP4 for the 4 subs. Our subwoofer controller-amp (Crown DCI4|1250n) digitizes the input and routes the signal to four channels internally, negating both theoretical and practical advantages of grouping in the SP4. I set subwoofer crossovers in the SP4 to my usual 120Hz for all channels, with 4th-order rolloffs on both sides.

Before room correction, the SP4 impressed me with its low noise floor and ability to create an immersive sonic bubble. Dirac Live calibration transformed the sound from wow to WOW! All the technical details were pushed out of my consciousness as the speakers cohered into a virtuosic ensemble under the baton of a genius conductor. It went beyond “bubble of sound.” The soundstage became wider, deeper, and more vivid. The Dirac-calibrated Bryston SP4 provided the most engaging immersive presentation I have heard to date, in our home or elsewhere.

I tried all 3 provided full-range target curves. I could not consistently hear differences between Auto-target and Alt. Curve 1. Alt. Curve 2 sounded marginally less open. I settled on Auto-target for most of my listening.

Unexpectedly, full-range Dirac equalization sounded much better on the SP4 than room correction (EQ only below the statistical region) alone.

Here, limiting Dirac to room correction dimmed sonic vividness dimmed and shrank soundstage depth. As I wrote in this SECRETS discussion, I don’t like changing a speaker’s voicing based on listening-area measurements. That still holds in stereo, including with Dirac Live, but no longer for immersive sound. Perhaps timbre mismatches that might be perceptually irrelevant in side or rear speakers matter with added front speakers. Alternately, Dirac Live may improve LCR matching.

While the SP4 offers loudness compensation, it increased boom and shrillness while hurting dialog intelligibility. I turned it off. The SP4 nonetheless maintained resolution and clarity at low levels.

The SP4 sounded so good in our system that my biggest criticism is ergonomic: lingering incompatibilities with our Harmony remote. (Bryston sent me beta firmware to activate the IR ports.) Harmony controlled the SP4 as a device reliably, but not when the SP4 was part of an “Activity” such as “Watch TV.” Then it didn’t consistently turn on/off or switch inputs. Dealers want to pair a processor at this price with an expensive IP-based home automation system. Datasat’s RS20 omits IR control entirely; at least Bryston gave the SP4 an IR option! While I’m persuadable, I have not yet seen a compelling value-add for home automation over a great universal remote such as Harmony. Undoubtedly some troubleshooting between Bryston, Storm Audio, and Logitech will resolve these issues should a buyer want to use a Harmony remote with her SP4.

Another disappointment had nothing to do with the SP4 but was more acute. Many Auro-encoded disks don’t play on American players. One example: Amazon sells the Vienna Philharmonic’s 2018 Neujahrskonzert in Auro-3D – but only on Region B/2 Blu-Ray. That disappointment aside, here are a few selections (immersive and upmixed) that really shined through the SP4.

R.E.M., “Automatic for the People,” 25th Anniversary Deluxe Edition (Blu Ray Audio; Dolby Atmos)

If you have an immersive system, BUY THIS SET! While expensive due to all the frills, the Atmos Blu-Ray greatly improves on the already excellent 5.1-channel DVD-A. It renders an expansive soundscape that tricks your mind into thinking you’re witnessing a studio playthrough.

The Bryston SP4 rendered “Automatic for the People” with incredible detail inside that expansive soundscape. The strings in “Drive” were individually recognizable, and percussive snaps in “Star Me Kitten” jumped out from the mix. Often, Michael Stipe’s vocals projected so distinctly from standing height in the center of the soundstage that one looked for a microphone stand. The SP4 also maintained the timbre of piano notes in “Nightswimming” as they swirled through the room. I’ve heard demo systems mess that up.

Hopefully this release was a financial success for R.E.M. and Craft Recordings, leading to more immersive remixes. Thom Yorke, are you reading? “Kid A” is almost 20! “OK Computer” is nearly 25.

This 5.1-channel mix rewards tight speaker-subwoofer integration, so no wonder it sounded so right through the SP4. From the Overture on, the SP4 rendered tactile and propulsive but squeaky-clean bass, in addition to sharp clarity and general awesomeness.

I tried all three immersive upmixers on “West Side Story Reimagined” and other 2-channel music. I always preferred Auro-Matic. I wonder if Auro improved Auro-Matic since I reviewed Marantz’s AV7702. I did not find the same spatial sameness from the SP4. Also, the SP4 offers adjustments to tailor Auro-Matic’s performance that I do not recall on the AV7702. I hope Dolby and DTS develop music modes for their immersive upmixers. Dolby Surround and Neural:X both steer music to the surround speakers too aggressively for me.

On “West Side Story Reimagined” Auro-Matic expanded the perceived size of our room without detracting from the performance in front or placing instruments in odd locations. The percussion bridge to “Mambo” in “Gym Scene” stayed anchored in place, rather than whizzing around the room. Auro-Matic and the SP4 also added depth and clarity to the cymbal solo intro to “Tonight,” and opened up the raucous trombones in “Cool.”

Foreign correspondents are partying in their hostel, House of Pain’s “Jump Around” booming through the hostel’s PA. Then a bomb explodes nearby. A concussive wave swelled through our living room. The hostel’s chandelier rattled above, as the clatter of scurrying reporters surrounded me. The SP4’s top notch coherence also heightened the film’s emotional punch as Radiohead’s “Nude” supported WTF’s dramatic climax.

I tried all three upmixers before settling on Dolby Surround. I watched every snap of Washington at Arizona.

The third sonic dimension heightened the sense of deflation in the seats at Arrowhead stadium as Cardinals fans endured “Adrian [Peterson] doing Adrian things” (to quote the color commentator) to the Arizona defense. I also watched parts of several other games. I found myself watching more of each game than I intended. Sometimes I forgot to fast-forward to the next snap as I enjoyed the coherent “bubble” rendered by the SP4. The SP4 even heightened the realism of commercials, such as one that starts with a kid talking to all the appliances before piloting a drone. The drone starts offscreen. My head whipped around and involuntarily followed the sound as the drone “buzzed” overhead from back-left to front-right. I thought a large insect was flying overhead until I saw the drone on screen.

Generally, audible differences in AVRs and processors arise from three sources: bugs, bass management, and room correction software. Bugs are bugs, and hopefully fixable once discovered. Bass management I discussed above. Room correction systems differ markedly in target curve contours, precision of target curve fit, and customizability. Accordingly, this bench test focuses on the performance of Dirac Live as implemented on the Bryston SP4. For comparable measurements, see my reviews of the Marantz AV7702 processor and Denon X4100 AVR. Front speakers are the same, but subwoofers are upgraded.

Unless otherwise specified, all measurements are 6-point (center of head at primary listening position and random samples from a roughly 5’ bubble around it) spatial averages, smoothed 1/12-Octave. I believe random sampling tests real-world efficacy and stability better than measuring at microphone positions used for calibration.

The first figure shows the right speaker plus subs with Dirac Live off, and the three provided full-range target curves.

The target curves are clearly reflected in the measured responses. I heard no difference between the Auto-target and Alt. Curve 1; this graph shows why. Alt. Curve 2 had the worst fit: the “ski jump” starts a little lower in frequency than expected. I suspect the ~45Hz null is wider than on the other target curves because of Dirac’s boost limits.

The speaker-subwoofers transition looks rougher above than I heard. Bass is generally mixed mono, so a left+right+subs measurement better reflects as-heard performance. The figure below shows the stellar results attainable thanks to the Bryston SP4’s sophisticated bass management and Dirac Live.

The next figure focuses on the subwoofers alone, before and after correction. The 4 subwoofers have relative gains and delays adjusted to reduce seat-to-seat variation. The idea is: make the bass similar at every seat, so room correction on top will improve bass quality at every seat. Otherwise, room correction will improve some seats but degrade others. These measurements are unsmoothed to expose every narrow peak and null. Unsmoothed bass measurements are rarely shared: nobody wants to admit how bad their in-room bass response is!

The next figure examines Dirac Live’s precision, or how closely measurements match the target curve. Baseline average (light blue), Auto-target (orange), and predicted average response (green) come from DLCT. Measured response is superimposed in black. Ignore everything below 120Hz: the measurement is speaker + sub but the DLCT graphs are right speaker only. According to Dirac’s Flavio Fellah, DLCT plots with 1/8-Octave smoothing, so the post-processing measurement is slightly higher resolution.

Precision is generally good, though the speaker was not equalized quite as flat as Dirac predicted. In the statistical region a light touch usually beats heavy-handed EQ.

The next figure shows the equalization Dirac applied to the right speaker. This “inverse curve” is a single-point measurement of the difference between the uncorrected response and the equalized response.

Dirac equalized gently above ~500Hz, with no narrow, steep corrections. I consider that a good thing.

Above I wondered if the SP4’s sonic coherence results from improved channel matching. I could not measure the height channels. These LCR measurements were taken at the same 6 points for each speaker.

Upper bass and lower midrange channel matching improves slightly. Above that, little difference. Dirac may improve channel matching considerably if the center channel differs from left/right speakers.

The last figure concerns ancillary features.

Cinema EQ rolls off highs. LFE Dim attenuates LFE 10dB. Loudness unfortunately does not adapt to changes in volume setting. The SP4 deserves more sophisticated loudness compensation, along the lines of Audyssey DynamicEQ or Dolby Volume.

The BRYSTON SP4 made my system sound truly spectacular, and made me forget the $13,995 price tag.

I’m going to miss the Bryston SP4. It is an exceptional immersive processor. On the audio side, it decodes everything, offers incredible flexibility even for systems with multi-amped speakers and multiple subwoofers, and provides exceptional sonic coherence with the help of Dirac Live. On the video side, HDMI performed better than promised (passed Dolby Vision in my setup), and was as reliable as on mass-market gear. If you’re planning a cutting-edge immersive system and can swing the price, give Bryston’s SP4 your highest consideration.

The post Bryston SP4 16-channel Surround Processor Review appeared first on HomeTheaterHifi.com.

Featuring support for up to 13.2 channels of immersive sound, the AV8805 includes Dolby Atmos, Dolby Surround, DTS:X, DTS Neural:X, DTS Virtual:X, IMAX Enhanced, Auro-3D, and the complete Audyssey Platinum suite. The processor features HDMI 2.0b with support for 4K/60p video pass-through, Dolby Vision, HDR10 and HLG. Marantz will also be offering a future paid hardware update to the latest HDMI 2.1 standard so the AV8805 is ready for the future with 8K video.

The AV8805 is the top-of-the-line 13.2-channel processor preamp from Marantz. It supports the latest object-based surround formats like Dolby Atmos, DTS:X, and IMAX Enhanced, as well as the Dolby Surround and DTS Neural:X upmixers, which are capable of creating an immersive multi-dimensional surround experience from a stereo or multichannel soundtrack. The AV8805 includes support for DTS Virtual:X which can create a virtual multi-dimensional surround experience regardless of room layout and with as few as a stereo pair of speakers. While only available as a paid upgrade on the prior AV8802/AV8802A series processor, Marantz is now including Auro-3D decoding as a standard option on the AV8805. Marantz has also released a firmware update which adds support for IMAX Enhanced content if you have the requisite IMAX Enhanced certified 4K/HDR TV or projector.

Marantz continues to include the full version of the Audyssey Platinum suite which features Audyssey MultEQ XT32 room correction. They have also included support for the paid Audyssey MultEQ Editor App which allows for the viewing and modification of the Audyssey calibration results from a compatible Apple or Android device. The AV8805 supports HDMI 2.0b, HDCP 2.2, 4K/60p video and 3D video pass-through, BT.2020 wide color gamut, 4:4:4 color subsampling, Dolby Vision, HDR10 and HLG (Hybrid Log Gamma). The AV8805 is DLNA 1.5 certified and also supports wireless streaming with HEOS, Apple AirPlay 2, Spotify Connect (including free account support), and Bluetooth. And if all that isn’t enough, the AV8805 includes voice control support for Apple Siri, Amazon Alexa, and Google Assistant. The AV8805 continues to deliver an immersive theater-like experience and is a worthy update to the prior flagship Marantz AV8802/AV8802A processor.

Marantz has a rich history of building hi-fi products since the 1950s. Their merger with Denon to create D+M Holdings back in 2002 has resulted in product lines that are both feature-rich and faithful to the original musical heritage of the company. The Marantz AV8805 is their latest flagship processor preamp and it builds upon the feature set and design of the flagship AV8802/AV8802A which we previously reviewed. The AV8805 was updated with processing for 13.2 channels and includes the same immersive surround technology as the AV8802 plus IMAX Enhanced and DTS Virtual:X. Perhaps the biggest news with the AV8805 was that it could be used with the new Audyssey MultEQ Editor app which is available for Apple and Android devices. The prospect of tweaking the Audyssey calibration from an app was most intriguing. Senior Editor and Secrets Operation Manager Carlo Lo Raso and I worked together on this review and we looked forward to experiencing the AV8805 in our respective home theaters.

The exterior appearance of the Marantz AV8805 remains unchanged, with the same clean lines and simple control interface. The front panel only has a power button and two large control knobs, one for volume control and the other for input selection. In the center of the AV8805 is the trademark porthole display that shows the current input selection and volume or tuner band and station. The porthole display is accented with a small blue ring which is illuminated when the AV8805 is on. The center portion of the front panel is still made from brushed aluminum, and the left and right side panels are made from curved resin which gives the processor its refined appearance.

Opening the door at the bottom of the AV8805 reveals a large LED display, which shows the current input source, processing mode, signal type, HDMI status, and zone and channel indicators. To the left of the display are buttons for directly controlling audio processing options such as Audyssey Dynamic EQ and Dynamic Volume. To the right of the display is a standard set of cursor buttons that allow for easy navigation of the AV8805 setup menus as well as its multi-media interface. Directly under the display are buttons for the various input modes, HDMI output selection, and zone selection. At the bottom of the AV8805 is the headphone jack, the microphone jack for Audyssey, an HDMI port, and a USB port. In the lower-right corner of the AV8805 is an auxiliary input, which provides analog audio inputs and a composite video input.

The rear panel of the AV8805 isn’t dramatically different from that of the AV8802. There are now seventeen balanced XLR and unbalanced RCA preamp outputs, which include four pair of height channels, one pair of which can be used for front wide channels, and two independent subwoofer channels.

Marantz still includes a copper-plated chassis on the AV8805 and the rear panel is silk-screened in black with inputs having a sold black background while outputs have a checkered background. The AV8805 processor supports eight HDMI 2.0b inputs and three HDMI 2.0b outputs, which can be operated simultaneously or independently. The AV8805 drops one component input, but still supports a full complement of analog audio and video inputs with two component video inputs, five composite video inputs, one 7.1 multi-channel input, seven sets of stereo analog RCA inputs, and one stereo XLR input. The AV8805 supports four digital audio inputs (2 coaxial and 2 optical). The AV8805 drops the second USB input from the rear panel.

Marantz still includes built-in support for Bluetooth and Wi-Fi networking and two antennas are included which can be mounted to the top rear corners of the processor. Marantz includes one Ethernet port so that you can directly connect the AV8805 into your home network. Marantz dropped support for HD Radio from the AV8805, but still includes antenna connections for the AM/FM tuner. The AV8805 includes one IR input, one set of remote control jacks, and an RS-232 jack, which can be used to control the AV8805 with an external control system. Two 12-Volt DC Triggers are also included, which allows you to turn on another device, such as an external amplifier for multi-zone operations.

The AV8805 comes with the same basic backlit remote as its predecessor except for a few button changes such as the inclusion of a HEOS button.

From a technology perspective, the extra pair of height channels allows the AV8805 to support speaker configurations up to 7.1.6 or 9.1.4 for Dolby Atmos, while DTS:X and Auro-3D support up to 13.1 speaker configurations. Marantz is still including the Audyssey Platinum suite in the AV8805 but they have dropped Audyssey DSX processing completely. With the Audyssey Platinum Suite, the AV8805 gets the latest Audyssey MultEQ XT32 room correction technology and Audyssey Dynamic EQ. Marantz also includes Audyssey Sub EQ HT, which allows the AV8805 to individually adjust the level and delay of both subwoofer outputs. The Audyssey LFC (Low Frequency Containment) in the AV8805 attempts to contain low frequency sounds that can penetrate walls and ceilings and disturb your neighbors.

The AV8805 supports audio return channel (ARC) and enhanced audio return channel (eARC). The latter means that uncompressed audio formats like Dolby Atmos, Dolby TrueHD, Dolby Digital Plus, DTS-HD Master Audio, and DTS:X can be transmitted over HDMI from streaming apps on newer model 4K televisions to the Marantz AV8805 for decoding and processing.

On the video side of things, the AV8805 uses the ADV7850 and ADV8003 video signal processors from Analog Devices. The video processors can handle everything from on-screen display (OSD) overlay to the scaling of SD and HD content up to a 4K resolution of 3840×2160 at 60Hz. The AV8805 supports HDMI 2.0b, HDCP 2.2, 4K/60p video and 3D video pass-through, BT.2020 wide color gamut, 4:4:4 color subsampling, Dolby Vision, HDR10 and HLG (Hybrid Log Gamma). If you are wondering about what happens when 8K video and HDMI 2.1 products really start to hit the market, Marantz has stated that they will provide an HDMI upgrade to the AV8805 to keep up with the changes. This will most likely be a paid upgrade of some sort which we don’t plan on seeing until sometime in 2020. There really is no need to rush on these updates, since there won’t be 8K content readily available for some time yet. The upgrade from the AV8802 to the AV8802A involved paying for one-way shipping to the repair center for the upgrade, so hopefully, the AV8805 upgrade process will be similar, or better yet, free.

Perhaps the biggest change to the AV8805 from its predecessor is the removal of the AVR LSI chips from the analog section of the processor. Marantz and Denon have now adopted a multi-chip solution from New Japan Radio for much of their product lines. Secrets’ Dr. David Rich describes “a comparison of the AV8805’s analog board to the AV8802, which used the Renesas AVR LSI (R2A15220FP), is breathtaking. Where just two chips were previously used, now nine of the New Japan Radio chips are found.” In our testing, the new design improves noise performance but not the measured distortion. We’ll cover more on this in the bench testing section of this review.

Secrets’ Dr. David Rich has done a separate article on the latest Marantz design changes in his article AVR – Audio Video Receiver – Build Quality: Part V entitled “Good News! Marantz Says No More AVR LSIs for You!” The article goes into detail on the design change and highlights how the Marantz AV8805 is really the Marantz 4400 of our time.

The number of speaker configurations that the AV8805 supports is impressive. Options range from simple stereo up to configurations such as 7.1.6, which provide three pair of ceiling speakers for Dolby Atmos. If you have front wide speakers, you can create a 9.1.4 configuration for Dolby Atmos. Auro-3D speaker configurations include the typical 9.1 configuration with surround height speakers and can range up to a 13.1 speaker configuration with center height and a top surround channel. If you’ve been paying attention to the math, the magic number here is that the maximum number of channels which the AV8805 can play at any one time is 13.1. While the AV8805 has 15.2 pre-out channels, one pair of speakers is inactive depending on the configuration and surround mode selected. For example, if you’ve configured surround height speakers for use with Auro-3D, those speakers are not active when using Dolby Atmos or Dolby Surround processing.

As a compromise, Marantz allows the rear height speakers from a Dolby Atmos configuration to be used for Auro-3D. This isn’t quite as optimal as having surround height speakers for Auro-3D, but it’s the only compromise currently available. This means that a room can be configured for Front-Height and Rear-Height and the speakers will be compatible with Dolby Atmos, Auro-3D and DTS:X. I would still like to see Marantz offer the option to support multiple speaker configurations on the AV8805 and assign those to the various processing formats. In my room, for example, the speakers that are used for the top middle can easily fit the bill for surround height. Unfortunately, there is no option to accomplish this other than to manually change the speaker configuration and amp assignment prior to playback which is terribly unfriendly and problematic.

While all of the speaker options may sound overwhelming, Marantz has made the AV8805 a dream to set up by continuing to enhance their on-screen setup assistant. Setup is as simple as connecting the AV8805 to a TV with an HDMI cable, turning on the AV8805 and the TV, and following the on-screen directions.

The first part of the setup assistant guides you through connecting the AV8805 to the amplifiers and connecting the speakers to the amplifiers. During the connection process, the power amplifiers need to be turned off. The on-screen directions are very clear and cover the basics of proper speaker wiring as well as speaker placement in the listening room. The setup assistant helps you to select the speakers that are present in your system, and for each speaker selected, it asks you to specify the connection type of RCA or XLR. The setup assistant also shows you where to connect the cable from the amplifier to the AV8805. Marantz still includes a set of speaker labels so that you can mark each cable during the process.

Once the speakers are connected and the amplifiers turned on, the AV8805 plays a few musical notes to help identify all the channels. This is a really elegant touch and allows for finding problems in the speaker configuration before starting room correction. The setup assistant then walks you through the Audyssey room calibration process. If you’ve purchased or are planning to purchase the Audyssey MultEQ Editor app, then you can skip the Audyssey room calibration at this point and complete the calibration after the setup wizard has completed. After Audyssey configuration, the setup assistant then walks you through making a connection to the internet and verifies the connection by tuning the AV8805 to an internet radio station. The last step in the setup process is to connect each of your source devices to the AV8805. The setup assistant prompts you to select each source and specify the type of video and audio connection. I connected my satellite DVR, an Oppo UDP-205 and my AppleTV to the AV8805 and was finally done with the setup process. The entire process took less than half an hour and was very straightforward.

One of the best new features about the AV8805 is the availability of the Audyssey MultEQ Editor App. I downloaded the version for my Apple iPad from the App Store and was really delighted with how smooth the calibration process was. To get started, just open the app, select “Create New”, and the app will lead you through the calibration process just like using the built-in process from the internal AV8805 setup menus. So what’s the big difference? For starters, the Audyssey MultEQ Editor app allows for the creation of more than one editing profile.

Within those profiles, we can now browse the speaker configuration, distances, levels, crossover settings, and easily change them if desired.

The application shows before and after graphs for each measured speaker channel and allows for the selection of two different high-frequency roll off targets. The application also provides an easy way to toggle the Audyssey midrange compensation on a per-channel basis. If that isn’t enough to get you to spend the extra dollars on the app, the application provides a curve editor which allows you to manually adjust the correction curve on a per channel basis.

The application also provides the option to limit the filter frequency range. We finally have the option to control just how much correction we want on any particular channel. For example, to limit correction to 1 kHz, it’s as simple as dragging the slider to the desired value. This is one situation where just being able to type the desired value would be a plus.

The last feature of the app allows for the toggling of the various Audyssey technology options like Dynamic EQ, Dynamic Volume, and Low Frequency Containment.

Perhaps the best thing about the Audyssey MultEQ Editor App is the option to create multiple profiles for your AV8805. You can play with the options to your heart’s content and experiment with what works best in your particular system. If something doesn’t sound to your liking, it is a simple matter to make adjustments, upload an adjusted profile and listen to your results. Adding support for the Audyssey MultEQ Editor app provides easy access to advanced options that were typically only available to custom installers using the Audyssey Pro kit. The cheap microphone that comes with the AV8805 is no substitute for the calibrated microphone in the Audyssey Pro Kit. It would be great if Marantz would support the use of alternative microphones for calibration enthusiasts.

For my particular setup, I was using a GoldenEar Technology TritonCinema Reference system, which features a pair of Triton Reference speakers with built-in subwoofers. I connected the subwoofer outputs of the AV8805 to the LFE inputs on the Triton Reference speakers. Since Marantz has included Audyssey SubEQ HT technology, the Audyssey setup process verified that each subwoofer was playing at around 75dB. I proceeded with the calibration process following the directions on my iPad, and after completing eight sets of measurements, I uploaded the Audyssey configuration from my iPad to the AV8805.

As my last step in the setup process, I downloaded the Marantz 2016 AVR Remote App to my Apple iPad.

In my listening environment, I used a 7.1.4 GoldenEar Technology Triton Reference speaker system with a pair of Triton Reference with built-in subwoofers for my front speakers, a GoldenEar SuperCenter X center channel, two pair of GoldenEar Invisa HTR 7000 as top-middle height and rear surrounds, a pair of Invisa MPX in-wall speakers for the left and right surrounds, and a pair of GoldenEar Aon 2 speakers for the front height speakers. I used a pair of Bryston 7B3 Cubed Series mono-blocks for my main channels, a five-channel Bryston 9B3 Cubed Series amp for my surrounds and center channels, and a Rotel RMB-1095 to power the height channels.

I used an Oppo UDP-205 as my primary source device and configured the Marantz AV8805 only for Dolby Atmos and DTS:X, with a pair of Front-Height and a pair of Top-Middle speakers.

Regardless of the movie, the combination of the AV8805 with the GoldenEar Triton Reference system and the Bryston Cubed amps produced impressive results. Movies had wonderful ambiance, natural dialog, and exceptional detail. The AV8805 handled the most dramatic sound effects, dynamic movie scores, and the quietest moments with ease.

I was also impressed with the Dolby Surround and DTS Neural:X upmixers on the AV8805. Both created a much more immersive presentation, even with a stereo soundtrack, with improved dynamics and a much greater sense of space and realism. I found this to be the case with some of my favorite movies and television shows.

I configured the AV8805 once again for Auro-3D and was delighted at just how good Auro-3D sounded in my room. To do this I had to reconfigure the top-middle speakers as surround height speakers. As I mentioned earlier, I wish that Marantz would create the ability to use multiple speaker profiles with independent Audyssey configurations.

The AV8805 sounded wonderful on my system with all types of music and I appreciated how well the Audyssey Dynamic EQ processing worked at all volume levels. Since Dynamic EQ is referenced to the standard level used for mixing movies, the Reference Level Offset must be adjusted in order to properly apply the correct amount of equalization. Options for the Reference Level Offset range from 0 dB for movies, 5 dB for classical music, 10 dB for TV or jazz, and 15 dB for pop and rock music. I found that Dynamic EQ overly compressed the sound for my tastes unless I properly adjusted the Reference Level Offset. Marantz has made adjusting the reference level a bit easier on the AV8805 since they’ve exposed the option in their Marantz 2016 AVR Remote app.

Marantz still includes the Smart Select function on the remote, which allows for the creation of up to four presets. Each preset can select an input source, volume, sound mode, Audyssey options, and even channel levels and picture adjustments. While this works, I really wish that Marantz would redesign their interface to allow for the creation of multiple virtual inputs or presets. This would allow the user to create customized inputs based on function like TV, Movie, Rock Music, Jazz, Classical, etc.

Operationally, the AV8805 is very easy to use and similar to the AV8802. The remote that comes with the AV8805 gets the job done, but there have been no improvements in the terrible backlighting. The AV8805 is DLNA 1.5 certified and also supports wireless streaming with HEOS, Apple AirPlay 2, Spotify Connect, and Bluetooth. And if all that isn’t enough, the AV8805 includes voice control support for Apple Siri, Amazon Alexa, and Google Assistant.

Perhaps the biggest difference for me with the AV8805 was the ability to adjust the amount of correction on each speaker using the Audyssey MultEQ Editor App. While I really liked the prior versions of this processor, the ability to dial-in the settings to my preference on the AV8805 really makes this a winner for me. I have never been a fan of over correcting speakers since it ultimately results in losing some of the natural characteristics of the speaker and the reason why you probably bought the speakers in the first place. Marantz really gets this right this time and I hope we see further enhancements in the future.

It goes without saying that the Marantz AV8805 is an impressively endowed piece of gear. It’s feature-rich, covers all the bases in terms of surround sound formats (IMAX Enhanced included), looks to be well-engineered with great parts choices, and includes a number of thoughtful usability touches in the bargain. This is of course as it should be in a product with an almost $4500.00 asking price. So, when Robert asked me if I could assist him with the bench testing on this review, I gladly accepted and also took a little time to insert the AV8805 into my home theater system for a little casual listening as well.

During the setup process, it became clear that Marantz had gone to great pains to make the installation routine for this AV processor as idiot-proof as possible. I have been familiar with the illustrated step-by-step walk-through instructions that appear on my display from hooking up past Denon receivers. The AV8805 has taken this installation hand-holding to a whole new level. From the more mundane speaker and component connections (that most of us can make blindfolded at this point) to the individual configuring of inputs, making network connections, and eventually Audyssey room correction, the Marantz AV8805 offers an intelligently thought out and easy-to-follow walkthrough of the configuration process. This process is managed with the ability to confirm results at each step of the way and the ability to easily step back if a snag was encountered. This sort of thing should be especially appreciated when setting up any of the extensive networking and home automation capabilities that the AV8805 offers.

While not my first experience using Audyssey MultiEQ XT32, it was my first time using the Audyssey Curve Editor app which I downloaded on to my iPhone 6S Plus after paying the additional $20 bucks. Through using the app, I loved that Audyssey now allows more granular control of the EQ to each speaker, more along the lines of what DIRAC already does, along with showing the before-and-after results of each speaker which has always been a bit of a visual mystery with Audyssey. I particularly like the ability to set the maximum EQ level for each speaker thus allowing you to maintain the natural voicing of your speakers, if you like it, while allowing the processor to allocate its filtering resources to bigger EQ issues. The Curve Editor app really allows an owner to unlock the full EQ potential of the AV8805 and tune their given installation to taste.

While the AV8805 was in my possession, I hooked it into the 5.1.4 speaker system that I had in the house for review at the time. The main speakers were of the Halo series from Starke Sound and consisted of the IC-H5 Elite front tower speakers, the IC-H5C Elite center channel speaker, a pair of IW-H5 on-wall surround speakers, and a SUB35 powered subwoofer. The height channels were handled by four GoldenEar SuperSat 3 speakers on Omni-mounts angled towards the listening area. Seven channels of amplification were provided by Stark Sound as well in the form of a massive A7 Mk II multi-channel amplifier with two additional channels provided by my Class-D Audio SDS-470C stereo amplifier. All preamp to amplifier and subwoofer connections were via XLR cables. Additional sources and equipment were a Pioneer 50-inch KURO plasma display, an OPPO BDP-103 Blu-ray player, and a Microsoft Xbox One. Room treatments are from GIK Acoustics.

I initially ran Audyssey correction as normal, through the processor directly, and it gave me what I considered a perfectly acceptable audio result with the typically limited level of adjustments that I could normally make via the remote and the OSD. The system identified the five main speakers as “Large” and it ran them full range with the LFE information redirected to the subwoofer. My normal inclination would be reset the speakers to “Small” and cross all the main channels to the sub at 80 Hz or maybe a little lower. However, as a one-and-done room calibration pass, what I was hearing from the Starke ensemble sounded plenty decent and the speakers themselves were more than capable, so I decided to live with it a few days. The overall sense of envelopment provided by the Marantz/Starke combination was quite immersive and convincing. On standard 5.1 movies and surround music, the processing power, and clean D/A conversion of the AV8805 combined with the massive grunt of the A7 Mk II added to the sheer lung capacity of the Starke speakers and just made everything a real treat to listen to. Adding in the GoldenEar height speakers for up-mixing and ATMOS/DTS:X duties were just enough to complete the whole bubble of sound around me. Audyssey seemed to have a good handle on the Starke speakers, adjusting for the acoustic sins of my room with a deft hand. Imaging was very good with objects seemingly precisely placed in acoustic space and sounds that panned from side-to-side or front-to-back and around were notably seamless. If I noticed anything it was that Audyssey, correcting at full range, had imparted a certain smoothness to the upper midrange and treble of the Starke speaker’s sound character. It wasn’t an objectionable sound quality per se, it just gave the whole presentation a little more of a relaxed quality which was easy to live with for the week. It certainly didn’t detract from the enjoyment of what we were hearing. Bass response from the single subwoofer had been nicely judged by the Marantz. I usually have dual subs in my system, but I happened to find a good compromise spot for the single Starke SUB35 that worked well acoustically, providing good response and impact to the low 20Hz region.

After about a week I re-ran Audyssey, but this time I used the Curve Editor app to control and execute everything. Although one can completely adjust the response target of each of the speakers with their finger gestures on a phone or tablet, I elected to refrain from this temptation and stick to my usual habits. So, having tweaked the maximum EQ limit for each speaker (or pair of speakers) settled on crossover points (60 Hz for all the main channels) and adjusting the bass response of the subwoofer, I felt that I got sonic results that were more to my preference. The results were a little more upper-end air and detail and an increased sense of transparency and precision in the overall surround-scape. Some people might refer to this as a “leaner” sound but that’s really not my concern. The take away is that, with the Curve Editor app, The Marantz AV8805 let me dial in the sound exactly to suit my preference without any ill effects to the speakers or the final overall experience, and that is ultimately what counts.

The aural onslaught began with the track “Neal and Jack and Me” as Adrian Belew’s vocals seemingly came out of every channel while Robert Fripp’s looped guitar technique (or Frippertronics as it is called) was swirling around me in space. Tony Levin’s bassline was deep and taught, much more so than I ever remembered hearing it in my old King Crimson CDs. “Sartori in Tangier” is an immersive instrumental that really shows off Bill Bruford’s incredible drumming skills. Tightly weaved and rhythmic drum fills are happening all around me while a gut-punching kick drum is felt keeping time. Tony Levin’s bass playing is, again, presenting a thunderously deep musical floor and Adrian Belew’s guitar whines its synthesized solo out in the center channel. The track “Neurotica” is basically the musical equivalent of being in downtown Manhattan in the middle of rush hour. There is so much happening and so many layers in this track but the AV8805 does a tremendous job in decoding and presenting all these elements in a clear yet enveloping tapestry of sound.

Bench tests on the Marantz AV8805 were conducted using SpectraPLUS audio measurement software and a Lynx 2B professional soundcard. Some custom test tones were played through various inputs of the AV8805 via an OPPO BDP-105 Blu-ray player. Tests measured via the RCA output of the Marantz were adjusted for 2 volts while results measured at the XLR outputs were adjusted for either 2 or 4 volts as indicated. All surround and other forms of digital processing were disabled for these tests unless otherwise indicated. We intentionally tried to mimic the test conditions that were used when Secrets bench tested the previous Marantz AV8802 in order to easily make comparisons.

Let’s begin with the analog measurements of the AV8805’s preamp section. At 1 kHz into the XLR input, THD+N was 0.0022%. We see a few harmonics throughout the spectrum with the second harmonic at 2 kHz being about 99 dB below 2 VRMS. This was done to stay consistent with the way we measured the AV8802 and allow comparisons.

At 1 kHz into the RCA input, THD+N was 0.0023%. We see a few harmonics throughout the spectrum with the second harmonic at 2 kHz being about 99 dB below 2 VRMS.

At 10 kHz into the XLR input, THD+N was 0.0024%. The second harmonic at 20 kHz is about 98dB below 2 VRMS with the third harmonic at 30 kHz checking in at about 94dB below 2 VRMS.

At 10 kHz into the RCA input, THD+N was 0.0039%. The second harmonic at 20 kHz is about 97 dB below 2 VRMS. The third harmonic at 30 kHz is about 89 dB below 2 VRMS.

The IMD measurement using the XLR input was 0.00067.

The IMD measurement using the RCA input was 0.00089.

Here are the results for 19 kHz, 20 kHz combined test frequencies using the XLR input. The second harmonics at 38 kHz and 40 kHz are about 102 dB below 2 VRMS (6 dBV).

Here are the results for 19 kHz, 20 kHz combined test frequencies using the RCA input. There is a visible B-A peak at 1 kHz about 101 dB below 2 VRMS. The second harmonics at 38 kHz and 40 kHz are about 102 dB below 2 VRMS.

I measured the frequency response of the AV8805 out to 96 kHz. In analog direct, with no processing active, the response is flat out to about 86 kHz and then we see a sharp roll off immediately after that point. The second plot shows what happens in stereo mode with digital signal processing and Audyssey XT32 enabled. The AV8805 downsamples the signal to 48 kHz and applies any room correction filters for each channel. You can clearly see the inverse of the room correction curve in the plot. The signal then abruptly falls off after 20 kHz. This result isn’t surprising since we’ve seen this same downsampling with the Audyssey XT32 implementation in various receivers and processors using this room correction system.

Now we take a look at the results using one of the HDMI inputs, fed from test discs played on an OPPO-BDP-105. At 1 kHz, and 16-bit/44.1k sampling rate, THD+N was 0.0014% measured from the XLR preamp output. We see a few harmonics in the spectrum with the peak at 2 kHz being about 102 dB below 2 VRMS. For all digital tests, the DAC was driven at 0 dBFS and the volume adjusted for 2 VRMS at the output. This was done to stay consistent with the way we measured the AV8802 and allow comparisons. For an XLR output of 2VRMS, the volume is not at unity gain but -6dB down (level reduced by 2).

At 1 kHz, and 16-bit/44.1k sampling rate, THD+N was 0.0067% measured from the RCA preamp output, which is higher than the previous test. As with the analog direct tests, the volume was increased 6 dB to bring the single-ended output to 2 VRMS with the same 0 dBFS digital input to the DAC.

The remaining tests are for XLR only.

At 1 kHz, and 24-bit/96k sampling rate, THD+N was 0.0013%. We see some distortion spurs as well as harmonics throughout the spectrum with the second harmonic at 2 kHz being about 102 dB below 2 VRMS. For those of you actively comparing these AV8805 results with those of the AV8802 we previously reviewed and bench tested, note that all the non-harmonic spurs we found in the AV8802’s output are gone in this and all the spectra to follow.

At 1 kHz, and 24-bit/96k sampling rate, THD+N was 0.0026% at 4.0 VRMS. We see numerous distortion spurs as well as harmonics throughout the spectrum with the third harmonic at 3 kHz being about 93 dB below 4 VRMS. This is twice the level of the previous test and represents a unity gain volume setting. This is standard operating conditions for stereo and multichannel digital products at the XLR output. In the remaining measurements, we will alternate between 2VRMS and 4VRMS for most but not all tests.

At 1 kHz, and 24-bit/192k sampling rate, THD+N was 0.0014% at 2 VRMS.

At 10 kHz, and 16-bit/44.1k sampling rate, THD+N was 0.0014% at 2 VRMS. There is a notable absence of distortion spurs in the spectra with the second harmonic at 20 kHz being about 98dB below 2 VRMS.

At 10 kHz, and 24-bit/96k sampling rate, THD+N was 0.0016% at 2 VRMS. We see numerous distortion spurs in the spectrum with the second harmonic at 20 kHz being about 99 dB below 2 VRMS. Again we note that the huge number of non-harmonic spurs in the AV8002 spectra are gone in this and the following two spectra.

At 10 kHz, and 24-bit/96k sampling rate, THD+N was 0.0028% at 4 VRMS. We see some distortion spurs in the spectrum with the second harmonic at 20 kHz being about 102dB below 4 VRMS.

At 10 kHz, and 24-bit/192k sampling rate, THD+N was 0.0016% at 2 VRMS. We see various distortion spurs in the spectrum with the second harmonic at 20 kHz being about 99 dB below 2 VRMS.

The IMD measurement through HDMI at 16-bit/44.1k sampling was 0.0033% at 2 VRMS.

The IMD measurement at 24-bit/96k sampling rate was 0.000739. Again, please note in the next 3 spectra the absence of spurs above the noise floor compared to the AV8802.

The IMD measurement at 24-bit/96k sampling rate was 0.0021% at 4 VRMS.

The IMD measurement at 24-bit/192k sampling rate was 0.0008% at 2 VRMS.

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the HDMI input with 24-bit/192k sampling at 2 VRMS. IM spurs at 18kHz and 21kHz are down 100dB re. 18kHz and 19kHz tones.

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the HDMI input with 24-bit/192k sampling at 4 VRMS. IM spurs at 18kHz and 21kHz are down 100dB re. 18kHz and 19kHz tones.

DAC Linearity plots were put together by plotting the results of 15 individual measurements of a 24-bit, 1 kHz test tone beginning at -20 dBFS and getting progressively lower in level to -150 dBFS which were taken through the coaxial digital input of the AV8805.

Here is the Line linearity plot of the AKM AK4490 DAC used on the main left and right channels. The Marantz AV8805 uses eight of these stereo DAC chips to cover D/A conversion for the 15.2 channels that the processor provides. An ideal linearity measurement would show a perfectly diagonal line from 0 dB down to the system noise floor, indicating that the measured DAC output level is identical to the signal input level. As you can see, the Marantz AV8805 measures exceptionally well.

This Relative Linearity chart shows in a more exaggerated, and easy to see manner, that the AV8805 exhibits the most minuscule levels of linearity error starting at -90 dBFS, becoming slightly more noticeable at -140 dBFS and then turning more significant at -150 dBFS, at which point we get into the measuring system noise floor. As a point of comparison, both these linearity measurements better the results I was able to get with the Bryston BDA-3 DAC which uses the same AKM made chips.

The SNR of the Marantz works out to be 120.5 dB. This figure is actually a touch better than the AK4490 chip’s worst-case listed figure in the AKM datasheet. It’s also an indication that this part performs a little better than how AKM specs it, as we saw a similar result when we tested the Bryston BDA-3 which uses two AK4490 chips in a mono configuration. The BDA-3’s SNR was better than 123 dB which is the practical limit of my sound card.

This SNR also indicates the analog electronics after the DAC have noise levels lower than the DAC itself. Just for reference the previous SNR champ for an AVR was the Pioneer SC-79 coming in at 118.6dB. The SC-79 used the ESS ES 9016 DAC. The Pioneer SC-79 measurements were taken using Audio Precision test equipment, so the numbers are going to be slightly different from what we report using the Lynx Two sound card.

The AV8805 does not use an AVR LSI chip but multiple chips which perform a single function. See the accompanying article “Good News, Marantz says no AVR LSI for you.” for more details. In this unit, two AVR LSI chips are replaced by 9 new chips from New Japan Radio and 6 added opamps. The 120.5dB SNR is a result of the change. The AKM AK4490 DAC noise is dominating the noise from the new analog chipset.

The strange non-harmonic spurs that were all over the AV8802 spectra have all but disappeared. We saw some non-harmonic noise in the low-level linearity test spectra (-90dBFS) compared to two-channel products but we are not showing the plot. We need to test another AVR, of similar complexity on the digital side to the AVR8805 before we can start showing these plots.

Harmonic distortion has not improved from the AV8802 to the AV8805 as was expected from the new chips. The change in the worst-case THD specification between the chips used in the AV8802 and AV8805 points to a 50% distortion reduction. We know the distortion is not from the AKM AK4490 DAC since the THD increased as we changed the output level from 2VRMS to 4VRMS with the volume control.

It is possible the HDAM discrete circuits past the new analog ICs are the dominant distortion source. The only way to find out is to open up the case and start probing internal boards which is not something we do here at Secrets.

To end on a positive note, the worst-case THD we got on the digital side was 0.003% which is well below the range that can be detected by human hearing. The 18kHz – 19kHz IM results were also impressive if not state of the art. To our mind when distortion gets to these levels, the Signal to Noise ratio and line linearity are far more important and for these measurements, the AV8805 has passed all previous AVR products in these measurements.

The AV8805 is a significant engineering achievement, both in the complexity of the design (look at that back panel!) and in its measured performance.

“The Marantz AV8805 is an outstanding 13.2-channel processor and is highly recommended.”

The Marantz AV8805 is a great benchmark for a flagship A/V preamp/processor. It is loaded with state-of-the-art functionality and yet the AV8805 is easy to use and configure. The inclusion of Dolby Atmos, Dolby Surround and DTS:X is a given in the marketplace today, but the inclusion of Auro-3D covers all the bases in terms of formats. The fact that Marantz has already planned for a hardware upgrade to make the AV8805 ready for HDMI 2.1 and 8K video is also an enormous plus, and once again shows a commitment to the consumer.

Marantz still has room for improvement in managing the Audyssey configurations across the various sound formats, and it would be nice if they offered the ability for more user control over speaker assignments. By adding support for the Audyssey MultEQ Editor app, Marantz has finally given the user the ability to tailor their Audyssey experience to their liking. This brings the Marantz and Denon products much more in line with the type of customizations that can be achieved with room correction systems like Anthem’s ARC or Dirac, but there is still plenty of room for improvement and competition.

If you are looking for a new 13.2 channel processor, put the Marantz AV8805 on your short list for an audition. Its primary competition currently comes from other products in the Marantz and Denon product lineup, but that gives the consumer some choice in terms of feature-set and budget. The Anthem AVM 60 is also a competitor but doesn’t match the AV8805 in terms of connectivity and overall feature set.

The authors would like to thank Dr. David Rich for his contributions to this article.

The post Marantz AV8805 Processor Review appeared first on HomeTheaterHifi.com.

The company continually updates its family of products following the evolution of technology. The SR5014 receiver reviewed here is one of their latest offerings in Marantz’s ever-expanding home-theater receiver line. The SR5014 is quite feature-laden and equipped with the latest surround processing technology, which makes it very attractive at its mid-range price point. The review should provide the readers with some ideas on whether this receiver is worth considering in the mid-priced home-theater receiver category.

With its two round knobs flanking a round display on its front plate, this SR5014 carries a by-now classic Marantz look. This 7.2-channel receiver is a new addition to the extensive Marantz AV products. It offers and packs an impressive list of features, including advanced object-based audio formats (Dolby Atmos and DTS:X including their virtualization technology), 4k ultra-high-definition video processing capability, 24-bit/192-kHz digital-to-analog audio processing, full HDCP 2.3 HDMI support, and built-in HEOS feature, which allows for multi-room audio control and digital music streaming. It also supports integration with Amazon Alexa, Google Assistant, and Apple Siri, which enables convenient voice-control capability. The SR5014 also packs 7 channels of discrete amplification featuring 100 W per channel, which should be plenty for most applications. With the MSRP of $999, the SR5014 seems to offer a lot of bang for the buck.

The Marantz SR5014 is a new member of the Marantz receiver lineup superseding the SR5013. Released in the summer of this year, it carries the same price tag of $999 as its predecessor but it has a few updates, including HDCP 2.3 support and Dolby Atmos Height Virtualization processing. Marantz has been an active player in the AV receiver market, continually keeping up with the market demand. I know from my experience in owning Marantz products (I used to own their highly regarded AV8801 surround processor and now I have the AV8802 in my system), that the company is good in equipping their products with the latest bells and whistles to accommodate users demanding the state of the art of AV technologies without sacrificing the fundamental of quality sound reproduction. Therefore, I had some high expectations with the SR5014 and I approached the review with some curiosity on whether it has what it takes to fill these expectations.

Just a quick glance at the Marantz SR5014 receiver, you will know that it comes from the Marantz family of products. It has the classic Marantz look with the faceplate featuring two big round knobs flanking the round display in the middle. The company seems to be in the groove with this faceplate design and why not? Although the round display can only show limited information, in my opinion, it is sufficient while at the same time giving a distinctive and handsome look. The SR5014 only comes in the black finish.

The Marantz SR5014 packs a long list of impressive features. It is a 7.2 channel receiver compatible with the latest multichannel audio formats such as Dolby Atmos, Dolby Atmos Height Virtualization, DTS:X, and DTS Virtual:X. The inclusion of Dolby Atmos Height Virtualization and DTS Virtual:X allows the simulation of the overhead sound effects without using the height-channel speakers. The seven-channel power amplifier inside the SR5014 delivers 100 W per channel, which should be sufficient for most applications. The weight of the receiver may not reflect that it has a 7 x 100 W amplifier onboard, as it is not that heavy, but its overall construction is good and feels quite sturdy.

Besides the two round knobs that function as an input selector and volume control, the front panel of the SR5014 is populated by functional buttons for powering the unit on/off and for selecting sound mode, zone, and tuner preset. A headphone connector, as well as extra HDMI and USB inputs, are also available. Hidden behind a plastic cover that can be popped open are a set of analog AV and the calibration microphone inputs. The SR5014 does come with the calibration microphone, which is part of the Audyssey MultEQ XT calibration and room-correction setup tool.

The rear panel of the SR5014 sports an extensive input/output connectivity. As typically with modern AV receiver these days, the SR5014 accommodates HDMI along with composite and component video inputs. On the audio side, connections for digital coax, optical, stereo analog, phono, and multi-channel inputs are provided. Seven pairs of speaker level outputs are located on the lower part of the rear panel. Line-level pre-outs are also available for all channels, to accommodate the use of an external amplifier. It is worth highlighting that the HDMI connections in the SR5014 supports the latest HDCP (HDCP2.3) and up to 4K 60Hz video format with the pass-through feature in standby mode. It is also capable of upscaling SD and HD video to 4K Ultra HD, a feature that was not in the inventory of mid-price receivers such as this just a few years back.

The network connectivity of the SR5014 is quite comprehensive. Besides the wired ethernet port, the SR5014 has built-in Bluetooth and dual-band 2.4GHz/5GHz Wi-Fi support. The SR5014 also has built-in HEOS (Home Entertainment Operating System) to maximize its wireless connectivity feature, enabling ease of control for multi-room audio, voice control, and digital music streaming. Besides the streaming access from your local NAS server, HEOS offers streaming support from popular streaming services like Pandora, Spotify, iHeart Radio, and TIDAL. The voice control feature allows hands-free playback functions using voice commands with Amazon Alexa, Google Assistant, or Apple Siri.

The remote control supplied has a slim aspect ratio with color-coded buttons that are clearly labeled. The Main and Zone2 buttons at the very top of the remote are backlit, but the rest are not. The remote was quite comfortable to hold due to its slim aspect ratio. I liked the fact that all the functions of the receiver could be accessed using the remote. But the remote operation of the SR5014 does not only stop there. The SR5014 supports 2 remote apps: the Marantz AVR Remote app as well as the HEOS app, which can be downloaded for free. The Marantz AVR Remote app is available for iOS and Android and can be used to control some functions of the receiver via the network, which include power on/off, volume adjustment, input selection, and access to the HEOS app. The HEOS app is needed to access streaming services and multi-room playback if you have more than one HEOS built-in devices. So, the Marantz SR5014 truly accommodates users with operational convenience at your fingertips.

Since the SR5014 is supplied with Audyssey calibration and room correction tool, its setup is in general quick and easy. I currently have the Marantz AV8802 in my system, which is equipped with the Audyssey MultEQ XT32, so I pretty much know the setup routine. If you connect your TV to the monitor out of the receiver, the step-by-step setup procedure is displayed on the screen when you first turn on the receiver, so you just need to follow the instructions. The whole process, from connecting the microphone to the receiver until the Audyssey analysis is completed, takes less than 15 minutes. You can then verify the Audyssey analysis results, which includes speaker configuration, distances to the main listening position, speaker sizes, and channel levels, and make the manual fine-tuning if necessary. In my case, I found the Audyssey calibration results to be pretty spot-on, so I just used it without making additional adjustments.

During the review, I connected the SR5014 to my home network using Wi-Fi. The Wi-Fi setup is part of the initial setup step-by-step on-screen guide, although you can always set it up separately by accessing its menu. Connection to the network is essential for the HEOS utilization and for accessing the online music subscriptions like Spotify or Tidal. With the network connection, you can also play the music collection stored in your home NAS through the SR5014. An added bonus of connecting the receiver to the network is the provision of the use of the Marantz AVR Remote app for controlling the receiver remotely from any room in the house. This is especially handy if the receiver is set up for a multi-room application.

I utilized this setting during the review, which turned the receiver on when I turned on my cable box, so the video was displayed on my TV but the audio was handled by the receiver. Most of the time this process ran smoothly. However, occasionally, I experienced a hiccup with the video. The receiver turned on and played the audio of the program, but the video stayed blank. Not sure whether this was a software glitch or an issue with component compatibility, but since it only happened rarely, it did not bother me too much. Restarting the receiver usually remedied the situation.

On the audio side, the Marantz SR5014 competently produced strong surround performance from the various sources I threw at it. Be it a TV program or movie soundtrack, the receiver always gave me clear and crisp sonic surround envelopment, which allowed me to engage more with the program material. Its onboard amplifier demonstrated more-than-sufficient power to drive my speakers to high-level volume without any trace of congestion.

I thoroughly enjoyed my experience watching The Sinner season 2 series from Netflix through the SR5014. The series contained subdued dialogue, fast-pace sequences, and underlying background music that affected the mood of scenes a great deal, and the SR5014 effortlessly navigated through all these with ease. The dialogue was clear and natural sounding. The layering of background music that contained a lot of rhythmic thumping was delivered with a deep sense of envelopment.

The Dolby Atmos Height Virtualization seemed to give added height dimension to some scenes, for example on the one where Thor was pulled by the hammer up to the sky, more so than when the Speaker Virtualization setting was set to off. Even during the busy action sequences, the SR5014 managed to deliver the dialogue unmuddied by the surrounding sound effects.

But this was not a fair price-point comparison and as a one-box, AV control solution, the SR5014’s strong suits on most aspects of its sonic performance more than makes up for these minor shortcomings.

The MARANTZ SR5014 is a feature-laden mid-priced receiver with a well-rounded performance that is worthy of its $999 price tag.

At the beginning of the review, I mentioned that I approached the SR5014 receiver with high expectations. I am glad to report that the receiver met my expectations and then some. The Marantz SR5014 is a mid-priced AV receiver with a high-end attitude. It is well built and packed with a powerful 7 x 100 Watts amplifier onboard. It is also equipped with state-of-the-art surround format processing and extensive input/output connectivity that will accommodate most users’ AV needs. The addition of the HEOS feature enhances the convenience of the receiver’s networking operations. More importantly, the SR5014 delivers strong sonic performance in both stereo and home-theater applications. For people who are looking for a one-box central AV controller solution for their system within the $1000 price range, the SR 5014 is a must audition. Its comprehensive features and well-rounded performance could easily win them over.

The post Marantz SR5014 AV Receiver Review appeared first on HomeTheaterHifi.com.

Potential customers will need very little else for a system since the Marantz NR1200 features built-in Wi-Fi, Bluetooth connectivity, a very good D to A converter, a phono stage for a turntable, and an AM/FM tuner. The Marantz NR1200 also has outputs for an external amp and subwoofers.

The Marantz NR1200 receiver was designed to take advantage of high-resolution digital music streaming. When driving high-performance speakers like the B&W CM 6, the Marantz NR1200 provided an immersive, musical experience. The Marantz NR1200 also proved to be fun and easy to use. I enjoyed my time with the Marantz NR1200 receiver.

As a teen, I just melted at the sight of the Marantz receivers of the 1970s. Many would argue that the Marantz receiver of that era was the best you could buy (in my mind, they were). They were also more expensive than their competitors, but the construction and the sound was a step above. Alas, I could not afford such beautiful Marantz receivers then. Today I see that used Marantz receivers of the 1970s are very collectible, and some shops will rebuild the old Marantz receivers and restore them to their former glory (many collectors will pay a handsome price to get this done).

So now comes a new generation of Marantz receivers, designed for today’s market. Much has changed from the 1970s, but the commitment to excellence by the Marantz company has not changed. Marantz touts the attention to detail. Will this feature-laden 2 channel receiver revive memories of past Marantz glory? My heart says, “I hope so”. My ears and mind will need to search for the answer.

The Marantz NR1200 is designed for easy integration into any audio/video system. For video, the Marantz NR1200 has five HDMI inputs and 1 HDMI monitor output with ARC capability. The HDMI for the Marantz NR1200 will support HDCP 2.3, 4K UHD 60hz video, 4:4:4 Pure Color sub-sampling, HLG, HDR10, 21:9 video, 3D and BT.2020 pass-through. As a plus, the HDMI inputs automatically re-name themselves on the Marantz display with the information provided by the source. Gamers with Xbox players will be able to use the ALLM feature with TV’s that support ALLM (Auto Low Latency Mode) If you have a Smart TV, you can set up the TV remote to control the Marantz NR1200, too.

For digital audio streaming, the Marantz NR1200 offers built-in Wi-Fi with 2.4GHz/5GHz dual band support (the unit has dual antennae on the rear panel). The Marantz NR1200 can connect to digital audio sources via Bluetooth technology, AirPlay 2, and the HEOS built-in app.

The built-in DAC of the Marantz NR1200 will decode ALAC, FLAC, and WAV lossless digital files up to a rate of 24bit/192 kHz. DSD in 2.8 MHz and 5.6MHz recordings can also be used with the Marantz NR1200. The Marantz even has a USB port on its front panel. Voice control is supported by leading agents and streaming services like Amazon Alexa, Google Assistant, and Apple Siri. Digital inputs on the back panel include Coaxial and Optical, as well as a network jack.

If you own Bluetooth headphones, the Marantz NR1200 will transmit to the device for a wireless listening experience. Bluetooth is also available for mobile devices to take advantage of steaming wireless content from providers like Spotify, Pandora, Tidal, etc. The Marantz NR1200 also features built-in HEOS for music streaming, too.

If you want to take advantage of legacy analog sources, the Marantz NR1200 has a full feature AM/FM tuner section. The Marantz NR1200 also has a phono input that will accept a moving magnet cartridge. Three audio RCA inputs are available on the back panel, along with a Zone output, pre-amp output, and dual subwoofer output. The Marantz NR1200 has speaker A and B outputs.

During the review period, I received word that the legendary Marantz audio engineer, Ken Ishiwata, had passed away. He was mourned by the Audio Industry for his dedication to audio excellence. His guidance and passion are seen and heard in all Marantz products. The Marantz NR1200, like the higher priced Marantz products, is designed for highly musical performance through careful listening and selection of the circuit design and individual components. Ken Ishiwata’s influence, like that of Saul Marantz decades ago, makes the Marantz NR1200 less of an audio appliance and more like a musical instrument that transports the listener closer to the source.

I installed the Marantz NR1200 in my audio/video system in my living room area. This is a decent-sized room and I have a wall-mounted 55” LED TV for viewing video. My primary source has been by Amazon Prime through the Amazon Fire Stick I installed over a year ago. The sound system is a 2.1 system comprising the B&W CM6 monitors on their dedicated stands (filled with kitty litter) and a Golden Ear Super Sub X for the extreme bottom.

Set up was easy as the Marantz has outputs for a subwoofer and a Toslink digital input for source from the TV. The Marantz NR 1200 has ethernet input for direct connection to a modem or router, as well as wi-fi, and Bluetooth connectivity for the user as mentioned before. I also connected the HDMI cable to the Marantz NR 1200 (the ARC input on your TV can also be used to send an audio signal) and followed the onscreen prompting to set the Marantz receiver up to the system. I recommend using the Marantz installation set up menu because not only is it well done, but it will ensure that your speakers (and sub, if you have one) will be set up properly and it takes you through your Wi-Fi set up.

The drums had a nice percussive pop, and the bass had good snap and control. This was a very promising start I thought. I let the Marantz run in for a few days before coming back for some critical listening by using some radio background music. Fortunately, our city of San Antonio has some wonderful radio stations. One of my favorites is KRTU, a mostly Jazz oriented station located on the campus of Trinity University. I was able to get a strong signal from the Marantz NR1200 tuner and I just dialed it in and used it for background music listening.

During the musical numbers, the sound swept us up in the emotion and flow of the music. The Marantz NR 1200 did a nice job of controlling the B&W CM6 speakers. At no time did it seem like the Marantz was running out of power.

I looked for tickets, but they were sold out, darn! The concert, however, is available through clips on YouTube. I recommend the live concert as a good intro to Maggie Rogers and her music.

Matt was unaware that I had the Marantz NR1200 in the system. He had previously heard the separate amp and preamp I was using before with the B&W CM6 and Golden Ear sub. After we listened to a few of the songs on YouTube and some streamed on Amazon Music from her Heard It In A Past Life album, I let Matt know that I had the Marantz NR1200 as the power amp and digital processor in the system. He was astounded. “The music just sounds so full”, he said. Matt and I agreed that the Marantz NR1200 was not just good but really performed at a high level.

Not having a moving magnet cartridge on my current turntable, I invited my next-door neighbor Travis to help me with the review by bringing over his turntable. Travis and I have been friends for as long as I have been on the block and he is also a member of our local audio group, the RCAS. Travis has a Denon DP-29F that has a Denon moving magnet cartridge installed.

For those of you not up on turntables, the big difference between a moving magnet cartridge and a moving coil (like the one in my main system) is that the output is much lower on the moving coil. So much lower that it requires a separate phono stage that can boost the output and that is adjusted or can be adjusted for the difference in the impedance of the moving coil. Some high-end amplifiers or pre-amplifiers come with the phono option for moving coil cartridges, but there are many separate phono preamps manufactured for adding a moving coil cartridge to a system. Most receivers and amplifiers come supplied with moving magnet compatible phono inputs, as does the Marantz NR 1200. The cost involved in having the extra circuitry for the moving coil cartridge usually means that most electronic manufacturers will omit the moving coil phono stage to keep their electronics more affordable (moving coil cartridges are also much more expensive than a moving magnet, so the upgrade cost to the consumer is significant).

Now, I have been spoiled by my Rega turntable with moving coil cartridge, so when I heard the modest Denon/Marantz combo on the system just rocking out, I was impressed. The soundstage was big and wide. The B&W CM6 and GoldenEar subwoofer seemed to disappear more. On certain tracks, it seemed like there were additional speakers because sounds seemed to come from other locations in the room and or another room. Detail was very good. At the end of the side, my lasting impression was that of a very musical performance from the Marantz NR 1200. I had the volume at a high level. So much so that Travis and I had to shout in order to communicate and we were sitting next to each other. Despite the high- volume level at no time did the sound become harsh or hard. The Marantz NR1200 had enough juice to keep everything under control.

The MARANTZ NR1200 is like a Swiss army knife of receivers. In one very affordable box, you get the flexibility to stream music, the ability to integrate with video, and enough power for all but the most power-hungry speakers in the largest rooms. It also has very good sound.

At the beginning of this review, I wondered if this new Marantz receiver could stand in comparison with the legendary Marantz receivers of the past. Much has changed since the 1970s when stereo receivers were king. The receivers of the past were a one-box wonder that housed the pre-amp, amp, and tuner. A potential Marantz customer would need not much more than a pair of speakers to have music at home. With all the technological advances today, the Marantz NR12000 has accomplished the same feat. It has done so and at a bargain price considering the sound quality and the many useful features.

The Marantz NR1200 came into my A/V listening room and during the last few months has performed flawlessly. It has also provided a high level of fun, and ease in operation. At its listed price the Marantz NR1200 offers a tremendous amount of performance. The system I placed it in is probably above what the average user will have. Heck, the speaker cables on the system cost as much as the Marantz. Yet, the Marantz NR1200 never seemed out of place, in fact, it performed up to the level of the speakers and system. The Marantz NR1200 is an unassuming overachiever. My highest recommendation.

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The AV Surround Receiver is the heart of many hi-fi systems and NAD’s T 778 is a flagship entry into that genre. With 9.2 channels rated at 140 watts per, it supports nearly every audio format and passes 4K video through its six HDMI inputs. With Modular Design Construction, the user can swap out I/O cards when new technologies appear. Maintaining NAD’s reputation for neutral sound, it also includes Dirac Live room correction and BluOS which opens the T 778 up to a vast world of streamed content. With NAD’s build quality, this AVR can serve the user through many upgrades.

At the heart of many hi-fi systems is an AV surround receiver. This all-important box combines the functions of pre-amp, power-amp, and video management into a single component. Today’s receivers also must manage streamed content for users who have put their optical discs into storage in favor of playing their music either from the internet or from an in-home file server. The NAD T 778 can manage all those functions. Its hybrid digital amplifier design supports nine channels at 140 watts per. If you have enough speakers for a Dolby Atmos setup, it can run either 7.1.2 or 5.1.4. Modular Design Construction (MDC) means you can swap out I/O cards when new technologies appear. How many receivers have been relegated to the closet when a new HDMI version came out? I’m cringing at the thought of replacing my Integra DHC 80.1 processor someday because it only supports HDMI 1.3a.

Using hybrid digital amplifiers, the T 778 serves up NAD’s classic neutral and honest sound. With Dirac Live included, you can tailor both frequency and phase response to best fit your listening environment. BluOS with multi-room capability ensures access to a huge amount of streamed content from thousands of providers. The T 778 can anchor a home theater or just provide great audio for a two-channel or surround audio system. As NAD’s flagship receiver, there is little it cannot do. Let’s take a look.

• NAD T 777 V3 AV Surround Sound Receiver
• NAD T 758 V3 AV Surround Sound Receiver

There are quite a few things to see and hear in the T 778. First off is the hybrid digital amplifier design which delivers nine channels rated at 85 watts per, Full Disclosure Power, which represents a maximum load at the rated distortion level of .08%. In use, the power delivery is closer to 140 watts at 8 ohms with peak dynamic power at 165 watts. Though I can’t verify this with test gear, I can say that this receiver runs cooler than anything I’ve yet reviewed. My front three speakers present a 4-ohm load with 6 ohms for the two surrounds. After blasting Mahler symphonies for an hour, the receiver is barely above room temperature. To call these amps efficient is to engage in understatement. I can’t imagine a speaker that won’t be driven well by the T 778.

One could stop there and be more than satisfied with the sound which is NAD’s familiar honest and neutral presentation. But since no one has a perfect acoustical space, Dirac Live is included. The necessary mic is in the box along with a license to download the latest software. I’ve used Dirac before in my reviews of the T 777 and T 758. The latest version has a much slicker interface, better performance, and more options for personalization if you upgrade to the Pro license.

The T 778 also embraces the latest technologies with BluOS and MQA. BluOS is NAD’s streaming platform and it allows access to a universe of content from paid providers, free internet radio, and locally stored music. It also has multi-room capability that works with the receiver’s second zone and is easily controlled by a phone or tablet app.

Master Quality Authenticated (MQA) is supported on every digital input. You can stream this high-res format from services like Tidal through BluOS. Or if you prefer another source, the same quality will come through the T 778’s HDMI, coax and optical inputs. Also supported is Apple AirPlay 2. This allows easy integration with the music apps found on iPhones and iPads.

I/O follows NAD’s Modular Design Construction which in the T 778’s case consists of two card slots. There is an HDMI card with five inputs and two outputs, all version 2.0 with HDCP 2.2. A sixth HDMI 2.0 resides on the front panel. This card also has an RJ-45 and a USB port. The second card has two each of coax and optical inputs along with RCA’s for two additional pre-out channels. By adding a two-channel power amp, you could have a total of 11 channels for 7.1.4 Dolby Atmos or DTS:X.

The rest of the very clean back panel carries inputs for moving-magnet phono input, two analog stereo and pre-outs for two subs, L/C/R, and four surround channels. The setup menu has options for using the extra amps as rear surrounds, height channels, or bi-amping the front speakers. The T 778 is also integrator friendly with trigger and IR inputs and outputs along with an RS-232 port. The nine-speaker terminals are five-way binding posts that accept a variety of cable connectors or bare wire.

The remote is a high-quality handset that is backlit and programmable. It can be used to control other components and function as a universal remote with volume punch-through and macro capability. You can also control all the T 778’s features from the front touchscreen. This large color display is the nicest feature of its kind I’ve ever seen and it responds to both touch and swipe gestures. When you’re not using it, it shows either status messages or graphics to represent streamed content. One of my favorite features is the virtual VU meter. Available on the BluOS input, it shows classic needle-type meters that dance along with your music. It’s just the thing for parties or audiophiles that enjoy a nostalgic look. The only other items on the front panel are a small volume knob, power toggle, headphone jack, and HDMI & USB ports.

The first order of business is to make all the T 778’s physical connections. I connected my Axiom speakers to the binding posts with banana plugs which fit securely. I ran LFR1100 towers with only the front drivers engaged which effectively turns them into M100s. The center channel is a VP180 and the two surrounds are QS8. The sub is also Axiom, an EP800 connected with a coax cable. My single physical source was an OPPO UDP-203 connected via HDMI and coax for two-channel CD playback. For streaming and networking, I hooked the included USB hub into the rear port. The hub has the necessary dongles for Wi-Fi and BluOS functions.

The quick-start instructions recommend checking for a firmware update which I did first. There was no update for the T 778, but I installed a BluOS update which took a few minutes. I used the BluOS app on my phone to connect the receiver as a player, then turned to the Dirac Live setup.

To run Dirac Live, you’ll need a computer (PC or Mac), or you can use a smartphone (iOS or Android). I used an HP Spectre 360 laptop to which I connected the included USB adaptor and calibrated microphone. The procedure is pretty simple. By following the steps on-screen for setting levels and measuring at five points around my seating position, I had everything done within 30 minutes. You can save as many configurations as you want and transfer up to three of them to the T 778. Once this is done, you can switch between the correction files in the OSD or with the front panel touchscreen.

The sound quality of streamed content varies widely depending on the source and the compression level, but I went through dozens of selections and found they all sounded very good. I’ve listened to several other NAD BluOS-enabled components in the past and the T 778 is my favorite so far. It brought a presence to the music that I’ve not heard before. I had access to all the different surround programs, so I cycled through them and settled on Dolby Surround as my favorite. It provided a balanced presentation using all five speakers and the sub with a little depth added, no doubt by a slight phase manipulation. I would describe it as a wet sound, which is something I always enjoy.

Playing Redbook CDs, the T 778 is equally at home with hard rock or classical music. Foo Fighters’ Wasting Light is loaded with detail that is hard for many amps to resolve. Layered guitars with heavy distortion can often descend into a one-note mush. Luckily, the NAD’s super-accurate amplifiers had no trouble presenting every instrument with the perfect degree of separation. You could easily hear each part, sometimes as many as six guitars, on top of the drums, bass, and vocals.

I had the same impression when listening to Metallica’s Hardwired to Self-Destruct. Their recordings have only one volume level – LOUD. There is no effort made towards subtlety or texture. But the T 778 still managed to place the lead and rhythm guitars in different parts of the sound stage while Lars Ulrich’s drum lines rushed by in the background.

Dialing down the intensity with a little classical music, I cued up Alicia de Larrocha’s performance of Ravel’s Piano Concerto in G with the St. Louis Symphony. I was fortunate to hear her play live once in Boston’s Symphony Hall. Her sound is so crystal clear you can hear every note, no matter what the tempo. This came through the T 778 beautifully. A piano fan would immediately know it was her playing. I almost felt like I was inside the instrument watching the hammers hit the strings.

For a bit of surround music, I turned to my SACD of Mahler’s Fifth Symphony performed by the San Francisco Symphony. The T 778 played the multi-channel layer using PCM and its Direct mode. Though the center and surround channels are used sparingly for this recording, the sound stage was expansive both in width and depth. A super-low noise floor contributed to a huge dynamic range with the most delicate of pianissimos contrasted by blasts of brass and percussion. Woodwind solos came out from the texture with delicate string accompaniment in perfect balance.

Every NAD receiver I’ve reviewed serves up movies with relish, but the T 778 hit a new high for me. I started with Star Trek Beyond and was immediately struck by the clarity of its dialog. The black noise floor contributed to super-tight control of the deepest bass and the most fragile highs. Ambient sound effects moved all around me with clear information coming from every individual speaker. This combined into one of the most realistic surround sound fields I’d ever experienced.

That tight control continued in Transformers Revenge of the Fallen. The opening of this film starts with a bass sweep down to a register that will bottom out any subwoofer, including my Axiom EP800. The first battle scene is full of sound bursts separated by moments of silence. The impact was palpable and textural; felt as well as heard. Through the explosions and destruction, dialog remained clear. Even the heavily processed voices of the transformer robots were detailed enough to understand every word.

The NAD T 778 AV Surround Receiver earns its flagship status and easily competes with others in its class. It adds value with Modular Design Construction which makes it almost future proof.

I’ve reviewed a few NAD receivers over the past eight years and the T 778 is the best-sounding one yet. As a flagship AVR, one expects it to top the less-expensive models in its line, and given the dynamics, I heard from both music and movies, it most certainly does. With a completely silent noise floor and amazing responsiveness, every burst of sound, whether it was massed strings or violent explosions, came across with tactility and detail. Textures were rich and varied and I never strained to hear the finest nuances. There is no fatigue here, not even with low-quality content. You can listen to this receiver for hours and easily lose track of time.

I really enjoyed the inclusion of Dirac Live which made the T 778 a perfect fit for my room. Its frequency and phase correction created a perfect balance on the first attempt. And with BluOS, I could sit for hours and surf internet radio stations or content from multiple providers.

When investing $3000 in an AVR, one is inevitably concerned with future technologies. Thanks to NAD’s Modular Design Construction, there is no worry. New HDMI version? Swap out the card. It’s a good bet you won’t need to replace the T 778 for many years. Since its core hybrid digital amp technology is so strong, it’s extremely unlikely that something better sounding will come along.

The T 778 is an AVR for the long haul. I’ve enjoyed my time with it more than any other NAD component I’ve reviewed. It receives my highest recommendation.

The post NAD T 778 AV Surround Receiver Review appeared first on HomeTheaterHifi.com.

Denon AV receivers have been quite popular in the home theater market. In North America, Denon currently offers two AV receiver lineups to cater to various budgets: the AVR S-Series and the higher-end the AVR X-Series. The receiver reviewed here is from the middle of the pack of the AVR X-Series, the AVR-X3600H, which is introduced in 2019 with a price tag of $1099.

Feature-wise, the Denon AVR-X3600H is quite comprehensive, including 9 channels of amplification with 105 W per channel into 8 ohms, 8 HDMI inputs and 3 outputs with full HDCP 2.3 support, and the latest 4K video technologies, such as Dolby Vision, HDR10, and 4K video upscaling. The receiver is also capable of decoding the latest 3D surround decoding formats, such as Dolby Atmos, Dolby Atmos Height Virtualization Technology, DTS:X, DTS Virtual:X, and the IMAX Enhanced Support. The advanced signal processing in the AVR-X3600H features the AKM 32-bit AK4458/VN DAC chips on all channels and supports playback of MP3 and Hi-Res audio formats, including WAV, FLAC, and ALAC (up to 24-bit/96-kHz), and DSD 2.8/5.6MHz. The AVR-X3600H also provides wireless connectivity via Bluetooth, Apple Airplay 2, and WiFi with HEOS (Home Entertainment Operating System) built-in, which can be used for accessing popular streaming services like Spotify, Pandora, and Tidal. The receiver also features hands-free voice controls that work with Amazon Alexa, Google Assistant, and Apple Siri. Does the AVR-X3600H offer sonic and video performances commensurate with the comprehensive features it offers?

The Denon AVR-X3600H receiver is a middle-of-the-pack member of the Denon AVR-X home-theater receiver series, which has a price tag ranging from $599 to $3999. The AVR-X3600H was released in 2019 with an MSRP of $1099, squarely belongs to the midrange AV receiver category, which forms quite a crowded market in the United States. But Denon has been a player in this market sector for a while, so I guess the company knows what it takes to be successful amid strong competitions from other brands. It does not hurt either that Denon has built a solid reputation in the home-theater receiver sector.

The Denon AVR-X3600H receiver is a handsome-looking product with good build quality. Even though it is a feature-laden receiver, it maintains a front panel that does not look busy. A good-sized LCD occupies the front-panel landscape, with two round knobs on its side and a series of rectangular push-button selectors right underneath the display. The left round knob (when viewed from the front) is a rotary input source selector while the right knob is the master volume control. The rectangular push-buttons are for various functions: tuner preset up/down channels, zone 2 controls, display dimmer controls, and some quick input select buttons. The power on/standby button is located right below the input-source selector knob. The front panel also sports HDMI and USB inputs and provides a headphone jack as well as a setup microphone input. The white display is dimmable and provides sufficient information on the operational state of the receiver. The main information on the sound processing format and selected input are thoughtfully shown in big lettering, which is readable from a seating position of about 8-9 ft from the receiver.

Typical to the modern feature-rich AV receivers these days, the rear panel of the AVR-X3600H sports extensive input/output connectors, including HDMI inputs/outputs, digital inputs (coaxial and optical), video inputs (composite and component), monitor output (component), stereo audio inputs (including phono), 11.2 line-level pre-outs, and 11 pairs of speaker outputs (two of these pairs are alternately assignable for bi-amping or for powering second-zone speakers). Wired Ethernet port, DC trigger, FM/AM antenna connectors, and two Bluetooth/Wi-Fi antenna receptacles (two antennae are supplied) can also be found on the rear panel. Even though busy, the input-output connectors on the rear panel of the AVR-X3600H are nicely laid out.

The HDMI connections in the AVR-X3600H supports eARC (Enhanced Audio Return Channel), HDCP2.3, and up to 4K 60Hz video format compatible with Dolby Vision as well as HDR10. HDMI pass-through feature in standby mode is also supported. The AVR-X3600H is also capable of upscaling SD and HD video to 4K Ultra HD with its powerful video engine.

As for the sound, the AVR-X3600H is also equipped with an advanced sound processing technology, featuring 32-bit AKM AK4458/VN digital-to-analog converters on all channels. Therefore, it is of no surprise that the receiver has the capability of decoding lossless music files, such as FLAC and WAV up to 24 bit/192 kHz. It can also playback 2.8/5.6-MHz DSD files, and thus it is quite versatile in this regard. For surround sound, the AVR-X3600H features the latest 3D surround formats: Dolby Atmos and DTS:X (including IMAX Enhanced), with their associated virtualization technologies: Dolby Atmos Height Virtualization and DTS Virtual:X, which are intended to provide immersive surround audio without the use of the physical height-channel speakers.

As with most modern-day receivers, the Denon AVR-X3600H offers a comprehensive networking feature. Besides the wired ethernet port, the wireless connectivity of the AVR-X3600H includes Bluetooth and dual-band 2.4GHz/5GHz Wi-Fi supports. It is also equipped with HEOS Built-in, enabling ease of control for multi-room audio, voice control, and digital music streaming from the local NAS server or popular streaming services like Pandora, Spotify, Deezer, and TIDAL. At the time of this writing, Qobuz is not yet supported in HEOS. The voice control feature works with Amazon Alexa, Google Assistant, or Apple Siri for hands-free playback functions.

The infra-red remote control supplied with the AVR-X3600H is of medium size with nicely laid-out soft buttons that are color-coded and clearly labeled. Only the Main and Zone2 buttons at the very top of the remote are backlit. Pretty much all the functions of the receiver could be accessed using the remote. Moreover, the AVR-X3600H is supported by 2 freely downloadable remote apps for use with mobile phones or tablets: the Denon 2016 AVR Remote app and the HEOS app. Both the iOS and Android versions of these apps are available. The Denon 2016 AVR Remote app can be used to control some functions of the receiver via the network, which include power on/off, volume adjustment, input selection, and access to the HEOS app. The HEOS app is used to access streaming services and multi-room playback functions.

Setting up the Denon AVR-X3600H is relatively easy and straightforward. After making all the device connections, one can just plug in the supplied calibration microphone to the front-panel microphone input and run the Audyssey MultEQ XT32 calibration and optimization feature, guided by its step-by-step instructions on the connected monitor. About 15 minutes is all it takes to get everything calibrated and optimized for the room. Once it is done, only small adjustments are usually needed to further fine-tune the sound to match certain program materials or preference.

For this review, the AVR-X3600H is used to drive a 7.2 speaker configuration: 3 front speakers (front left, front right, and a center channel), two pairs of surround speakers (side and back), and 2 subwoofers. The height speakers were not used and the height-virtualization algorithm on the AVR-X3600H was engaged to simulate their presence. Two amplifier channels are available to power a pair of height speakers for a 9.2 speaker setup. But the AVR-X3600H provides 11.2 pre-outs, so it can accommodate a full Atmos 11.2 speaker setup by adding an external two-channel amplifier to drive the additional pair of height channel speakers.

During the review, I connected the AVR-X3600H to my home network using Wi-Fi, which allowed me to control the operation of the receiver using the remote control app and to utilize all its networking features, such as running HEOS and controlling the receiver using voice commands through Google Assistant. The network connection of the AVR-X3600H was very stable. I did not experience any glitches or drop-outs with the network connection during the review.

The HDMI connectivity performance of the AVR-X3600H is solid, passing through audio-video content or upscaling videos as it is intended to be. In passing-through videos, it did not cause any noticeable video degradation, at least to the naked eye. The HDMI switching control worked consistently, allowing the receiver to be automatically powered on/off in sync with the HDMI device connected to it, which in this case was my Xfinity cable receiver. I reported occasional hiccups while performing the same action with the Marantz SR5014 receiver that I reviewed a few months back, but to my delight, I did not experience any such hiccups with this Denon AVR-X3600H receiver. With some HDMI-connected devices, such as Oppo UDP-203, PlayStation 4, and Nintendo Switch, the receiver was able to detect and edit the input name automatically.

My good impression on the relatively glitch-free operation of the AVR-X3600H was further enhanced by its sonic performance. The receiver in general produced clear and dynamic sound with no obvious trace of harshness even when it was pushed to a rather high volume level, a testament to the quality of its onboard amplification. In surround decoding, the receiver produced excellent surround envelopment and accurate steering that brought immersive surround music and movie soundtrack experiences.

In surround music reproduction, however, the AVR-3600H could give the more expensive processor the run for its money. The DTS 5.1 track Prayer for the Dying by Seal from the DTS Technology Music Demonstration and Set-Up Disc (1996) sounded as good as I could remember it through the AVR-X3600H. I also tested the AVR-X3600H to playback several PlayStation 4 game soundtracks recorded in Dolby Digital 5.1 format and I was quite impressed with the seamless immersive high-level sonic fidelity surround sound it produced. Therefore, I was not surprised when my college-aged son commented that he felt an elevated gaming experience from the insertion of the Denon AVR-X3600H into his game system.

The DENON AVR-X3600H is an excellent performer midrange AV receiver with comprehensive features that justifies its price tag and easily recommendable to serve as the centerpiece of a high-fidelity home entertainment system.

The Denon AVR-X3600H is a mid-priced AV receiver that has a lot to offer and is easy to like. It deserves respect not only because it is loaded with state-of-the-art features but also because of its all-around strong audio and video performances. It is robust operationally and its sonic performance should satisfy most audio and home-theater enthusiasts. While it may not be the best out there, the Denon AVR-X3600H is hard to beat within the $1099 price range. You will need to move up the price ladder significantly to get an overall better receiver. For that reason, the Denon AVR-X3600H represents a champ in the midrange AV receiver category.

The post Denon AVR-X3600H AV Receiver Review appeared first on HomeTheaterHifi.com.

Whether you want a simple two-channel setup or a fully immersive home theater with two additional zones, this receiver can fulfill your every need.

Denon’s AVR-X4700H AV Receiver delivers 9.2 channels, at 125 watts per channel, with nearly every available audio and video technology packed into its chassis. Whether you want a simple two-channel setup or a fully immersive home theater with two additional zones, this receiver can fulfill your every need. It supports Dolby Atmos, DTS:X, DTS Virtual:X, IMAX Enhanced, and even Auro 3D. Eight HDMI inputs and three outputs deliver video up to 8K and 60Hz with eARC. Audyssey MultEQ XT32 room correction ensures a balanced sound for every seat. And an easy setup with intuitive menus means any user can get it up and running to its full potential.

In today’s media and home theater systems, the receiver is asked to do a tremendous amount of work. These boxes are required to pack amplification, video & audio signal processing, and even streaming into a single chassis. And users expect this to come at a low price. If one were to buy separate components to do all these things, even a budget system would cost a fortune.

Denon has had decades of experience doing this. Its multi-channel receivers go back almost 40 years and every new model has added features and increased performance while keeping value at the forefront. The AVR-X4700H is a perfect example. For $1700, you get 9.2 channels, support for every conceivable audio codec, three zones, eight HDMI inputs with three outputs, 8K video, and streaming. And that’s just the highlights. You also get the latest version of Audyssey MultEQ XT32 room correction. It’s all wrapped in a nicely styled 30-pound box.

• Denon AVR X3600H AV Reciever
• Nad T-778 AV Surround Reciever
• Marantz SR5014 AV Reciever

The Denon AVR-X4700H is a 9.2 channel AV Receiver with 125 watts per channel. That rating is quoted at 8 Ohms with two channels driven to 0.05% THD. While this may not seem like a huge number, in reality, few speakers ever need a receiver or amplifier’s peak power, certainly not when nine channels are all going at once. I hooked my review sample up to a pair of Axiom LFR1100s which are 4-Ohm full-range towers, a 6-Ohm VP180 center channel, and two QS8 6-Ohm surrounds; then proceeded to blast a few scenes from Guardians of the Galaxy, Vol. 2. After 30 minutes, the receiver was warm but not hot. I doubt I could overtax the X4700H without first damaging my hearing. You can see its generous heat sinks in the photo below.

The real star here is Denon’s broad support for nearly every AV technology currently available. With nine amplifiers and two sub outputs, you can set up any manner of Dolby Atmos or DTS:X configurations and if you want 11.2 channels, hook up a two-channel power amp to the extra pre-outs. You can assign extra amps and channels for zones 2 and 3 in a whole-house audio system and bi-amp speakers in zone 1. And those two sub outputs are independent which means Audyssey can correct them individually for the best possible bass from two subs.

Denon has included Audyssey in its products since the technology was first introduced in 2004. The X4700H includes the latest MultEQ XT32 iteration with Dynamic Volume, Dynamic EQ, and Low-Frequency Correction. The three enhancements extend the correction to lower volumes and LFC prevents the wall-shaking that accompanies the action of a large sub. A calibrated microphone and cardboard tripod are included to accomplish the room correction during a guided setup routine.

Also included is network support which can be used to stream from many popular services and to pull in content from locally stored media. The X4700H has built-in Wi-Fi as well as an Ethernet port to facilitate this.

The back panel doesn’t waste a single millimeter and is completely covered with input and output jacks. There are seven HDMI inputs, plus an eighth on the front, that support HDCP 2.3. One accepts 8K signals up to 60Hz, or up to 40Gbps while the rest top out at 4K/60Hz, or up to 18Gbps with support for variable refresh rate; just the thing for PC and console gamers. There are also five stereo analog inputs plus a MM phono input along with two each of optical and coax digital plus USB. If you have an old VCR or laserdisc player, Denon has included component and composite video inputs and outputs. The X4700H can also act as a pre-amp/processor with its 11.2 multi-channel outputs. The two sub outs are independent as I’ve already mentioned.

For streaming, Denon includes Wi-Fi and an Ethernet port. Bit rates can go up to 24-bit/192Hz with DSD support up to 2.8/5.6MHz. Services include Spotify, Pandora, Tidal, AirPlay 2, and others. And you can connect Bluetooth devices like phones or tablets too. It’s all managed in Denon’s powerful HEOS app.

Physically, the X4700H is an unassuming black box with a nice-sized display, a pair of control knobs, and a power button. A flip-down door reveals four source selection keys plus menu navigation, a headphone jack, a jack for the Audyssey mic, zone selectors, and HDMI & USB inputs. Generous ventilation is provided up top and one should leave a few inches of space above the receiver to let off heat. In my experience, it never rose above warm, even when blasting through action films through my 4- and 6-Ohm speakers.

The remote is capable of controlling all functions with 15 source selection buttons, menu navigation, four programmable keys, sound modes and transport buttons for HDMI/CEC enabled components. It works well but is not backlit which made using it in the dark a challenge. The important buttons like volume and menu navigation have distinctive shapes so I became more adept over time.

Installing an AVR can often take hours as one wades through cryptic menus to try and create the configuration that best suits the room. Denon has streamlined this process incredibly well in its newest receivers. The X4700H took only about an hour for me; and some of that time was spent exploring the menus. After connecting my Axiom LFR1100 towers (front driver array only), VP180 center, QS8 surrounds and EP800 subwoofer along with an OPPO UDP-203 Blu-ray player, I set about running Audyssey and exploring the receiver’s network options. You’ll need to connect a video display as the receiver’s front panel only shows basic information.

I’ve used Audyssey in other products, including an Integra DHC-80.1 processor and a Denon AVR-3806 receiver, but this was my first time trying MultEQ XT32. The main refinement in each new Audyssey version is resolution. XT32 increases the number of filters over XT from 16 to 512 and concentrates more correction in the bass. You can also take up to 8 measurements which is great for large rooms.

To run Audyssey from the X4700H, I unpacked the microphone and checked out the included tripod. It’s made from cardboard with three sections that telescope for height adjustment. I substituted my own tripod for this step. Following the instructions in the menu was a snap. Not only is every step explained clearly, but you also get a graphical representation of everything that’s going on. I placed the mic exactly as shown in eight locations around my center seat. Once the data was collected, the AVR chewed on its calculations for a minute or so and I was done. Audyssey determined the speaker sizes, crossovers, delays, and levels automatically.

With room correction complete, I visited the network sub-menu and connected the X4700H to my Wi-Fi network. A firmware update was the first order of business which took about five minutes. Then I downloaded the HEOS app to my phone and was greeted with this screen.

Modern AVRs like the X4700H have more features and capabilities than any one user would ever use. I concentrated on streamed content; made comparisons between that and the same tracks from CD; and watched a few movies.

My theater setup is a traditional 5.1 layout, but the room is small enough that I can be fully immersed in sound regardless of the codec used. I started with Guardians of the Galaxy, Vol. 2 which features a rich and detailed DTS-HD Master Audio encode. With Audyssey engaged, the sound was perfectly balanced with crisp highs, smooth and clear midrange, and perfectly controlled bass. Action scenes had an appropriate level of slam and shake but it never sounded bloated. The dialog was precise throughout with no hint of chestiness or sibilance. Music came through clearly as well with a nice wet sound framed by just the right amount of spaciousness.

Next up were a few episodes of Star Trek the Next Generation. It’s also encoded in DTS-HD Master Audio from an original stereo track. Obviously, this selection won’t shake the walls, but I really enjoyed the crystal-clear dialog and subtle ambient effects mixed into the surround speakers. Music is a big feature of this show and it played as though coming from a concert stage.

I finished up my viewing with Alien from 1979. This is also remastered in DTS-HD Master Audio and it sounds amazing. The opening sequence when the Nostromo crew is revived is a cornucopia of subtle effects and cues. The eerie music creates a base layer for the soft clicks and whirs of machinery and computer screens. Even the faint rustle of paper could be heard in detail.

For music listening, I first tried a few of the AVR-X4700H’s sound modes. They can be cycled through using the music or movie button on the remote or select one from the list in the HEOS app. I settled on DTS Neural:X Music as my favorite. It uses all five speakers and the sub to expand the sound stage. There is also a subtle phasing effect that makes the sound more reverberant. It isn’t strictly true to the original material, but it won’t hide flaws either. I also preferred to listen to CDs through the coax input rather than over HDMI which added a subtle jitter artifact that reduces the music’s presence. Coax and optical connections maintain timing at both ends of the signal path and sound richer to my ears.

I warmed up by listening to a few radio streams through the HEOS app. It found my local classical stations where I enjoyed a performance of Ottorino Respighi’s Fountains of Rome. The X4700H’s resolution is high enough that you can tell when compression is being used. I could easily discern between 64, 128, and 256kbps bit rates for instance. The lower rate showed harshness in louder passages; especially in the brass sections. Strings and percussion came through with solid detail though and the sound stage was suitably wide.

Turning on the Wayback machine, I tried my recording of the Chicago Symphony playing Beethoven’s Coriolan Overture conducted by Sir Georg Solti. This is an early digital recording and sounds compressed no matter how it’s played. The streamed version was just OK; a little two-dimensional, but the detail was there. The CD was a huge improvement, especially with the expansion afforded by DTS processing. Even in two-channel mode though, the hall’s space was evident, and the sound stage was wide.

I then streamed a few movements from Yo-Yo Ma’s recording of Bach’s Cello Suites. The spaciousness of Boston’s Jordan Hall was apparent in the presentation and I was immediately taken back to my student days at the New England Conservatory. I played many concerts in that iconic hall. When I played the same movements from a CD, I heard far more detail and a broader sound stage. The streamed version is more than adequate for background music but if you want to listen critically, the CD is the better choice. Of course, the X4700H can play high-resolution streams from its USB or network connections.

I couldn’t resist a bit of bassooning so I pulled out my CD of Valery Popov performing Sofia Gubaidulina’s Concerto for Bassoon and Low Strings. His tone is a distinctive blend of American and European sounds. He carries the bright overtones most American bassoonists favor while maintaining the dark foundation heard from trend-setting players like Klaus Thunemann and Milan Turkovic. This was perfectly evident in the streamed version and more so when played from the CD.

The Denon AVR-X4700H packs all the latest audio technology and excellent sound quality into a single box for $1700. There is little it cannot do.

The Denon AVR-X4700H is a fully realized AV receiver that does everything well. With an easy setup routine and the HEOS app, you can be up and running in no time. Audyssey MultEQ XT32 ensures you’ll hear balanced and clear sound from every seat. The latest HDMI hardware means you can manage streaming boxes, Ultra HD Blu-ray players, 4K smart TVs, projectors, media servers, and much more without issue. To quote a famous computer company, “It Just Works.”

My time with the X4700H went smoothly. I was able to install and use it easily with no need for manuals or internet research. Denon has been building AV receivers for decades and it’s obvious that they have figured out how to make the process easy and intuitive for everyone. From installers to DIYers to end-users; it’s hard to imagine anyone not being satisfied with it.

The Denon AVR-X4700H AV Receiver receives my highest recommendation. If you need something to bring all your home theater or media sources together, it’s a great choice.

The post Denon AVR-X4700H AV Receiver Review appeared first on HomeTheaterHifi.com.

The accompanying MC257 7-Channel solid-state power amp is also beyond reproach in terms of build quality and delivers with 200-watts per channel of clean power.

I found the McIntosh MX170 to be a top performer in all areas demanded from a surround processor. This would be digital surround sound of course but also the analog audio performance, even in bypass mode with two channels driven. The MX170 includes RoomPerfect which is a cutting-edge room-correction package. It also had a pristine video pass-through with 4K and HDR functionality.

Included in my review is the amazingly powerful MC257 7-channel amp that features the classic McIntosh analog power meter and also impresses with loads of dynamic headroom.

McIntosh Labs is an iconic American brand. If you are like me, you think of McIntosh in the same vein as Harley-Davidson, Apple, Klipsch, etc. You get the idea. These brands are pure Americana and are widely sought after around the globe. So it was with little hesitation that I agreed to review their new home theater-focused products – the MX170 Surround Sound Processor and the MC257 7-Channel Power Amplifier.

These products, like all McIntosh products, share the company’s classic look with the glass faceplates, blue backlighting, old-timey toggle switches, and mid-century-styled knurled knobs. The amplifier even sports a trio of the beloved analog power meters. Both products are built like tanks and should provide a lifetime of enjoyment. Please read my below review for the full run-down!

I’ll start with a brief overview of the processor first. The MX170 is McIntosh’s top of the line surround processor. In typical McIntosh fashion, this product is about as comprehensive as I can imagine.

In my view (and a major reason why I wanted to review it), the biggest selling point is its inclusion of the RoomPerfectTM room correction system. According to McIntosh, “[It is] room correction technology that will measure and adjust the audio output to compensate for the specific acoustic properties of your room and make every seat in the house the best seat in the house.” RoomPerfectTM is quite unique among competing systems. It begins by measuring the sweet spot and then you measure random locations in the room until the system tells you it has enough data to adequately model the room and then calibrate your system to the room.

The unit came with a calibrated electret condenser mic, a balanced mic cable, and a boom mic stand. I will discuss this system in more detail in the sections to follow.

Of course, the MX170 can decode all the modern and legacy surround formats and has an almost ridiculously-comprehensive suite of hookup options. It can output up to 16 channels (all by way of balanced XLR outs (no unbalanced outputs). I have a pretty modest 5.2.2 set up. So all the extra channels were not needed in my theater. The MX170 worked well despite that it only calibrates a single LFE channel via the mono subwoofer out in its processing and I needed to work around this limitation in setting up and using the product. McIntosh pointed out that the unit can handle and individually calibrate LFE sent to the front main speakers, the rear main speakers, front stereo subwoofers, or rear stereo subwoofers. Since my dual subwoofer placement is asymmetric, these possibilities were of no use to me.

The MX170 has 8 HDMI inputs and 4 HDMI outputs. Unfortunately, it was not capable of sending signals to multiple displays simultaneously because this system was originally designed to send four signals to a single display for split-screen capabilities. So this limitation presented as another workaround opportunity for my system which features both a direct-view display and a front projector.

This processor is more appropriately intended to be the centerpiece of a large custom-installed system. This begins with its capability to be controlled by a third-party integration system such as Crestron, Control4, etc. So you will typically find this unit in significant custom-installed systems and not so much in my modest living room set up.

The unit comes with an IR remote but because of its native intent to be part of a custom-installed system, the processor is best controlled by a web interface. Once connected to your home network, you can control it from your phone, tablet, or computer by entering the static IP address that is indicated on the front display. This is how we controlled the unit around the Clements household during the review period.

As part of this high-end pedigree, the MX170 has cutting-edge HDMI processors such that all HDMI inputs and outputs can pass full 4K HDR signals in a 4:4:4 color space. The unit even features an HDBaseT output to support long runs from the processor to your projector.

McIntosh did not forget about the two-channel lovers out there and the MX170 has a full suite of analog and digital inputs for two-channel listening. They even included a very nice sounding MM phono input! The digital inputs can accept PCM signals up to 24-bit/192kHz.

McIntosh also sent along a newly-released 7-channel amplifier for the review, the MC257. This thing is a beast! It clocks in at 95 pounds and simultaneously puts out 200 clean watts into each of its seven channels. This is supported by the McIntosh proprietary Dynamic Power Manager® (DPM) technology.

McIntosh even claims to have increased filter capacity by 20% over prior models which leads to an amazing 3.3dB of dynamic headroom.

This amp has three large power meters on the front panel. These are for the LCR channels only. Of course, I loved the meters and they are a fun novelty to showcase your system.

The heat sinks are massive and feature the “Mc” monogram look which I also liked! The heat sinks obviate the need for any kind of forced-air cooling.

McIntosh also includes all of their most sophisticated protection circuitry in the MC257. The amplifier is modular in design with inputs along the bottom and high-quality binding posts on the amp cards that are situated vertically above.

All this tech is supported by a sleek chrome plinth. The whole package: the front panel, the meters, the heat sinks, the classic McIntosh look, and feel, along with the unit’s amazing performance were very comely and seductive.

The setup was pretty typical for my system. It is important to note that these components come in some quite large boxes. So they barely fit in the cabinet I use for these things. I suggest you verify if they will fit in your rack before placing your order. At 21” deep, the amplifier in particular barely fit with the cabinet doors closed.

I placed the MX170 in the cabinet first and connected everything. I initially connected my front projector to the HDMI Out 1 and my direct view display to HDMI Out 2 believing that the unit would send the same signal to both displays like my reference processor. It did not. That meant that, during the review period, I needed to manually unplug the one I wasn’t using and plug in the one I wanted to use. It was a hassle. McIntosh reps told me that most installers use an outboard HDMI splitter. I used to have one but it was way before 4K became a thing. So I just manually switched them out as needed.

This is a good time to mention this unit worked best for me when controlled by the McIntosh app. So be sure you connect the unit to your home network by way of the Ethernet connection. (The MX170 does not have WiFi.) The app provides complete control of the unit and is best accessed on a tablet or laptop because the greater screen real estate allowed a better interface than my phone though I did use my phone for input switching and volume control in casual settings.

I then hooked up the MC257 amplifier. The MX170 amp only has balanced outputs so that was the connection used. You also need to install a trigger if you want the processor to control on/off of the amp as well as remote on/off of the front meter back-lighting. Since this arrangement requires separate signals for power and illumination toggles, you will need to use a stereo mini plug for the trigger. I am not sure how you would control the meters’ backlights with a different brand of processor.

At this point, I was ready to calibrate the audio with the RoomPerfect system. The initial review unit presented two issues that caused me to request and receive a replacement: first, the IR remote did not work (it was an issue internal to the processor) and, second, there was an issue with the mic cable. So I requested a replacement which McIntosh sent after the new unit passed a full QA check-up. This afforded me the opportunity to use the system without calibration for several weeks and I will describe my listening impressions in the ensuing sections of this review.

Once I had the replacement in, I was ready for calibration. This time it went off without a hitch. As I mentioned earlier, RoomPerfect is different from other systems in that it has you take the first measurements at the sweet spot and then place the mic in different random locations repeatedly until the system alerts you it has collected enough data to faithfully calibrate to your room/system. The first time I ran it, I really wanted to meet the spirit of randomized locations. So I tossed a bottle cap in the air (eyes closed) and then placed the mic where the cap landed. In subsequent calibrations, I just put the mic in various listening positions. I did not detect any major differences in the results either way.

Now that I had everything installed and calibrated, I was ready to sit down for some critical evaluation!

As described above, I wound up using the system for a few weeks until the new processor came in. What that meant is I used it in an un-calibrated state while waiting for the replacement. This was a very interesting exercise because it gave me a window into the processor’s native performance. What I heard at this time was more than promising, it was in fact excellent sounding.

This actually came as a bit of a surprise because I could not figure out how to set speaker distances in the menu outside of it being an intermediate step in the calibration process. So, since I was not able to engage the calibration process with the original unit, I was out of luck to make this adjustment until the replacement was received. They remained at default during this initial phase of the evaluation period. Another surprising thing was that the MX170 did not have a routine to send pink noise to each channel so the channel balances could be manually adjusted. (McIntosh pointed out that “speaker playback levels can be measured in the setup menu under Verify Speakers which uses Pink noise” which is sort of correct but this was an interim step in the calibration that is intended to verify all speakers are connected and to the correct channel. It was not for setting channel balance.)

You can tweak channel balance in the MX170 by way of channel trims that you can adjust on the fly but then they revert to 0 dB when you cycle the power. Speaker level offsets may be adjusted in the setup menu under Channel Gain. Gains may be set uniquely for Dolby/DTS, Auro, or Room Perfect. Clicking on the save tab will store all settings.

That being said, I do need to let you know that the straight-up un-calibrated sound of the MX170 was incredibly clean and dynamic. The hardware engineering and execution was obviously of a very high order. The sound was nothing short of scintillating!

Part of the sound was of course the MC257 power amp. My impression was that the dynamic sound from the processor was cleanly passed by the amplifier and the extra headroom played its role in upholding that dynamic quality. This was particularly apparent when enjoying an action film that presented a great deal of macro dynamics. The McIntosh combo really shone with this type of program material.

I was able to install the replacement MX170 after about four weeks of using the original unit. Calibrating it was a breeze at this point. The RoomPerfect system included the quality microphone, a working mic cable, and a solid boom mic stand. As mentioned earlier, I originally calibrated by way of truly random mic positions. That sounded very balanced with excellent presence. I later re-ran the calibration by placing the mic in various listening positions at ear height to see if this improved results and the fact of the matter is that I did not hear a major difference with either process.

A note on mic placement during calibration: McIntosh indicated that the mic could be placed randomly not only in the horizontal dimension but also in the vertical dimension. You just don’t want to get too cute with it and you should keep the mic placement between the speakers and not too close to a boundary. Makes sense to me.

Let me explain. I spoke with McIntosh representatives about a number of the unit’s operational quirks and they explained how the MX170 was intended for cost-no-object custom installations. You know, the kind of lusty drool-worthy systems that have banks upon banks of monoblock amplifiers and speakers all over tarnation. Certainly, your installer would set it up and program everything so you could operate it using your custom control system. If you had a problem, the installer could access remotely and make certain settings changes. This was the plan and I get that. But I think if I sank hundreds of thousands of dollars into a system like they described, then I would be fairly annoyed that I would still have to unplug and replug a commonly-used component every time I wanted to use it. So I hope McIntosh will address this issue with a future firmware update.

The various operational quirks aside, I do want people to understand that I am the type of person who gets their system set up and dialed in, and then I just use it. I don’t fiddle with the settings very much. In this context, the McIntosh combo was stellar. Once set up and calibrated, I enjoyed some of the most luxurious sound I have ever experienced in my theater.

It had an amazing surround bubble that put me in the center of the action. This soundscape featured pinpoint imaging of all the discrete effects. The overall clarity, dynamic punch, and low distortion of the sound were above reproach. This led to me devouring 4K Blu-Rays of all kinds during the review period. I do regret not bench testing the units. It was just that I had these products in during the early stages of the Cornovirus Pandemic and so many other things interfered with my review schedules, I just had to ship them back before I could test.

If I had tested them, I think they would have been some excellent results and quite possibly among the best in their class.

One thing of note on the audio processing. The MX170 will only apply Dolby post-processing to Dolby input signals. If you have an old DTS track, then you can post-process with DTS: X but not Dolby. McIntosh claimed this was due to Dolby’s strict licensing requirements, but a vast majority of surround sound processors do not have this constraint.

Let’s talk about the MC257 amplifier for a second. This amp is a bad mother that can crank out some serious wattage. It is rated at 200 wpc RMS continuous with all 7 channels driven into 8 Ohm loads. This is serious firepower. And with McIntosh, I am sure the amp exceeds those claims. Remember also that the amp has a claimed 3.3 dB headroom. This means the MC257 can be the engine for just about any home theater regardless of the sensitivity of the speakers, the size of the room, or any other factor I can think of. The honest truth is that I have been enjoying a ~7 wpc 300B tube-based amplifier when listening to two-channel music lately and it just reminds me how much overkill 200 wpc actually is.

But that’s not the point of 200 watts. The point is what I mentioned earlier: the greater power reserves mean unmitigated dynamics. Movie soundtracks can have a lot of dynamic contrasts and this is where the 200 watts shows itself. Also, the additional reserve power means that you don’t have to worry about over-driving your amp, thereby damaging your speakers. It gives you peace of mind as you sit back and enjoy the show.

I do want to make special mention of the built-in MM phono stage. I have used many a phono preamp in my days. These range from ones built into a vintage receiver up to full-on uber-engineered phono preamps. The mighty McIntosh’s implementation can go toe-to-toe with any of them. I am so pleased that McIntosh took the extra step to include this feature for their customers. It provides just one more avenue to really enjoy your home entertainment system.

The McIntosh MX170 Surround Sound Processor and MC257 7-Channel Power Amplifier have a great deal of flexibility and power. The processor employs RoomPerfect room correction and both pieces used together provide a highly elevated performance.

I hate to admit that the McIntosh combo was a mixed bag. I mean, McIntosh is a mighty brand with an iconic image that is pure Americana. I had hoped for a better user interface, more accessible fine-tuning features, an HDMI interface that would send simultaneous signals to more than one display, etc.

Little of that matters when you are a purist at heart. That would be me. I just want great audio and video so I can enjoy the show while being as immersed as possible. The McIntosh combo checked all the performance-related boxes when it came to signal integrity and immersion. Also, clarity and dynamics were off the charts.

I was particularly smitten by the MC257 power amp. This brawny beast was excellent in every facet of its design and performance. I seriously thought about buying it but I was vetoed by my spouse for budgetary reasons. (I had just recently bought a new 7-channel amp.)

The last word on this system is that I do recommend both pieces to anybody who is either a power-user or wants a custom-installed system beyond reproach. The performance qualities are top of the line in my experience.

The post McIntosh MX170 Surround Sound Processor and MC257 7-Channel Power Amplifier Review appeared first on HomeTheaterHifi.com.

My first piece of audiophile equipment was a Marantz 2226B stereophonic receiver that I got right after college in 1980. It had a cool flywheel tuning dial and sweet looking blue diode lights. Even with my low-budget speakers, it sounded great. Fast forward to the present and the only similarity is the name and Saul Marantz’s philosophy of having the music sound like music. Yes, the top-notch sound quality that Marantz has always been known for is still there.

Marantz is part of Sound United, which also owns Denon, Polk Audio, Classe, Definitive Technology, and others. Each company has maintained its distinct brand and vision which allows them to continue making products for their particular market demographic. Marantz has always put a premium on sound quality. Each product they make goes through extensive sound tuning by dedicated engineers (Marantz calls them Sound Masters) at their facility. Both the AV and SR lines contain the HDAM (Hyper Dynamic Amplifier Module) that works in several capacities and sets Marantz products apart from the competition. Basically, it is a discrete circuit with short, mirrored left and right signal paths. It works as a type of op-amp but with a better slew rate and reduced noise levels. The SR6015 is in the middle of the pack of new receivers for 2020, below the SR7015 and flagship SR8015, which can handle 4K/120Hz and 8K/60Hz. I consider it the close cousin of the Denon AVR-X4700H that was reviewed by Secrets recently. Featuring discrete high-current power amplifiers on all channels, the SR6015 delivers 110 watts per channel (8 ohms, 20Hz-20kHz, THD: 0.08%, two channels driven). Robust internals ensure stability when driving low-impedance speakers. The SR6015 uses AKM AK4458 32-bit D/A converters, as well.

The SR6015 has nine discrete amplifiers utilizing HDAM topography that deliver 110 watts per channel, with two channels driven. There are seven HDMI inputs and three outputs. One is a dedicated port that supports 8K video at 60Hz and 4K at 120Hz with pass-through capability. It also supports Dolby Vision, HLG, HDR10, 21:9 video, 3D, and BT.2020 color with the latest HDCP 2.3 copy protection standard on all HDMI inputs which makes it virtually futureproof, at least for the next several years.

The video processor in this model is capable of upscaling native video sources up to 8K resolution and supports HDMI eARC which can pass object-oriented audio formats like Dolby Atmos and DTS:X from your smart TV to your home theater speakers. The SR6015 is also Roon Ready and has the latest Bluetooth technology, includes Airplay 2, and can be connected to your network via LAN line or Wi-fi. HEOS allows for streaming to other HEOS enabled devices throughout the house, too. I really cannot think of anything I would want to add as it is already like the Swiss Army knife of home theater receivers. To get all these capabilities in separates will cost you more and even then, may not do it all as easily. The fact that you can use the SR6015 as a preamp and hook it up to external amplification of your choice is the proverbial icing on the cake. After the first week, I ran the SR6015 that way and hooked it up to my seven-channel Emotiva LPA1 amplifier. Both modes sounded great, with the preamp mode engaged, the receiver ran considerably cooler. When in preamp mode, the internal amps are turned off.

• Denon AVR X4700H AV Receiver Review
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Marantz takes design seriously. The SR6015’s minimalist faceplate has symmetrical round knobs on the left and right for changing the volume and inputs. The central porthole gives just enough info to let you know immediately what is going on. The info button on the remote will display additional signal, audio processing, and settings details on your TV or projector screen, and you can change audio options on the fly. Most other receivers try to display everything on their front panels, but I find that approach to be overly busy and difficult to see from across the room.

A flip-down cover on the front reveals the headphone and Audyssey mic jacks, zone controls, panel dimmer, audio mode selections, USB, and component A/V inputs. I found that I never had to open it once I ran the Audyssey setup because other than the headphone jack, all other features behind the panel were controlled by the remote.

The back panel is tightly packed with eleven binding posts, seven HDMI inputs, and three outputs with one dedicated 8K input that supports 8K/60Hz and 4K/120Hz pass-through capability, 4:4:4 Pure Color sub-sampling, Dolby Vision, HLG, HDR10, 21:9 video, 3D and BT.2020 pass-through. I do not have an 8K HDTV yet, but I can verify that the SR6015 upconverted all my cable TV channels to 4K and the picture looked great, even with 720p as a source. If I had an 8K TV, it would upscale all video to 8K automatically. All HDMI inputs have HDCP 2.3, so they are ready for 8K (which will get a big sales boost in 2021, in my opinion). The receiver recognizes input devices and will automatically name them, though you can easily edit the input names to whatever you like. It correctly identified my OPPO UDP-203 and Android set-top box. You can use the SR6015 to test your HDMI cables by looping the output and input together and the display will tell you if the cable has the bandwidth for 4K or 8k. It is my understanding that an installer might have a device that does this too, but it can cost a few thousand dollars on its own. I am currently shopping for a new UHDTV and this feature may come in handy, though an 8K TV will probably be able to upscale as well or better than the receiver. In any case, if you are like me, I have a more modest 5.1 speaker setup and as much as I like some of the newer audio formats, there are only so many speakers I can cram onto my walls and ceiling.

There is a 300+ page manual that comes in the form of a PDF which I downloaded to my desktop. It is a tough slog to read through, but in PDF form you can jump to a specific section by typing in keywords. The actual setup process was quite easy as each step is visually placed on the screen of your TV. Select how many speakers you are using and Audyssey walks you through the whole process. Even setting up dual subs in different locations was quick and easy. Using the remote, you can create up to four presets, so one can be for the home theater with Audyssey and another could be a two-channel setup without room correction. Or you can have room correction with the curtains open and yet another with all the curtains closed and a drop-down screen engaged for a movie. All these features can be assigned to a single button press. Though the receiver’s front panel display shows most of what’s going on, the on-screen version from the remote allows you to quickly see what processing is engaged for audio and video along with the input and output signal details. I found this feature to be much more useful than the receiver’s front panel display, which is difficult to see from across the room. Despite the complexity and enormous processing power of the SR6015, I was impressed with the actual ease of the setup process and feel that even a novice could do a good job by following the step-by-step instructions. Being able to switch Audyssey on and off made it easy to compare the difference in sound. I liked what it did for my room. For about $20, you can download the Audyssey Editor app to your iPhone and have even more ability to tweak away.

Most of my stereo listening was via the PS Audio DSD DAC, while multichannel music was DSD played through the UDP-203. After running Audyssey with the supplied microphone and cardboard mic stand, I left the receiver in Reference mode for movies and DSD music. All stereo-only music was from Qobuz and sent to the SR6015 in analog direct. I do not like to take an analog signal and re-convert to PCM (in the receiver) only to then go back to analog. In direct mode, I lose the use of the subs, but the Sonettos can dig deep without any assistance from the subs anyway and I enjoy the open soundstage that direct mode provides.

With the excellent sound quality and construction, the Marantz SR6015 is an easy recommendation for a music lover or a home theater enthusiast.

The Marantz SR6015 offers most of the features of the top-of-the-line SR8015 at a lower price point, but with slightly less muscle, while still providing a receiver that will not become obsolete anytime soon. You can use it as a preamp and add your own amplifiers, making the SR6015 as powerful as you wish. eARC and video upscaling are ready to launch you into an 8K world with high-resolution multichannel sound. With VRR and fast switching, gamers will be happy, too. The Marantz SR6015 delivers on both build and sound quality. I would recommend it to music lovers and videophiles as it is easy to set up and the menus are intuitive, so a novice need not be intimidated by it. Nothing is completely future proof, but the Marantz SR6015 should keep you happy for years to come.

The post Marantz SR6015 AV Receiver Review appeared first on HomeTheaterHifi.com.

The RAP-1580MKII is capable of processing 7.1.4 Dolby Atmos and DTS:X surround formats and is equipped with an onboard integrated 7-channel Class AB amplifier of 100 Watts output power into 8-ohm loads (140 Watts into 4-ohm loads). It also comes with a USB measurement microphone for Dirac Live LE room correction technology, a feature that is intended to optimize performance in any setting. The RAP-1580MKII includes a vast array of audio inputs including analog (single-ended and balanced), HDMI with support for 4K video with HDCP 2.2 HDR digital, coax and optical digital, PC-USB with 24-bit/192-kHz processing capability, apt-X wireless Bluetooth, Moving Magnet Phono stage, and front panel iOS USB. The digital to analog conversion is handled by an array of 6 Wolfson 24-bit/192kHz DAC chips. A large front panel display provides easy adjustments of all configuration parameters.

The Rotel RAP-1580MKII is a home-theater processor with 7-channels of onboard amplification. As an integrated amplifier in a stereo music system, the RAP-1580MKII offers a single-box solution for home-theater processing. For people who are strapped on component space, this is a make-sense solution. In a way, it is similar to what an AV receiver offers, but if you are like me, then the radio tuner part in the AV receiver is actually an unnecessary feature since I never listen to AM/FM radio through my home-theater system. In such a situation, a surround amplified processor like the RAP-1580MKII can be a more appealing solution.

The RAP-1580MKII is the only surround amplified processor in the Rotel product lineup and carries a price tag of $4999. Clearly, Rotel created this product to compete in the high-end surround-processing component market segment. Considering that there are many AV receivers to choose from in the low to mid-price categories, I think this is a good strategy. Does the RAP-1580MKII have what it takes to be competitive in the high-end market segment? My review below will shed some light on this aspect.

The Rotel RAP-1580MKII sports a look that reflects quality and robust engineering. Lifting it, I could feel its solid construction and significant weight. It is not terribly heavy at about 50 lbs, but it does beat most similarly sized AV receivers out there in the weight department. A quick peek inside reveals the obvious contributors to its weight: a massive custom toroidal transformer in the middle and two large metal heatsinks towards the side of the unit. The RAP-1580MKII looks very well constructed using good quality components all around. The review sample comes in a black finish, but a silver finish option is also available.

The front panel of the RAP-1580MKII looks clean and uncluttered. Besides the on/off button, volume-control rotary knob, USB and HDMI connectors, and some other control buttons, the main feature occupying the front panel’s landscape is the relatively large (7” diagonal) graphics display. When the unit is turned on, this display shows its operational status (input selected, surround mode, volume level, and active channels). In the setup mode, the display shows the whole setup menu, which is extremely useful for configuring the unit or adjusting its settings without relying on an external monitor. This front-panel display is dimmable and can be completely turned off too. I found the information shown on the display to be sufficient, not too much or too little, and nicely laid out. The important information such as the input selected, the volume level, as well as the program material’s surround format is shown in good-sized digits that can be conveniently read from typical seating distances.

Typical to the modern AV surround processing unit, the rear panel of the RAP-1580MKII sports nicely grouped and laid out input/output connectors, including HDMI inputs (7)/outputs (2), digital inputs (coaxial, optical, and USB), analog stereo (including Moving-Magnet (MM) phono and a pair of XLR) and multi-channel inputs, line-level pre-outs (11.2 channels with the provision for 2 center channel pre-outs), and 7 pairs of speaker outputs. The RAP-1580MKII is equipped with a beefy 7-channel Class AB onboard amplifier, capable of delivering 100 W per channel into 8-ohm loads or 140 W per channel into 4-ohm loads with all channels driven. The main power switch, Bluetooth (with aptX) antenna, ethernet port, and DC triggers can also be found on the rear panel. The ethernet port here is not for network streaming playback, but rather for software updates and calibration setup. Most modern AV processors/receivers include a networking feature, and I think Rotel should consider adding this feature in the future iteration of the product to really keep up with the market demand.

The HDMI input connections in the RAP-1580MKII support 3D video with up to 4K resolution. Out of the 8 HDMI inputs (1 is on the front panel), three of them support HDCP 2.2. The two HDMI outputs support HDCP 2.2 but only one of them is ARC enabled and carries the On-Screen Display (OSD) feature. The RAP-1580MKII does not perform any video processing (upscaling, etc.), it only passes them through. The principle that Rotel adopts for the RAP-1580MKII is to just do what it does best, which is the audio processing, and let the video signals be processed by another component in the video chain that is specialized to do such a job. This way, there is no redundant processing of video signals that may unnecessarily degrade the video quality.

The infra-red remote control supplied with the RAP-1580MKII is medium in size with nicely laid-out blue-backlit buttons. Although a bit bulky and heavy, this remote sits nicely in the hand and is comfortable to use. It can be used to access the setup menu and all the functions of the processor. The processor was quite responsive to the remote commands given from straight ahead in front of it, but it seemed to lose this responsiveness when the remote commands were given from larger than about 30 degrees off-axis. Despite this rather narrow remote-command capture-angle, in general, the remote operation of the processor was fairly good for everyday use.

For this review, I used the onboard amplifier of the RAP-1580MKII to drive a 7-speaker configuration: 3 front speakers (Revel Ultima Studio front left/right and Revel C50 center channel) and two pairs of surround speakers (Revel M8 side and NHT Absolute Wall back). Two powered subwoofers (Velodyne DD12 and Paradigm Defiance X12) were connected to the two subwoofer line outputs of the processor to round out a 7.2 surround configuration. If desired, an external amplifier could be used to drive two pairs of additional speakers as the RAP-1580MKII provides the pre-outs to accommodate a full Dolby Atmos 11.2 speaker setup.

Setting up the RAP-1580MKII just to get it up and running was relatively straightforward. It was no more or less than the effort needed to start up an AV receiver. The audio calibration can be done in two ways: manually using an SPL meter (not supplied) or in a more automated fashion using the Dirac Live LE feature. Rotel supplies the microphone to be used with the Dirac Live LE feature, but you will still need to download the Dirac Live application app yourself to the computer/laptop to be used in the calibration. Dirac Live LE is similar to Audyssey calibration and optimization technology, found in many surround processors/receivers, but its calibration process feels slightly more involved as it offers more customizable adjustments. I found, however, that its default adjustment settings were satisfactory and did not feel the need to invoke further customization. Note that the Dirac Live LE license included with the RAP-1580MKII only supports correction in the 30 – 500Hz frequency range. If desirable, customers can purchase an upgrade to the full 20Hz – 20kHz Dirac Live version for $99 directly from Dirac.

At first, I only calibrated the RAP-1580MKII using an SPL meter and I achieved a quite satisfactory surround performance. However, as good as the results using the manual calibration were, they could not beat the results obtained by applying the Dirac Live LE optimization, which really elevated the surround performance of the RAP-1580MKII by a level or two. Smoother surround envelopment, as well as better bass response, were some of the noticeable improvements after the application of the Dirac Live LE. Therefore, I applied the Dirac Live LE calibration result to the surround settings of the RAP-1580MKII throughout my evaluation of the unit.

Operation-wise, although the RAP-1580MKII was quite intuitive to use and trouble-free, it was not without some quirks. I found that occasionally, the default surround mode assigned to a particular input during the setup somehow got overridden to something else. This required me to go back to the setup menu and redo the playback-mode assignment. Also, sometimes it did not lock in immediately to the signals during digital music playback, causing a second or two cut out of the beginning of the tracks. These quirks, however, are relatively minor and might have something to do with the version of the firmware used during the review (version 5.03). I think they could simply be addressed by a firmware update, which in the case of RAP-1580MKII, could be done easily by customers without requiring shipping the unit back to Rotel or bringing it to a dealership. If the unit is connected to the network, the firmware update can be performed over the internet too.

The HDMI connectivity performance of the RAP-1580MKII worked as advertised, passing through audio-video content as it should be. In passing-through videos, it did its job well in the sense that it did not cause any noticeable video degradation. The HDMI switching control feature worked the way it was intended to be, allowing the processor to be powered on/off in sync with the Xfinity cable box connected to it and to take over the processing of the audio signal from my television.

During the whole evaluation period, I set up the RAP-1580MKII as the sole controller for my audio and video sources. All the video switching and playback of audio and movie soundtracks were done through the RAP-1580MKII. Although the RAP-1580MKII does not offer extensive bells and whistles like most modern AV receivers, it has all the essential audio features. No gimmicky surround modes here as all surround processing is handled using Dolby Atmos and DTS:X audio codecs and their derivatives (whatever algorithms Dolby and DTS use to process non-Dolby Atmos or non-DTS :X surround formats). If Rotel’s goal in developing this product is not on loading it with tons of features, but more on getting the best sonic performance possible, then as my review report below indicates, it achieves this goal quite well.

My first review note on the RAP-1580MKII was impressive surround performance. There was a sense of steadiness and prowess in its surround deliverance. Whether it was live TV or movie program material, the RAP-1580MKII handled them all with finesse and ease, delivering a more involving experience. Surround steering and envelopment seemed to be first-rate.

That the RAP-1580MKII shone very brightly on its surround performance should be clear from my description above. But the processor’s excellence did not stop there. While most other AV receivers or surround processors could comfortably generate good surround effects for movies, they usually struggle in stereo or even surround music reproduction. But not the RAP-1580MKII. This is where this product differentiates itself from the rest of the pack. While its surround performance in reproducing movie soundtracks is nothing short of excellent, it can serve also as a bonafide stereo music playback component that can handle digital or analog music signals equally well.

The DACs in the RAP-1580MKII are quite adept in handling digital music input signals as it is in processing movie soundtracks. It lacks the DSD signal processing capability, but it handles PCM signals up to 24-bit/192-kHz with no issue. I used it a lot to process the digital streaming signals from AURALiC ARIES G1 during the review with very good results (using USB and coax connections). Although it did not beat the musicality that I obtained from my usual music DAC (the PS Audio PerfectWave DAC II), nevertheless the RAP-1580MKII produced satisfactory results that could shame many mid-price integrated stereo systems out there. To give you an example, in my system, the RAP-1580MKII delivered a better stereo performance than Rotel’s own A14 (integrated amplifier with onboard DAC, MSRP $1399) that I reviewed not too long ago.

While the RAP-1580MKII did not present soundstage as wide and deep as a higher-end dedicated music system could, nevertheless its soundstage presentation was quite respectable.

It is not an overstatement to say that the RAP-1580MKII exhibits an overall strong performance in all of its functions. Even when used with a turntable through its MM phono input, the resulting playback performance was decent. Its convenient features like the wireless Bluetooth playback and headphone feature also performed respectably. A quick comparison with my resident surround processor, the Marantz AV8802 (MSRP $3999), revealed that even though the AV8802 has more features than the RAP-1580MKII, including 4K video upscaling capability, and could produce comparable movie surround performance, its performance as a music DAC or as a stereo music preamplifier, in general, could not hold a candle to the RAP-1580MKII.

The Rotel RAP-1580MKII is a rare surround amplified processor capable of all-around sonic performance, exhibiting prowess in home-theater/surround as well as in stereo music applications.

The Rotel RAP-1580MKII is a well-designed surround amplified processor that delivers solid performance in surround and stereo music reproductions. Its surround performance, which features Dolby Atmos and DTS:X decoding capability, is first-rate and competitive to the best out there. Moreover, its stereo music performance is way above the average as compared to that of most surround-processing devices out there. The RAP-1580MKII may not be cheap at $4999, but it is justifiable by its solid build quality and by the fact that it can replace 3-4 boxes of audio equipment in your setup due to its multi-function excellence. It is truly a single piece of audio equipment that can serve your home-theater needs well and still competent enough to satisfy serious stereo music aficionados.

The post Rotel RAP-1580MKII Surround Amplified Processor Review appeared first on HomeTheaterHifi.com.

With updated connectivity for Apple AirPlay 2, Google Chromecast, and future support for Spotify Connect and Roon Ready, the AVM 70 can easily connect you to the latest streaming content. Add in Anthem’s ARC Genesis Room Correction software, an updated web interface for easy setup and control, and future upgradability to HDMI 2.1 with 8K video support, and you’ve got a very capable processor for your home theater or media room.

The AVM 70 continues the Anthem tradition of outstanding A/V preamps/processors. The Anthem AVM 70 is a next-generation 15.2-channel preamplifier-processor. The product styling has been updated and now shares its looks with Anthem’s STR series products. The AVM 70 processes both the Dolby Atmos and DTS:X object-based audio formats, and now includes DTS:X Pro, a format that supports up to 32 connected speakers. Anthem has upgraded their ARC Genesis Room Correction software to support up to 15.2 channel configurations on the AVM 70, and they have updated the included ARC kit with a more accurate calibration microphone.

The AVM 70 supports HDMI 2.0b and all the expected video features like passthrough of 4K/60Hz Ultra HD signals at up to 18.2 Gbps, HDCP 2.2, 4:4:4 color subsampling, wide color gamut (BT.2020), Dolby Vision, HDR10, and Hybrid Log-Gamma. Anthem also added support for eARC (enhanced Audio Return Channel) if you have a compatible HDTV. The AVM 70 now includes the licensed IMAX Enhanced technology, which combines IMAX digitally re-mastered 4K HDR content and enhanced DTS:X audio, to deliver IMAX Enhanced content in your home theater. This feature requires that you have an IMAX Enhanced certified display or projector.

Anthem also updated connectivity on the AVM 70 with support for Apple AirPlay 2, Google Chromecast, and the latest Bluetooth. Anthem will be adding support for both Spotify Connect and Roon Ready in the future. Anthem will be offering a future paid hardware upgrade to support HDMI 2.1 and 8K video. Finally, the AVM 70 now comes with a web-based user interface for both configuration and control.

The Anthem AVM series preamplifier-processor (surround processor) has a long tradition in the A/V industry. We’ve been covering their evolution here at Secrets for the last twenty years. The last model I reviewed was the Anthem AVM 60, the predecessor of the AVM 70 which is the subject of this review.

Processor and receiver changes are often driven by changes in HDMI technology and surround format changes, and that is once again the case here. Anthem used to offer hardware upgrades to their AVM line, but that practice stopped when the older AVM 50 product architecture was retired. With the introduction of the AVM 70 and the updated MRX series receivers, Anthem is now dipping its toes back in the upgrade world by offering a future paid hardware upgrade to support HDMI 2.1 and 8K video. Details on the upgrade process and costs will be announced in the future. Let’s take a detailed look at the AVM 70 and see what’s changed.

Anthem has updated the looks of the AVM 70 borrowing heavily from the design aesthetics of the STR series products. The entire product lineup including the MCA Gen 2 amplifiers and the MRX series receivers, all have a modern minimalist design, with a black panel on the left and a flat aluminum faceplate to the right. The aluminum faceplate on the STR series is sculpted, but at a quick glance, you might not spot the difference when looking at the AVM 70. Controls are minimal, with only the menu and input selection/navigation, mute, and power buttons, all centered around the volume control. A ¼” headphone jack is included.

The rear panel has been rearranged and now has 17 balanced XLR outputs to support 15 speakers and two independent subwoofers.

The AVM 70 no longer has a front HDMI input, so the rear panel now supports 7 HDMI inputs, two parallel HDMI outputs, and an HDMI output for Zone 2. The HDMI ports are HDMI 2.0b-compliant and they all support HDCP 2.2. The AVM 70 supports HDMI video switching and video pass-through at 4K/60Hz resolution, BT. 2020 wide color gamut, 4:4:4 Subsampling at 4K60 (18.2 Gbps), as well as the HDR (high dynamic range) formats Dolby Vision, HDR10, and HLG (Hybrid-Log Gamma).

Anthem includes 17 unbalanced RCA pre-out connections, four pairs of stereo analog inputs, two pairs of stereo analog outputs (one for line out and the other for zone 2), three optical inputs and one optical output, and two coaxial digital inputs. The AVM 70 adds a dedicated phono input that is designed for use with a moving-magnet (MM) cartridge.

For networking, the AVM 70 includes both an Ethernet jack as well as built-in Wi-Fi support with two antennas. Anthem has refreshed its streaming support, dropping DTS Play-Fi, and adding Apple AirPlay 2, Google Chromecast, and Bluetooth. Future streaming options will include Spotify Connect and Roon Ready.

For control, Anthem includes IP control with support for major third-party control systems, an RS-232 jack, one IR input, and finally three 12-Volt trigger outputs that can be used to turn on external amplifiers. The AVM 60 only offered one 12-volt trigger, so this change is much appreciated when you consider the number of amplifiers that could be needed with the AVM 70.

With the AVM 70, Anthem drops the FM tuner and MHL (Mobile High-Definition Link), and while there is a USB port on the rear panel, it is only used as a service port by Anthem.

The AVM 70 comes with the same backlit remote that is standard with the MRX receiver line.

From a technology perspective, the AVM 70 supports Dolby Atmos, DTS:X, DTS:X Pro, and speaker configurations up to 9.2.6 with three pairs of height channels. The latest Dolby Surround and DTS Neural:X upmixers are included to synthesize an immersive 3D surround experience from a stereo or multichannel soundtrack.

While it was only a few years ago that having at least one pair of height speakers in the listening room was the gateway to enjoying 3D surround formats like Dolby Atmos and DTS:X, the norm today is to support configurations up to 15.2 channels. This means that the AVM 70 can support up to three pairs of height speakers.

To get started with setting up the AVM 70, I connected my amplifiers, components, and HDTV to the AVM 70. Powering up the AVM 70 brings to life a 4” TFT display that at first looks a bit small against the full height of the AVM 70. The startup sequence looks identical to that of the Anthem STR Preamp and the height of the AVM 70 makes it look more like the STR Power Amp only without the larger TFT display.

I pressed the menu button and expected to see the typical Anthem setup menu on my HDTV. Instead, I just saw a crisp two-line display that read “Main Menu Speaker Setup”. As I scrolled through the menus, I quickly realized that it was time to embrace the reality that the old menu system would no longer be seen on my HDTV. So, what happened? Anthem still offers the legacy menu system, but it can only be seen on the 4” TFT display on the front of the AVM 70. The alternative and preferred option is to connect the AVM 70 to your home network and then use the new browser-based interface. It may sound complicated at first, but once you start using it you will soon forget about those classic menus.

I connected the AVM 70 to my network, opened a browser tab on my iPad, and entered the IP address for the AVM 70. I was greeted with a lovely web page that offers complete access for configuring the AVM 70. The management web interface is organized around a Quick Access section that includes the Main Zone and Zone 2. System Setup is then organized into sections to configure the processor. Let’s take a quick tour.

General Setup offers options for naming your processor, selecting language, and important things like Standby HDMI bypass, mute controls, and options for Display and CEC control.

Speakers Setup allows for the configuration of up to three sets of height speakers, and then options for up to four speaker profiles. These profiles can be configured with the Anthem ARC Genesis software.

Inputs Setup lets you configure up to 30 virtual inputs. The processor comes with a default input configuration, and those inputs can be renamed, configured, and deleted as desired. There is no option to reorder the inputs on the web interface, but new inputs can be added at the end of the list or before any selected input which helps with organization.

Clicking the pencil icon on an input brings up all the familiar options, including options for speaker profile and surround mode presets based on the source type. The best thing about the virtual inputs is that multiple inputs can be configured to the same HDMI input without restriction. The only confusing thing in the input setup interface is the blue X in the upper corner of each input. While I thought they were intended to close the editing menu at first, they are really used to delete unwanted inputs. A nice prompt appears if selected, so there’s not much chance of any accidental input deletion. I would like to see Anthem change this to a different icon or color, like a trash can or a red X, to make the purpose clear.

Network Setup offers options for configuring the Ethernet and Wi-Fi configurations, provides a handy IP Status display, and includes the Trigger configuration options.

Store / Load / Update allows for saving settings and for resetting the AVM 70 back to factory defaults. This page also includes options to update the firmware on the AVM 70 as well as enable the option to receive beta updates from Anthem.

After configuring the inputs, I jumped over to my Windows 10 laptop and updated the ARC Genesis software with the latest release. I then ran ARC Genesis which walked me through selecting the configuration for my height channels and then ran measurements against each of my speakers from five different positions. The ARC Genesis setup process was largely unchanged with the AVM 70 except for two notable differences. The first is that there is now an option to select a third set of height speakers. The second is that the microphone provided in the ARC kit has changed and should still be oriented vertically, but now with the small black dot on the front of the microphone facing the front of the listening room.

I asked Anthem what was different about the new ARC microphone, and they responded as follows:

“The new microphone is a MEMS style microphone which offers a better consistency of measurements across microphones so there is no longer a need for a specific calibration file. The label for the front of the microphone is to help the microphone capture high frequencies accurately (above 5 kHz)”

I created three profiles for my speaker configuration, one for a 7.1.4 theater, one for stereo, and another for stereo with a subwoofer. In terms of room correction, I typically just correct the low-frequency response since I’ve found that gives me the best results in my room. The ARC Genesis software quickly uploaded the configuration into the AVM 70. The only thing left for me to do was to confirm the distances for the speakers in the AVM 70 Speakers Setup menus. This is still a wish list item that I would like to see Anthem include in a future software release. At a minimum, it would be great if the speaker distances could be configured in the ARC Genesis software and then transferred once to the processor.

In my listening environment, I used a 7.1.4 GoldenEar Technology Triton One system with a pair of Triton One front speakers with powered subwoofers, a GoldenEar SuperCenter X center channel, a pair of GoldenEar Invisa MPX in-walls as surround speakers, two pair of GoldenEar Invisa HTR 7000 as top-middle height and rear surrounds, and a pair of GoldenEar Aon 2 speakers for front height speakers. I used a pair of Bryston 7B3 Cubed Series mono-blocks for my main channels, a five-channel Bryston 9B3 Cubed Series amp for my surround and center channels, and a Rotel RMB-1095 to power the height channels. For the .1 subwoofer channel, I used an SVS SB16-Ultra subwoofer. I used an Oppo UDP-205 4K Ultra HD Blu-ray player and an Apple TV 4K (2017 model) as my primary source devices.

I created three input profiles on the AVM 70 for my Oppo UDP-205, so I could easily switch between the multiple speaker profiles that I had created during setup. The great thing about having multiple inputs is that you can really experiment with different options and slowly adjust the system until you’ve dialed in what sounds and works best for you. The new web interface also made it simple to change input configurations on the fly.

It has been almost four years since I reviewed the previous Anthem AVM 60 processor, and it is amazing how much more 4K video and high-resolution music content has now become available through streaming services. While watching a 4K UHD Blu-ray would still be my top pick for maximizing the home theater experience, the AVM 70 proved very capable at delivering an outstanding listening experience regardless of my content source.

I had the opportunity to sample a variety of music and films while auditioning the Anthem AVM 70 and the Anthem lived up to my expectations, bringing both music and movies to life. In my system, the AVM 70 soundstage was expansive and richly detailed, and dialog was well placed and clear. Anthem Room Correction blended my SVS SB16-Ultra subwoofer into the system and did an excellent job managing the bass response in my room. The AVM 70 handled movie scores with ease, from the most dramatic special effects to the quietest moments, and everything in-between. Music was equally enjoyable with many listening sessions extending for hours of enjoyment.

The following are some of the highlights from my listening experience with the AVM 70.

When it came to playing DTS:X content I wondered if I should see some indication in the AVM 70 display that indicated DTS:X vs DTS:X Pro. I asked Anthem about that, and they said that there is no interface differentiation or badging that indicates DTS:X Pro. If the AVM 70 sees 11 channels or less, it uses DTS:X processing, while anything above that uses DTS:X Pro.

From a video perspective, the AVM 70 performed well, but I did run into an interesting problem when playing Dolby Vision content from the Oppo UDP-205. If I had my LG G6 OLED display connected to the HDMI 2 display output on the AVM 70, any Dolby Vision content was presented with major color sync issues and was unwatchable. The problem was not present if I connected the LG G6 to HDMI 1 on the AVM 70. The issue seemed to be specific to Dolby Vision, as I had no trouble playing other 4K content from the Oppo UDP-205 to the LG G6 on HDMI 2. Anthem is looking into this one.

The Main Zone page in the new browser interface offers access to volume, input selection, and on-the-fly level adjustments. It also exposes a few other settings, such as power-on volume, maximum volume, and power-on input. The regular physical remote control works great for basic control and Anthem will be updating their remote apps in the future.

Perhaps one of the best features of the browser interface is the Information page which is tucked away in the upper left corner of the interface. If I selected the AVM 70 image in the corner, an Information page appears which shows nerdy information about the AVM 70 hardware and DSP versions, and on the right information about the network address can be found.

If you scroll down the page, you’ll find a fantastic System Status section that tells you all about the content the AVM 70 is processing. This is extremely useful information that I’d like to see Anthem move to the top of the page. I would much rather scroll to find the hardware Information, and not have to scroll to see the audio format information. I would also like to see Anthem add the selected Surround Mode in the System Status display. The System Status also displays “NaN kbps” for the input bit rate which is website geek-speak for “not a number.” Anthem will most likely correct that in a future update to the web interface.

I should also note that the AVM 70 web interface is a responsive design, which means that it adjusts to using the space available in your web browser. This means you can comfortably connect to the AVM 70 on a tablet or PC or even on your phone’s browser, and the interface will adjust to use the space accordingly.

Measurements and analysis by John E. Johnson, Jr.

For the bench tests, I used the front left/right RCA analog inputs and the RCA digital coax input. XLR balanced analog outputs (Front Left/Right and Subwoofer 1) were used. Except where indicated, I set the volume control at minus 4.0.

First, the analog test signals.

1 kHz, 1 Volt input, 2 Volts output. Distortion was a very low 0.005%. The 2nd harmonic was the largest distortion peak.

The Hum Spectrum is shown below, with the 1 kHz test signal turned on. There is a very small peak at 60 Hz, but it is insignificant.

With the test signal turned off, the noise level dropped about 5 dB.

Using 19 kHz and 20 kHz sine waves produced one major IM peak on either side and one smaller IM peak at 1 kHz. There are also some small peaks at 38 kHz, 39 kHz, and 40 kHz.

The standard IMD test signals of 60 Hz and 7 kHz resulted in 0.004% IM, which is excellent.

Frequency Response is shown below. The LFE crossover frequency was 120 Hz. The subwoofer low-pass frequency was set to 80 Hz. I selected 1 subwoofer as the option (not 2 subwoofers). The output was 2 Volts. You can see the overlap in the main part of the response (yellow and red lines above 120 Hz) and the subwoofer response (yellow line on the left). The subwoofer output was 4 Volts because you would want to control the volume of the subwoofer with its own volume control knob. I adjusted the output of the subwoofer channel to match the main response so you could see what this would look like when the subwoofer voltage matches the main spectrum (green line). The LFE and subwoofer start rolling off above 120 Hz and below 80 Hz to blend with each other. Otherwise, the regions in between would be too loud.

If you have large speakers (and a good subwoofer), you might want to set the LFE crossover at 100 Hz and the subwoofer low-pass frequency to 60 Hz. With this processor, you can have two distinct subwoofers (the .2 in 15.2 decoding).

The upper end of the spectrum begins rolling off at about 10 kHz and is down 0.2 dB at 20 kHz and 0.4 dB at 30 kHz.

Here is the Frequency Response with the LFE turned off and “None” selected in the subwoofer menu. There is a 0.6 dB decline between 100 Hz and 20 Hz that you would want to compensate for using the ARC software that is included with the AVM 70.

THD+N vs. Frequency at 2 Volts output is shown below. LFE was turned off and no subwoofer. It rises at the low end and high end because the Frequency Response drops in those regions while the noise level remains the same. So, THD by itself remains low throughout the spectrum. This is a good test result.

For the THD+N vs. Voltage Output, I tested into XLR 100 kOhms and 600 Ohms input, and a volume control setting of 0.0. For the 100 kOhms load, the output voltage was linear to 7.3 Volts, and then rose to clipping (1% THD+N) at 7.8 Volts. With the 600 Ohm load, the maximum output was decreased, as expected. No one would use a 600 Ohm load. It is just used as a stress test.

Using the MM Phono Input, the RIAA curve was within 1.5 dB, 20 Hz – 30 kHz.

OK, so now let’s move on to digital, using the Coax Digital Input.

Here is 1 kHz at 0 dBFS. THD+N was 0.003% at 4.2 Volts output. The 2nd and 3rd harmonics were about the same height.

At 24/192 sampling, THD+N was reduced by half, but with high-resolution sampling, dither is not used, and dither is noise. The 2nd and 3rd harmonics are about the same, and higher-order harmonics are visible. But lower distortion is not the main reason for using higher sampling rates. Getting a higher frequency response is the main reason along with having less quantization error.

16/44.1 Linearity is shown below. The response is linear to about -90 dBFS. The voltage is not relevant as this would change with the volume control.

At 24/96, Linearity is extended to about 95 dBFS.

And, at 24/192, Linearity is almost to -100 dBFS. Practically speaking, what this means is a lower noise level.

The DAC’s Frequency Response is down 0.14 dB at 20 kHz, 0.34 dB at 30 kHz, and 0.86 dB at 50 kHz. The left and right channels are 0.14 dB different in output.

Let’s look at how well the Anthem AVM 70 Processor’s DAC handles jitter. First, a 10 kHz sine wave with no jitter added.

Now, with 89 psec (picoseconds) of 100 Hz sine wave jitter added. No peaks are visible at 9.9 kHz (10 kHz minus 100 Hz) or 10.1 kHz (10 kHz plus 100 Hz). There are two peaks at 9.76 kHz and 10.26 kHz which may be about 100 psec of inherent jitter that occurred when I added the 100 Hz jitter.

With 177 psec of 100 Hz sine jitter added, two small peaks at 9.9 kHz and 10.1 kHz are visible.

For illustration purposes, here are the jitter peaks that occur when 531 psec 100 Hz sine jitter are added.

So, the AVM 70 Processor DAC has about as much response to jitter as expected in this package, which is what is found with modern DACs that do not have a re-clocking circuit.

My conclusions on the AVM 70 15.2 channel preamplifier-processor are that it performs like I would expect of a 21st-century electronics package from a company like Anthem, with very low distortion and plenty of output. It is well-built and has enough options that will satisfy the most demanding of consumers.

Measurements and analysis by Robert Kozel

The source device for the HDMI tests was an Oppo UDP-205. The volume was adjusted for 4 VRMS at the XLR outputs of the AVM 70.

Here is what happens when we look at the frequency response out to 96 kHz using the HDMI input. The two plots are almost identical, which is the desired result on this test. With ARC Room Correction enabled, the correction curve for the left channel is visible below 400 Hz. Bass management is still in use which is why both plots roll-off. We notice a gradual roll-off of the high frequencies starting around 10 kHz with absolutely no downsampling of the signal! It is great to see that Anthem continues to include this much DSP horsepower in their processor implementation and it is a major differentiator for the AVM 70.

Now we look at the results using one of the HDMI inputs, fed from test files played on an OPPO-UDP-205. At 1 kHz, and 24-bit/96k sampling rate, THD+N was 0.00155. We see some distortion spurs as well as harmonics throughout the spectrum with the harmonics at 2 and 3 kHz being about 97 dB and 102 dB respectively below 4 VRMS.

At 10 kHz, and 24-bit/96k sampling rate, THD+N was 0.00651% at 4 VRMS. The second harmonic at 20 kHz is about 100 dB below 4 VRMS. We see a noise floor lift above 10kHz.

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the HDMI input with 24-bit/96k sampling at 3.89 VRMS. We see distortion spurs throughout the spectrum. There is a visible B-A peak at 1 kHz about 91 dB below each test tone at 1 VRMS which is insignificant. The second harmonics at 38 kHz and 40 kHz are insignificant.

At 1 kHz, and 24-bit/192k sampling rate, THD+N was 0.00114 at 2 VRMS. We see some distortion spurs as well as harmonics throughout the spectrum with the harmonics at 2 and 3 kHz being about 100 dB and 105 dB respectively below 2 VRMS.

The ANTHEM AVM 70 is an outstanding 15.2-channel processor and is highly recommended.

The Anthem AVM 70 has all the technology necessary to support a modern home theater system. It can function as a leading-edge 15.2 channel processor supporting Dolby Atmos, DTS:X, and DTS:X Pro. It is capable of HDMI video pass-through and handles the latest 4K UltraHD Blu-ray content including Dolby Vision. It will be upgradable for a fee to HDMI 2.1 with 8K support at some point in the future. It features the outstanding Anthem ARC Genesis Room Correction system. The AVM 70 includes a fresh modern web interface for setup and control. It also supports the latest streaming technologies and will be adding Roon Ready and Spotify Connect.

With the AVM 70, Anthem continues to deliver on a product line offering exceptional functionality and performance for the consumer. If anything is missing here, it might be a premium analog audio stage which is already offered with the Anthem STR integrated amplifier and STR preamplifier. As we continue to see more streaming content, the AVM 70 doesn’t need such premium analog functionality which only raises the price to the consumer. The competition in the A/V processor space is surprisingly strong these days, but one thing that continues to set Anthem apart is its ability to apply Anthem Room Correction without downsampling your high-resolution content.

The Anthem AVM 70 is worthy of serious consideration for your next preamplifier-processor.

The author would like to thank John E. Johnson, Jr. for his assistance in this review.

The post Anthem AVM 70 Preamplifier-Processor Review appeared first on HomeTheaterHifi.com.

With the Altitude A/V preamp/processors, Trinnov Audio has created its vision of the ideal processor for a modern home theater. The Altitude¹⁶, which is the subject of this review, is packed with features to accommodate almost any home theater configuration. Thanks to its flexibility, the unique Trinnov Room Optimizer, and its 3D remapping functionality, it can transform your listening room into the perfect venue for enjoying stereo, multi-channel music, and movies, all from the comfort of your home.

Trinnov Audio Altitude16, Front View

Trinnov Audio has been focused on immersive sound since its founding back in 2003 and has a long history in the pro audio industry and commercial cinemas. My first experience with Trinnov Audio was back in 2010 when I reviewed the Sherwood Newcastle R-972. At the time, this was the first consumer product that featured a scaled-down version of the Trinnov Optimizer, and I recall being impressed with the Optimizer and its overall sound quality.

Since then, Trinnov Audio developed their own line of AV processors, and in 2015 they released the Altitude³² which was able to deliver 32 channels of Dolby Atmos! The hallmark of the platform was its extensibility, and Trinnov continued to innovate adding support for new formats like Auro-3D and DTS:X. To expand their customer base, Trinnov Audio introduced the Altitude¹⁶ in 2017, using the same technology as the Altitude³², but limiting the processor to 16 channels. I always wondered what Trinnov Audio included in their own processors. Read on and I’ll share my experience with this unique processor.

Trinnov Audio Altitude¹⁶ Front Panel

At a glance, the Trinnov Altitude¹⁶ looks like a typical AV processor. The front panel features clean lines and is made from a thick piece of brushed aluminum with Trinnov Audio and Altitude¹⁶ silk-screened onto the corner. The front panel display, which measures 4” diagonally, is placed behind a sleek black panel which is slightly recessed into the faceplate. Controls are minimal with the power, mute, and volume controls on the left, and the menu and source selection/navigation buttons on the right.

Trinnov Audio Altitude16 Rear Panel PC connectors

When we look at the rear panel, we quickly realize that this isn’t a typical AV processor but rather a very specialized computer. The lower left portion of the rear panel has the typical PC connectors for video (DVI/HDMI/VGA), Ethernet network, USB ports, PS/2 keyboard/mouse, and audio ports, which are unused. The rest of the back panel will look much more familiar and includes 16 balanced XLR outputs. The Altitude¹⁶ supports 8 HDMI inputs and two parallel HDMI outputs. The HDMI ports are HDMI 2.0b-compliant and they all support HDCP 2.2. The Altitude¹⁶ supports HDMI video switching and video pass-through at 4K/60Hz resolution, BT. 2020 wide color gamut, 4:4:4 Subsampling at 4K60 (18.2 Gbps), as well as the HDR (high dynamic range) formats Dolby Vision, HDR10, and HLG (Hybrid-Log Gamma).

Trinnov Audio Altitude¹⁶ Rear Panel

Trinnov includes one XLR stereo balanced input, one RCA stereo input, two optical inputs, one optical output, two coaxial digital inputs, and one coaxial digital output. A 5-pin XLR input is included for connection to the optional 3D calibration microphone. Trinnov includes IP control with support for major third-party control systems, an RS-232 jack, one 12-Volt trigger input, and four 12-Volt trigger outputs that can be used to turn on external amplifiers. The first trigger output tracks with the power of the Altitude¹⁶ itself, and the other three trigger outputs are configurable by source.

Trinnov Audio Altitude¹⁶ Rear Panel Detail

Trinnov recently announced that they will be supporting Ravenna/AES67 on the Altitude processors later this year. This feature will use network connections to allow for the transmission of audio over local IP networks. This feature will be especially useful to custom installers where the processor and amplifiers may be separated by long distances.

There are a few differences when comparing the Altitude¹⁶ inputs and outputs to those of other AV processors. You won’t find any RCA pre-out connections, nor support for phono inputs, or FM tuners. There also is no support for a second zone. While output can certainly be sent to a second zone, the Altitude¹⁶ does not come with a dedicated volume control for an additional zone.

The Trinnov Altitude¹⁶ is Roon Ready and quite uniquely, supports playback of multichannel music, but no Roon Atmos yet. It also supports UPnP/DLNA Digital Media Rendering. It does come with a small remote.

Trinnov is also adding support for IMAX Enhanced to the Altitude platform. The licensed IMAX Enhanced technology, which combines IMAX digitally re-mastered 4K HDR content and enhanced DTS:X audio, will be added at no extra charge. This feature requires that you have an IMAX Enhanced certified display or projector.

In addition to its software upgradability, Trinnov Audio has made the overall platform modular and upgradable. For example, Trinnov has offered multiple HDMI board versions since the Altitude³² was launched, including HDMI 1.4 in an 8×2 configuration, HDMI 2.0 in a 7×2 configuration, and the current HDMI 2.0 version in an 8×2 configuration which also supports ARC/eARC and can down-scale 4K to 1080p on output 1. Trinnov will be offering another HDMI upgrade to support 8K video in the future, and owners of the Altitude processors will be able to upgrade for a fee when they are ready.

Getting started with the Altitude processors takes some patience and fortitude as they are quite different to set up than the typical A/V processors and receivers on the market. If you aren’t using the services of a custom installer, Trinnov offers excellent support for their products starting with an extensive user manual which is included in the box and available online, along with access to their technical support team via email. For this review, I started by reading the manual. After working with the processor for a few days, I also reached out to Chuck Back, Trinnov’s Managing Director in the United States, who graciously helped answer my many questions.

You may have noticed that there are just numbers listed on the rear panel by each of the inputs and outputs which provides a clue to the Altitude’s flexibility. I connected my amplifiers, components, and 4K TV to the Altitude¹⁶ and kept track of the source and output connections which would come in handy later. I had connected my left and right main channels to the first two XLR outputs and plugged in a network cable. I turned on the Altitude¹⁶, and after about a minute, the Altitude splash screen on the front panel was replaced by information for HDMI1. I turned on the corresponding source component and had sound and a picture. So far so good.

There are multiple approaches for configuring the Altitude¹⁶, but the first consideration is how best to connect to the processor. While the front panel allows for some basic configuration for things like network settings, it really isn’t used to configure the processor. To set up the Altitude¹⁶, the options are to directly connect a physical monitor, mouse, and keyboard, or to connect remotely over the network. For network connectivity, the Altitude¹⁶ provides a browser-based interface that is accessible from any web browser on your network. We’ll discuss this interface a bit later in the review. While it allows for some processor configuration, the normal browser interface does not provide access to the more advanced setup and configuration options. This leaves connecting to the Altitude¹⁶ remotely with a VNC client.

If you aren’t familiar with VNC, it stands for Virtual Network Computing and offers a way to remotely control a computer. The Altitude¹⁶ runs a VNC server that relays the display, keyboard, and mouse of the Altitude¹⁶ to a VNC client of your choosing. There are several choices available for VNC client software such as Mocha VNC or Chicken of the VNC as options. I used an Apple iPad for my testing and used the free VNC Viewer app from RealVNC as my VNC client. With the VNC Viewer application, I just opened a connection to the Altitude¹⁶ using its IP address, entered the password for the Altitude (its serial number), and was presented with the full Altitude user interface. If you don’t want to use VNC client software, Trinnov includes VNC access in the Altitude¹⁶ browser interface. In a browser on the local network, just type in the IP address of the Altitude¹⁶ followed by “/vnc.html” to access the VNC client.

The configuration options for the Altitude¹⁶ are extensive and can be overwhelming. I’ll do my best here to provide some perspective on what it’s like to configure the Altitude¹⁶. Trinnov Audio includes a basic wizard with the Altitude processors to make the setup process more approachable for new users.

Trinnov Audio Altitude¹⁶ Setup Wizard

Launching the Altitude Wizard opens with the option to start a new configuration or update an existing one.

Trinnov Audio Altitude¹⁶ Setup Wizard Room Options

The next step in the Setup Wizard is to specify the speaker layout for the room. Trinnov includes a long list of predefined layouts covering basic stereo and surround, Dolby Atmos, Auro-3D, and DTS:X. They also include hybrid layouts for popular configurations like 9.1.6 with left and right wide speakers. It’s a simple matter to select an initial layout and just start adding or removing speakers to create any desired configuration. It is also possible to just add all the speakers for the room individually without using an initial layout. The interface is simple to use and keeps one from doing crazy things like selecting just a left speaker without a corresponding right speaker to form a matching pair. The room graphic at the top of the interface also shows the corresponding speaker location in the room. Clicking on a speaker in the graphic also selects the speaker in the interface.

For my system, I tried several different configurations but settled on a 7.3.4 configuration. Another unique feature of the Altitude processors is the ability to map the speakers based on audio format. In my case (see speakers 10 and 11 in the above image), I was able to use my Height Left/Right Surrounds for Auro-3D, while also mapping them as Top Middle for Atmos, Dolby, and DTS. I thought this approach was brilliant and something that I remember wishing for with the Auro-3D implementations on other processors like the Marantz AV-8805.

The interface allows for sending pink noise to verify the speaker connections. You will also notice the output column in the interface. This allows for the selection of the physical output on the back of the Altitude¹⁶. If you mix up a speaker or two when connecting things, just select the correct output and the problem is resolved without moving any cables! This interface also allows for complex speaker configurations such as active crossover, parametric EQ, and the creation of speaker arrays which allows for the duplication of channels across multiple pairs of speakers. The active crossover settings in the Altitude¹⁶ enable 2-,3-, and 4-way crossovers, and speaker manufacturer PEQ settings can be entered eliminating the need for external boxes. In a separate calibration, the Altitude measures the individual driver responses and sets the active crossover levels and delays.

Trinnov Audio Altitude¹⁶ Setup Wizard Bass Management Quick Setup

Trinnov Audio Altitude¹⁶ Setup Wizard Bass Management Individual Setup

The next step in the Setup Wizard is bass management. The Altitude processors do not specify a limit on the number of subwoofers except for having enough available outputs for the desired configuration. Bass management settings can be applied globally to all speakers via Quick Setup, or individually on each speaker and subwoofer. Settings like gain, filter type, slope, frequency, and polarity are all presented here, but it’s up to the user or calibrator to make the proper selections. Once a set of room measurements has been taken, the results can be used to further refine the bass management settings based on the capabilities of the speakers.

The Altitude¹⁶ also allows for intermediate bass management where non-subwoofer speakers could have their low frequencies sent to a nearby speaker. An example of this might be a Dolby up-firing speaker sending its low frequencies to the speaker underneath. There are also options for configuring how the LFE channel is managed, and a “stacked subs” option is included to adjust the perceived level when using multiple subwoofers. The bass management on the Altitude¹⁶ is very capable but requires some analysis and understanding of the capabilities of the speakers in the listening room.

Trinnov Audio Altitude¹⁶ Recommended XLR to RCA Wiring

I used the LFE connections on my GoldenEar Triton Reference speakers as two of my subwoofers. The Altititude16 does not provide a set of RCA channel outputs, so I asked Trinnov Audio how best to connect from XLR to RCA. Chuck Back sent me the above diagram which confirms that the recommended approach is to float XLR pin 1. Another method would be to use a transformer from Neutrik or Jensen. Trinnov said that “Using Pins 2 & 3 will maximize the voltage swing across a single-ended input, and therefore the s/n ratio – assuming the power amplifier can handle the full voltage swing. If not, you may be better off using Pin 1 (signal ground) and Pin 2 (non-inverting), leaving Pin 3 to ‘float’ (disconnected). The best connection depends on your power amplifier.” Emotiva makes a cable with the recommended wiring which was what I ended up using.

Trinnov Audio Altitude¹⁶ Setup Wizard Microphone Setup

Each of the Trinnov calibration microphones comes with a serial-number-specific compensation file which can be loaded into the Altitude¹⁶ by plugging the provided USB stick into any USB port on the processor.

Trinnov Audio Altitude¹⁶ Setup Wizard Microphone Position

Trinnov Audio Altitude¹⁶ Setup Wizard Microphone Directions

With the cable in place, the next steps are to connect the microphone, remove its protective cap, and power on the microphone.

Trinnov Audio Altitude¹⁶ Calibration Microphone in Cradle

Positioning the microphone is a bit tricky since it not only needs to be level, but the front of the microphone (indicated by a red LED), must be pointing directly toward the front of the room. Ideally, this should be at an azimuth of 0 degrees which is surprisingly challenging to align. The microphone comes with a cradle and attachment hardware to mount to a typical stand.

Trinnov Audio Altitude¹⁶ Setup Wizard Master Level

With the microphone attached and powered on, the next step is to adjust the volume of the Altitude16 until the level indicates 80 dB SPL. I would like to see Trinnov enhance this interface, or provide a separate function, to help with the microphone alignment. In the current design, there is no way to find out just how off the microphone alignment is until the entire measurement process has been completed.

If you have speakers with Active Crossovers, the wizard will then walk through the calibration of the active crossovers. For this purpose, Trinnov has both an automatic calibration mode and an extensive manual interface.

Trinnov Audio Altitude¹⁶ Setup Wizard Calibration

The next step in the process is taking the actual measurements for each speaker. This part is very interesting as the interface is updated to reflect where each speaker is in the room. The Trinnov Optimizer measures each of the speakers over the full frequency range. Unlike some room correction systems, it is not possible just to remeasure a single channel if a problem is encountered during the measurement process. After the first set of measurements has been completed, the microphone can be moved, and additional measurements can be taken and saved. The Trinnov Optimizer can use a single measurement position, or it can measure multiple positions up to a recommended limit of 10 per configuration for the Altitude¹⁶. It is also possible to update an existing room configuration with additional measurements taken at another time, and this can be done directly from the calibration menu in the preset without running through the Setup Wizard.

There are only two steps left in the process. The first is a simple weighting interface that allows for balancing the results across multiple measurement points. The default is to automatically distribute the weighting, but the interface allows for manual weighting. The measurements can be weighted however you like and the Altitude¹⁶ will take care of the arithmetic. For example, using a value of 5 for the main listening position and 1 for the others makes the main listening position five times as important as the rest in the resulting calculation.

The updated total cannot exceed 100%.

Trinnov Audio Altitude¹⁶ Setup Wizard Filter Computation

Trinnov Audio Altitude¹⁶ Setup Wizard Computation Finished

The last step is to process the measurement data and compute the room filters. The microphone then needs to be powered off and disconnected from the Altitude¹⁶. With the calibration out of the way, let me give you a brief tour of the Altitude¹⁶ menu system and discuss what happened with the calibration measurements.

Diving into the Altitude¹⁶ menu system we find a lot of functionality located throughout a tabbed user interface. Clicking the gear icon brings up the Advanced Settings section of the interface which allows for most of the configuration on the Altitude¹⁶. The Altitude¹⁶ supports 17 sources and up to 29 memory presets.

Trinnov Audio Altitude¹⁶ Source Options

Sources can be easily renamed and assigned to any input and are fully customizable. Options include such things as name, listening format, levels, delay, preferred preset, remapping mode, etc.

Trinnov Altitude¹⁶ Memory Preset Optimizer Settings Top View

The Trinnov Optimizer results are shown on multiple tabs on each preset. The Top View tab provides an overview of the measured placement of each speaker in the room. The scale and reference radius can be adjusted, but surprisingly there is no option to switch the distance from meters to feet. (0.3048 m = 1 ft)

Trinnov Altitude¹⁶ Memory Preset Optimizer Settings Elevation View

A similar Elevation View shows how the speakers are vertically positioned in the room compared to their ideal positions (shown in degrees above or below horizontal).

Trinnov Altitude¹⁶ Memory Preset Optimizer Settings Summary

There is also a summary page that provides the measurement details for the speakers showing distances, elevation, levels, delays, etc. This is the summary that indicates how precise the microphone azimuth alignment was during the calibration process. In this example, I am off by 0.2 degrees for center azimuth which was more than acceptable. I managed a 0-degree result just once which was lots of nerdy fun.

Trinnov Altitude¹⁶ Memory Preset Optimizer Graphs

The Altitude¹⁶ provides a full set of graphs in the interface which can be customized. The graphs show the before and calculated after-results, and the filter computed by the Trinnov Optimizer. Numerous graph display options are included, and graphs are provided for amplitude, phase, group delay, and impulse response.

The Altitude¹⁶ also allows for custom target and excursion curves to further adjust the room correction to taste. There are also numerous advanced controls in the Optimizer Settings and Advanced Settings menus, many of which seem best left to Trinnov Audio Support or a custom installer.

Trinnov Altitude¹⁶ USB Key Detected Load/Save Options

The last setup feature that I wanted to mention is something that I didn’t discover until weeks after using the Altitude¹⁶. If a USB stick or key is inserted into the Altitude¹⁶, a menu appears with saving and loading choices for all the Altitude¹⁶ configuration options. Included in those options is a very nice PDF document which provides a detailed summary of the calibration results.

In my listening environment, I used a 7.3.4 GoldenEar Technology Triton Reference system with a pair of Triton Reference front speakers with powered subwoofers, a GoldenEar SuperCenter X center channel, a pair of GoldenEar Invisa MPX in-walls as surround speakers, two pairs of GoldenEar Invisa HTR 7000 as top-middle height and rear surrounds, and a pair of GoldenEar Aon 2 speakers for front height speakers. I used a pair of Bryston 7B3 Cubed Series mono-blocks for my main channels, a five-channel Bryston 9B3 Cubed Series amp for my surround and center channels, and a Rotel RMB-1095 to power the height channels. For the 3 subwoofer channels, I used an SVS SB16-Ultra subwoofer, and I connected the subwoofers in the Triton Reference towers via their LFE inputs. I used an Oppo UDP-205 4K Ultra HD Blu-ray player and an Apple TV 4K (2017 model) as my primary source devices.

My home theater is in my great room which is 18’ W x 20’ D x 12’ H, and while most of the speakers are positioned well, I have some compromises in terms of the placement of the rear surrounds and the front height speakers. My center channel is positioned above the television angled toward the main listening position. My height left and right surround speakers are also best suited for Auro-3D in terms of placement, but they also work well as Atmos Top-Middle speakers. I was always frustrated that I had to compromise on other processors between using a speaker for either Auro-3D, or Dolby and DTS, but not all three. While the formats don’t always agree on placement for each channel, the Attitude16 is the first processor that I’ve ever used that allows for speakers to be mapped based on format and user preference.

Unlike a more traditional processor, the power-on sequence on the Altitude¹⁶ takes just under a minute to complete. While based on a PC platform, the fans in the Altitude¹⁶ were very quiet in regular use. Despite its complexity, using the Altitude¹⁶ is as simple as selecting a source and adjusting the volume. Source and preset options allow for easy customization and can really help tailor the listening experience. The Altitude¹⁶ also allows for copying entire presets, so it was very simple to experiment with something without any concern of losing my current favorite settings. This was especially helpful when experimenting with target curves.

In my daily usage of the Altitude¹⁶, I preferred to leave the Trinnov Optimizer engaged with its normal processing defaults applying acoustic correction, level alignment, and delay alignment. I also left the 3D remapping functionality engaged, which is designed to correct for speaker placement issues by “remapping” sounds to their correct location in the room. The performance of the Altitude¹⁶ as a stereo preamplifier was superb. Music was wonderfully detailed and spectacularly imaged, with a wide soundstage that at times made me wonder if I was listening in a surround mode. Both male and female voices sounded natural, instruments had a distinct presence in the room, and I was consistently impressed by the layers of detail and nuance that the Altitude¹⁶ managed to extract from any content.

Listening to native Auro-3D content was another delightful experience, with the Altitude¹⁶ effortlessly delivering a stunning performance. It also illustrated that the Altitude¹⁶ is limited to processing 96kHz content. On the Auro-3D discs, recordings are also included for 5.1 DTS HD MA 24/192 kHz and 2.0 LPCM 24/192 kHz. Attempting to play that content via HDMI to the Altitude¹⁶ results in muted output which is expected. The Trinnov Audio Altitude³² processor can process the 24/192kHz content due to its faster processor.

I was also unexpectedly surprised at how much impact the Auro-Matic Upmixer could have on regular stereo content. While music sounded fantastic without any surround processing, enabling the Auro-Matic Upmixer along with the Trinnov Optimizer expanded the soundstage and effectively used all the speakers in the room to create a more intimate listening experience. This worked especially well with theatrical and live performance content, and it was surprisingly enjoyable even on regular television. I’ve heard the Auro-Matic Upmixer on other processors in my room, but the implementation on the Altitude¹⁶ along with the Trinnov Optimizer was impressive.

Listening to music using Roon was effortless as the Altitude¹⁶ also works as a Roon Ready network player. Selecting the Altitude¹⁶ from the Roon Remote interface immediately switches the Altitude¹⁶ to the Roon Ready source input. Basic Roon info like album and artist are also displayed in the Altitude¹⁶ user interface.

Roon Remote Trinnov Altitude¹⁶ Enhanced Signal Path

The Roon Remote interface shows detailed information about the enhanced signal path and the various processing applied by the Altitude¹⁶. It is important to note that playing any music with a bit rate higher than 24/96 kHz is automatically down-sampled by a factor of two by the Roon Server on the local network and then sent to the Altitude¹⁶ Roon endpoint for further processing and output. The process is completely seamless and works well.

Experiencing movies on the Altitude¹⁶ was equally thrilling thanks to the Trinnov Optimizer’s 3D Remapping technology. There were two primary differences taking place in my room. The first being that the perceived sound from the center channel speaker was now lowered, positioned directly in front of the listening position seamlessly blending between the main left and right speakers. The other difference was that many sound effects moved through the listening room in a more realistic and immersive way, creating a wonderful sense of depth and spaciousness that I’ve not experienced in my room from other processors. Listening to movies and especially Dolby Atmos and DTS:X content was simply amazing.

I also enjoyed how good DVD-Audio, especially multi-channel, sounded on the Altitude¹⁶. Again, in my room, this was heavily due to the Trinnov Optimizer’s 3D Remapping technology.

If I have any complaint about the Altitude¹⁶ performance, it is the unfortunate audio delay that occurs when initially playing some content. For example, if I started watching a movie with a Dolby Atmos soundtrack, the picture will start displaying and then in a couple of seconds, the audio will start playing. The audio is not out of sync with the movie, it was simply muted while the Altitude¹⁶ loaded up the required software and started processing the Dolby Atmos soundtrack. In many cases, this was not noticeable, but in other cases, it was obvious that about 3 seconds of the opening music was missing. If I restarted the movie by skipping back to the beginning, the content would then play correctly because the appropriate software was already loaded in the Altitude¹⁶.

While this processing delay was annoying at the start of a movie soundtrack, it proved to be a significant disappointment when playing Spatial Audio encoded with Dolby Atmos on Apple Music. I had tried to play the Spatial Audio sampler from my Apple TV 4K and while it worked, I lost seconds at the start of every song. For example, on “The Long and Winding Road” from The Beatles – Let It Be (2021 Mix), the words “The long and winding road” are completely missing from the start of the song!! The song starts playing at “that leads to your door” which just ruins the song for me. Fortunately, there is an easy solution, but it involves turning off the Dolby Atmos option for music playback on the Apple TV settings menu. This of course defeats the ability to listen to the Dolby Atmos music mixes. Trinnov Audio is already working on reducing the delay.

The following are some of the highlights from my listening experience with the Altitude¹⁶.

From an operational perspective, the Altitude¹⁶ supports a robust control protocol via TCP/IP which made it easy to control with Roomie Remote on my iPad. I also bookmarked a page in my iPad’s browser to open the Altitude¹⁶ browser interface.

Trinnov Altitude¹⁶ Browser Interface

The browser interface looks just like the VNC interface and most notably leaves out the Settings options. It was nice to just be able to touch the screen and interact with the processor without having to move the cursor around the screen as when using a VNC client. I would like to see the interface enhanced with some different icons for the sources. The current design shows everything as an XLR cable which doesn’t really help for things like HDMI sources. Ideally, some different icons for source devices would be a nice addition.

Trinnov Altitude¹⁶ Browser Interface Optimizer Settings Not Ready Yet

The browser interface is still a work in progress as trying to open the Optimizer Settings brings up this reminder to use the VNC client or a physical display to get to that part of the interface. The VNC interface can be accessed from the browser as mentioned earlier.

Trinnov Altitude¹⁶ Optimizer Settings Tab Navigation Confusion

We discussed earlier the importance of the Optimizer Settings menu in the VNC or graphical user interface. Here’s another look at the same “Fine Tuning” page but this time in the VNC client. The “Optimizer Settings” tab is located next to “Bass Management”. Don’t let this “tab” fool you. It is just a shortcut to the “Optimizer Settings” tab that is already part of the “Settings” tabs shown above. If you click this tab, the interface immediately opens to the “Home” tab under “Settings” for the current preset. While that sounds great, it means that I’m now in a completely different part of the user interface, and depending on what I had last opened on the “Settings” tabs, like “Optimizer Graphs” or “Processor” for example, I may be sent to those parts of the interface instead of the actual “Optimizer Settings”. It is outrageously confusing in practice and is a great example of the limits of a tabbed user interface. I hope that Trinnov can move all the setup and settings into the newer browser interface, and I hope that they use a fresh interface design and lose all the tabs – at least from the browser interface at a minimum. The current browser interface is also not a responsive design, so it doesn’t gracefully resize, so don’t plan on using it on a mobile phone without some patience and difficulty.

Trinnov Altitude¹⁶ Dolby Atmos Object Viewer

A very cool Dolby Atmos Object Viewer is built into the speaker layout interface. It shows the positions of the Dolby Atmos objects in real-time moving within a 3D representation of the listening room. It’s fun to play with and does provide some perspective on what’s going on within an Atmos data stream.

Trinnov Altitude¹⁶ Processor Meters

The Processor interface provides some very nice real-time feedback on the content being played including meters for both inputs and outputs for all channels. It is also possible to adjust individual settings per channel and isolate playback to specific channels.

From a video perspective, I ran into no issues with the HDMI side of the Altitude¹⁶ and it was incredibly fast to switch inputs, except for the already noted audio processing delay.

The source device for the HDMI and analog tests was an Oppo Digital UDP-205. The volume was adjusted for 4 VRMS at the XLR outputs of the Trinnov Altitude¹⁶. The Trinnov Optimizer was off unless otherwise noted, and I used the Builtin Preset without any processing engaged.

Trinnov Audio Altitude¹⁶ 1 kHz 24/96 Sine Wave 0 dBFS HDMI Input XLR Output, 4 VRMS

Now we look at the results using one of the HDMI inputs, fed from test files played on an OPPO UDP-205. At 1 kHz, and 24-bit/96k sampling rate, THD+N was 0.001053% at 4 VRMS. The spectrum is very clean with the harmonics at 2 and 3 kHz being about 103 dB and 105 dB respectively below 4 VRMS.

Trinnov Audio Altitude¹⁶ 10 kHz 24/96 Sine Wave 0 dBFS HDMI Input XLR Output, 4 VRMS

At 10 kHz, and 24-bit/96k sampling rate, THD+N was 0.005805% at 4 VRMS. The second harmonic at 20 kHz is about 87 dB below 4 VRMS.

Trinnov Audio Altitude¹⁶ 19 kHz, 20 kHz Combined 24/96 Sine Wave 0 dBFS HDMI Input XLR Output, 4 VRMS

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the HDMI input with 24-bit/96k sampling at 4 VRMS. We see distortion spurs throughout the spectrum. There is a visible B-A peak at 1 kHz about 88 dB below each test tone at 1 VRMS which is insignificant. The second harmonics at 38 kHz and 40 kHz are approximately 93 dB below the fundamentals which is insignificant.

Trinnov Audio Altitude¹⁶ 60 Hz, 7 kHz IMD 24/96 Sine Wave 0 dBFS HDMI Input XLR Output, 4 VRMS

The standard IMD test signals of 60 Hz and 7 kHz resulted in 0.000981% IMD, which is excellent.

Trinnov Audio Altitude¹⁶ 1 kHz Sine Wave 0 dBFS Analog Input XLR Output, 4 VRMS

Now we look at the results using one of the Analog inputs, fed from the same test files played on an OPPO UDP-205. At 1 kHz, THD+N was 0.001126% at 4 VRMS. The spectrum is very clean with the harmonics at 2 and 3 kHz being about 103 dB and 105 dB respectively below 4 VRMS.
Insert Fig. 45 (Caption: Trinnov Audio Altitude¹⁶ 10 kHz Sine Wave 0 dBFS Analog Input XLR Output, 4 VRMS)

At 10 kHz, THD+N was 0.005347% at 4 VRMS. The second harmonic at 20 kHz is about 87 dB below 4 VRMS.

Insert Fig. 46 (Caption: Trinnov Audio Altitude¹⁶ 19 kHz, 20 kHz Combined Sine Wave 0 dBFS Analog Input XLR Output, 4 VRMS)

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the Analog input at 4 VRMS. We see distortion spurs throughout the spectrum. There is a visible B-A peak at 1 kHz about 87 dB below each test tone at 1 VRMS which is insignificant. The second harmonics at 38 kHz and 40 kHz are approximately 93 dB below the fundamentals which is insignificant.

Trinnov Audio Altitude¹⁶ 60 Hz, 7 kHz IMD Sine Wave 0 dBFS Analog Input XLR Output, 4 VRMS

The standard IMD test signals of 60 Hz and 7 kHz resulted in 0.001041% IMD, which is excellent.

The TRINNOV AUDIO ALTITUDE¹⁶ is an outstanding reference-quality 20-channel processor.

The Trinnov Audio Altitude¹⁶ is a unique reference processor in terms of both its design and the configuration options that it offers. Thanks to the Trinnov Room Optimizer and its unique 3D remapping functionality, it delivers a superb listening experience for music, movies, and multi-channel content. It was a pleasure to have the Altitude¹⁶ in my home, and if you have the opportunity, give it a listen.

The post Trinnov Audio Altitude16 Preamplifier-Processor Review appeared first on HomeTheaterHifi.com.

I recently purchased the Denon AVR-X3700H to expand and update the video and audio functionality of my home theater, which itself was recently expanded into a new larger room. I now have a 5.1.2 speaker layout, with the potential to add another two speakers in the ceiling or back wall. I also upgraded to a 4K capable projector; so my trusty Yamaha AVR from 2012 was finally going to need replacing. Even though I have been a long time Yamaha AVR customer, the Denon AVR-X3700H checked a lot of boxes for me, most of which are around “bang for the buck” value: it is one of the lowest-priced 9+ channel receivers on the market that also supports HDR and 4K video. The power specs looked sufficient for my needs, and SECRETS had recently reviewed two related AVRs from parent company Sound United. I decided to take the plunge and try owning a Denon AVR for the first time in my HT hobby. Read on to see how that decision played out!

It’s been a tough year or two for consumer electronics, and AV receivers have been affected as much as any product; It was a difficult time to go searching for a new AVR. Many stores were simply sold out or back-ordered for most models of most major brands. Faced with needing a new AVR capable of supporting my newly finished family & media room, I turned to the “factory refurbished” market. Recent reviews had me looking at Marantz and Denon AVRs, despite my long-time history with Yamaha AVRs. The mid-range products from Sound United (Denon and Marantz’s parent company) checked all the boxes on features I wanted, while the new Yamaha products were facing delays in coming to market. And, thanks to the reviews here at SECRETS by Chris Eberle and Jim Milton I decided It was time for a change.

The Denon AVR-X3700H is an extremely popular model from Denon, due in large part to its plethora of features, sufficient power, and competitive price point. The question “should I splurge for the AVR X4700H or will the AVR X3700H be enough” is a common question in many online discussion forums. But what does one get with the AVR-X3700H, and is it worth it? At an MSRP of $1499, it’s only $300 less than its big sibling, the AVR-X4700H, and it’s the lowest priced nine-channel AVR from Sound United. That distinction alone is what drew me to this particular product, over many lesser-priced options. If you need nine channels, you need nine channels. But in addition to that, Denon packs in almost every other feature an HT owner or builder could want, including all the major sound formats, two zones, Audyssey MultEQ XT32 room correction, ample connection options, and all the most popular media streaming options, like Spotify, Pandora, TuneIn, Airplay, and digital assistant integration.

• Denon AVR-X4700H Review
• Marantz SR6015 AV Reciever review

I would characterize Denon’s design philosophy for their AVRs as modest. There isn’t much flair to this AVR, and that’s OK by me. It’s a good-looking device, but it doesn’t need to be seen or shown off. The design of the front panel is highly functional with a nicely legible front display, and two large control knobs. There are 10 quick access buttons immediately below the front display, which are nicely non-descript such that you hardly notice them from a sitting distance. Also on the front panel are a phono jack, a calibration mic jack for Audyssey MultEQ XT32 room correction, and a USB port. One of my favorite Denon features is that they tell you very clearly what the surround sound mode currently is; Yamahas, for some reason, always obfuscate this basic information. In addition to the front panel display, there’s an easy-to-find info button on the remote that when pressed, displays on-screen just about everything you’d want to know about the audio and video signals that the AVR-X3700H is currently handling.

Around the back is a rear panel design that has become quite familiar to Sound United customers over the past few years. Both Denon and Marantz receivers color-code their speaker posts and include a sheet of matching color-coded stickers to apply to your speaker wires. When you have 7, 9, or 11 pairs of speaker posts and wires, this is very helpful, especially if you tend to tinker with your setup a lot. Another nice design touch and differentiator from the Yamahas I’m used to is that all the speaker posts are lined up along the bottom of the panel, rather than bunched in a couple of rows to one side. This makes it much easier to keep your speaker wires organized as they exit your AV cabinet.

The amplifier section in the Denon AVR-X3700H is well-sized for a mid-range receiver. With nine amplified channels, it’s rated at 105W per channel at a THD of 0.08%, when two channels are driven. This denotes one of the primary differences between the AVR-X3700H and its pricier sibling, the AVR-X4700H, which offers 20W per channel more, at a lower THD. The X3700H also lacks some higher-end DAC circuitry that the X4700H has on board. I’ve been using the AVR-X3700H with seven speakers so far, each rated at 8 Ohms nominal impedance, and as I’ll talk about in the listening section, I have no complaints.

Another key amplifier feature of the AVR-X3700H is that it is the lowest-priced model to include Denon’s “Pre-Amplifier Mode.” In this mode, the amplifier section is completely disconnected and un-powered, which according to Denon provides a cleaner signal path (makes sense if amps are powered down, there would be less RF noise and cross-talk) and more tolerance in clipping level. This effectively turns the receiver into a pre-amp/processor; the most affordable one with this feature set, I would argue. I did not test out this feature, as I do not have a separates system with an outboard multi-channel amp, but I can’t say that the prospect of upgrading to an external separate amplifier hasn’t crossed my mind ever. With the Denon AVR-X3700H, that’s now more of a possibility.

For video support, the Denon AVR-X3700H has 7 HDMI inputs and 3 HDMI outputs (one of which is tied to zone 2) and supports all the latest signal formats, including eARC, HDCP 2.3, resolution up to 4K/120* and 8k/60*, 3D, and BT.2020 pass-through, and HDR support through HDR10, HDR10+, HLG, and Dolby Vision.

*Early samples of this receiver (built through May 2021) suffered from an HDMI bug that affected the ability to pass 8K/60 and 4K/120 video. This mostly affects Xbox Series X/S owners who need the Variable Refresh Rate feature which requires up to a 4k/120 video mode. To remedy this, Sound United offers free of charge an external HDMI adaptor that fixes the bug; and for receivers built after May 2021 (serial numbers ending with 70001 and higher), the bug has been fixed internally.

The Denon AVR-X3700H is also set up for multi-zone and media streaming support, via a Zone 2 control, and the HEOS app. The limitation of only two zones is one area that differentiates the AVR-X3700H from the AVR-X4700H, and honestly could be the thing that eventually makes me upgrade. This difference is unfortunate since both AVRs have the same number of amplified channels, and the same number of speaker posts, and the same number of maximum channels for processing. So, it seems like support for three zones is just a feature that was reduced for the lower-priced product.

HEOS (Home Entertainment Operating System) is Denon’s proprietary wireless audio streaming service. Like Yamaha’s MusicCast, BlueSound’s BlueOS, and Sonos, HEOS offers easy streaming of many media sources to multiple HEOS compatible devices throughout your home. Using the AVR-3700H’s second amplifier zone and the HEOS system, one can easily cast audio throughout the home, or to just one zone while the other zone plays, for example, a movie. HEOS supports most popular music streaming services, including but probably not limited to, Pandora, Spotify, TuneIn, Deezer, Napster, Amazon Music, Tidal, Rhapsody, iHeartRadio, and Soundcloud. All of these apps are advertised as supported by the AVR-X3700H, but really the support comes from the HEOS app.

Speaking of apps, the AVR-X3700H is also controllable by the Denon 2016 AVR Remote app for smartphones. I found the HEOS app much more user-friendly though. The 2016 AVR Remote app was unreliable and buggy in my experience. When it did work, the functionality was limited. Most of the time if I’m out of the IR range of the AVR, the HEOS app worked fine. If I’m within IR range of the AVR, the remote works fine.

The remote is a standard no-frills remote. It badly needs backlighting and feels a bit on the cheap side when you hold it, but is otherwise decently laid out. I’m getting pretty good at navigating the primary buttons in the dark, but it would really be nice to have a backlight. I wish AVR manufacturers would put more into their remotes. My Nvidia Shield has a sweet little remote that has a motion detector that turns on the backlight, and it’s a combo Bluetooth+IR remote to boot. It’s not perfect, but if a $200 media streamer can include a really nicely designed remote with these basic features, I would think a $1000+ AVR could too. Also, I’m not sure why any device these days is still using IR to transmit remote commands when they all have Bluetooth connectivity.

As a refurbished unit, my AVR-X3700H came in a non-descript brown cardboard box, rather than a retail box in Denon regalia. Inside, the receiver was well packaged and protected, and the critical extras were included: remote, batteries, various antennae (wifi x2, loop AM, FM wire), power cord, and the cardboard calibration mic tripod. Absent was an owner’s manual (I was directed to the online manual) and the color-coded speaker wire labels (this was a disappointment, I must admit!)

Setup was very straightforward: I simply disconnected my previous AVR (Yamaha RX-A2020) and replaced it with the Denon AVR-X3700H, connecting all the appropriate speaker wires and HDMI cables. Thanks to HDMI handshaking, the AVR-X3700H successfully identified all of my components including my display. On to speaker setup, which was a breeze, if a little slow, with the Audyssey MultEQ XT32 system.

The Audyssey system is well known by now, and well documented, with multiple online discussion forums dedicated to setting up various systems with Audyssey’s technology. I had no issues going through the room calibration process, except that it took longer than expected (based on my experience with Yamaha’s YPAO system) and it was unclear where to place the mic when my particular room arrangement did not support mic locations as defined in the on-screen guide. For example, the guide instructs you to place the mic behind the couch a couple of times. My couch is up against a wall. It would be nice if there were optional setup arrangements in the on-screen guide, for a few different but common seating arrangements, rather than assuming just one ideal seating arrangement. I gave it my best shot, and the sound balance and timing seem about right. I did decide to adjust the bass a bit, as well as the overhead speaker gains. I felt that the Dolby Atmos height channel was virtually non-existent in my testing, so I bumped up the channel trims just a tad and felt that made a huge difference. Otherwise, the Audyssey calibration seemed spot-on to my ears.

The initial video setup was likewise easy and straightforward. There are several options to enable different levels of video processing. The HDMI bypass (known as pass-through in other brands) mode is usually my preference, as I find that I usually prefer either my source or my display to do any upconversion or processing. The one drawback to using the HDMI bypass mode is that on-screen GUI overlays are no longer possible when bypass is enabled. This means that when you adjust the volume, you don’t get to see the volume bar on the screen. If your room arrangement is such that you can still see the front panel display of the AVR-X3700H, then you can see the sound mode, source selected, and volume there. You can still hit the Info button on the remote, but in bypass mode, this pauses the source material and switches the display to show only the info screen, rather than overlaying the info screen on the playing source media. If you want to know that your source video is going untouched by Denon’s video processing, then this is the way to go. HDMI bypass is enabled in the “Settings > Video > Output Settings > Video Mode” menu, and disables all other video processing options. Some of the options available to explore if you do not use bypass include, i/p scaler, output resolution, sharpness, progressive mode, and aspect ratio.

The i/p scaler function controls the rest of the available functions. So, if you turn it off, you have the next closest mode to HDMI bypass, as all other processing (including resolution scaling, and progressive/interlaced processing) will be disabled. This is the mode I ended up choosing for the Denon AVR-X3700H.

With most HT setups these days, everything (the source device, the AV receiver, and the display device) can do some version of video processing. It can take a lot of time and patience to figure out which of your devices has the best processing for your setup. This is usually well worth the time and effort as leaving multiple video processors enabled will undoubtedly result in an inferior image. The fact that the Denon AVR-X3700H allows you to completely (as well as nearly) shut off all video processing makes this process easier. For a detailed explanation of how to systematically test your video signal path, I recommend checking out Spears & Munsil’s instructive article on the topic of choosing a color space: http://spearsandmunsil.com/portfolio-item/choosing-a-color-space-3/ While that article is specific to choosing a color space, the same logic and methodology can be applied to plan a systematic method for testing, for example, which image scaler to use.

The Denon AVR-X3700H is an *audio* and *video* receiver, so let’s talk about how movies and music actually look and sound in real-world use. My system consists of seven speakers and a sub in a 5.1.2 system capable of Dolby Atmos and DTS:X 3D object-oriented sound formats. The speakers are all nominally 8 Ohms; Paradigm Titan V3 bookshelf speakers serve main left and right duty, with a matching Paradigm CC170 at the center. Surrounds are a set of eight-inch in-wall and in-ceiling speakers from Home Theater Direct’s HDX series. On the video front, I have the Epson Home Cinema 5050UB 4K LCD projector paired with a 110” Slate ALR screen from Screen Innovations. My primary source for this system has turned out to be our Nvidia Shield 4K Android TV streaming box, but I also have a UHD Sony Blu-Ray player and an FHD Oppo Blu-Ray player.

Again, I really appreciate how clearly the AVR-X3700H communicates what mode it’s in, including what audio codec, and which video resolution or format is being displayed.

This button is easy to find, and I use it frequently just to double-check that a given bit of streaming media is what I think it is.

As with most people these days, I find myself and my family using streaming more than anything else for both music and movie/show consumption. The quality of streaming has risen to a level that for anything but testing and critical listening, it is quite enjoyable, and the convenience factor really puts it over the edge. Having owned, used, and reviewed many streaming devices over the years, I was very impressed with how quickly and easily the HEOS app found, connected to, and started playing music from, my personal home NAS (a Synology DS1515+). Not only was setup nearly non-existent for HEOS, but the speed with which it browsed the media folder hierarchy of my NAS was amazing. Not even Synology’s own music streaming app can hold a candle to the speed with which I was able to navigate and scroll through the NAS music folders using the HEOS app. The HEOS app did miss when it came to displaying album art; a few albums would show the cover art when tracks played, but most would not; contrast this to the Synology app – which while a tad slower on navigation did show album art while browsing titles.

The list of codecs supported by the AVR-X3700H and the HEOS app is extensive, and for my purposes, complete. My music collection is mostly stored as high-bitrate MP3, with some albums saved losslessly in FLAC, and fewer still in MQA. I’ve been listening to countless streams since installing the AVR-X3700H in my system; for testing material, I went back to a few stand-bys: an MQA of Mozart: Violin concerto in D major – Allegro, by Marianne Thorsen / TrondheimSolistene, a FLAC version of the Dire Straits best-of album, Sultans of Swing/The Very Best of Dire Straits, and The Silver Tree by Lisa Gerrard (you know her voice and music from the soundtracks to Gladiator and Whale Rider) in high bitrate MP3.

As with music, most of our consumption of movies these days is via streaming. I definitely prefer spinning an FHD or UHD Blu-ray disc when I can, but for sheer convenience and breadth of choice, it’s hard to beat the 1000’s of titles offered across Disney+, Netflix, Amazon Prime, and Vudu, just to name a few of my family’s top apps. Years ago, I happened to write a short blog here at SECRETS arguing that streaming (in 2009, mind you) “HD” was not really “HD” and barely better than 480p DVD at the time. While probably true back then, streaming 4K now is quite acceptable for most movies. Yes, the physical disc still wins, but the difference is getting smaller and smaller. As for the AVR-X3700H’s role in our consumption of movies both on disc and via streaming apps, I have very little to say, which is a good thing. As mentioned earlier, I choose to bypass most video processing in the AVR. I used the Spears & Munsil Ultra HD Benchmark to conduct some simple A/B testing to confirm that HDMI bypass mode indeed did what it claimed. I was able to fairly easily switch the HDMI cable to my projector from the output of the AVR-X3700H to the output of the Sony UBP-X800M2 UHD Blu-ray player. Across multiple test patterns, there was zero visible difference between having the AVR-X3700H in HDMI bypass mode, versus connecting the Sony directly to the projector.

This left the sound handling as the main feature to lay judgment upon, and as with the Denon’s handling of music, it is equally impressive with movies. This is my first system (and first review) that includes the current slate of 3D object-oriented sound (OOS) formats like Dolby Atmos and DTS:X. Admittedly, most of the movies we watched had Dolby Atmos sound. Regardless, the experience is definitely more precise and detailed, especially with surround-heavy action movies.

The DENON AVR-X3700H is quite possibly the best value on the market for a full-featured powerful 9.2 channel 8K AV receiver.

There’s not much more to say. I initially purchased the AVR-X3700H as a stop-gap solution to get 4K, HDR, and 3D surround formats into my new media/HT system, while I waited for the supply chain issues of the past 18 months to work themselves out. However, the performance of this receiver is so good, that I have decided to just hold on to it for the time being. I have no complaints, and in fact, have tons of positive takeaways for the Denon AVR-X3700H.

Setup was a breeze; it has every feature one could want in a modern HT AVR and delivers sound and video quality for which it is nigh impossible to find faults at this price point. Can you get better performance? Sure, but the AVR-X3700H easily sets the bar for the point of diminishing returns, especially if one’s speaker layout doesn’t warrant a higher-end system. When compared to its older sibling the AVR-X4700H, the extra few hundred dollars you would spend over the cost of the AVR-X3700H get you a few key features, including one additional surround sound format (Auro 3D), several higher-quality DACs, one extra zone, and a fair bit more, and possibly cleaner, power (20W per channel additional, with more headroom and lower distortion). So, if you need to drive less efficient speakers or need a receiver that can control speakers in more than 2 zones in your house, then the AVR-X4700H may be worth a listen. But features-wise, the AVR-X3700H is hardly different from the AVR-X4700H and therefore a better value, in my opinion.

The post Denon AVR-X3700H 9.2 channel 8K AV receiver review appeared first on HomeTheaterHifi.com.

Giving up nothing on the performance front compared to StormAudio’s flagship ISP Elite MK3 processors, the StormAudio ISP Core 16 only sacrifices some upgradeability options to achieve its less-expensive price point. The incredible flexibility of the ISP Core 16 is enabled via an easy-to-use browser-based interface and app control. The PA 16 MK2 is one of the only 16-channel amplifiers on the market and offers more than enough power for most users. Its tight bass response and very neutral midrange and treble presentation make a great pairing with the equally neutral ISP Core 16 Preamp-Processor.

StormAudio may not be a familiar name to many of you, but they have been at the forefront of multi-channel theater playback for many years now. StormAudio started off by offering multichannel hardware dedicated to Auro-3D playback but quickly added support for other competitive immersive audio formats as the company grew. Today they are considered one of the premier suppliers of reference-level multi-channel processors, and their flagship ISP Elite units grace many Hollywood screening rooms. StormAudio has been working to bring that level of performance to a lower price point and have recently released the ISP Core 16 processor that I have here today. Featuring 16 channels of processing power, the ISP Core 16 claims to make no sacrifices in performance to its more expensive siblings. To help test out that claim I was also sent StormAudio’s PA 16 MK2, a 16-channel Pascal-based Class D amplifier, to pair with it. Sporting 200w x 16 channels at 8 ohms, the PA 16 MK2 is one of the only amplifiers on the market capable of driving a serious 16-channel system from a single chassis.

The StormAudio ISP Core 16 sports a very modern, clean look with a thick black brushed aluminum front panel. Centered on the front panel of the ISP Core 16 is a 5”, full-color LCD display. Three small navigation buttons and a screen-printed StormAudio logo sit to the left of the display with a single multi-function knob, power button, status light, and IR sensor to the right. Moving around back, you can see that the ISP Core 16 is a truly modern pre/pro, eschewing many of the legacy connections that clutter up other pre/pros on the market today. There are seven HDMI inputs and two outputs. All ports are HDMI 2.0b with HDCP 2.2 and 18Gbps of bandwidth. HDMI output 1 supports HDMI Audio Return Channel and the newer Enhanced ARC. The entire HDMI board can be swapped out for an upgraded HDMI 2.1 capable board once it becomes available towards the end of 2022. There are 16 analog XLR outputs for feeding your amplifiers and subwoofers. Unlike StormAudio’s ISP Elite models, you cannot add more output channels to the ISP Core 16. A single Optical Toslink output can send a downmixed stereo signal to a second zone if you wish. There are four pairs of analog RCA inputs, which can be configured as four separate stereo inputs or as a single 7.1 channel input. Three Coaxial S/PDIF inputs and three Optical Toslink inputs complete the input panel. Rounding out the back panel are four 12v triggers, an IR in/out port, two USB Type-A ports, an ethernet port, an IEC power socket, a main power switch, and a small fan to keep everything cool. StormAudio also includes a small IR remote with buttons for the most commonly used features.

Inside the chassis are two ADSP21489 (Sharc4) DSP chips as well as a single Texas Instruments TI K2G chip to handle decoding. StormAudio’s more expensive ISP Elite MK2/MK3 processors carry four of the Sharc4 DSP chips inside to handle their higher channel counts (up to 32) and allow greater potential for future software-level upgrades. The internal DAC is an Analog Devices ADAU1966, which can accept signals up to 24-bit/192kHz PCM. Unlike the ISP Elite MK2/MK3, the DAC board is not upgradeable in the ISP Core 16. DSD signals are not accepted, so make sure your source device can convert DSD to PCM if SACD playback is a priority for you. The ISP Core 16 supports pretty much any configuration of up to 16 speakers and can decode Auro-3D, Dolby Atmos, DTS-X: Pro, and IMAX Enhanced. It also offers the most advanced version of Dirac; Dirac Live with Bass Control along with 20 Parametric EQ settings per channel. The ISP Core 16 is ROON Ready and even has a REW plug-in to bring filter information directly into the ISP from REW. If that is not enough for you, there is an optional firmware package ($1,200) that enables HDMI matrixing on the two HDMI outputs, Expert
Bass Routing for even more customizable bass management, and StormXT – Storm Audio’s proprietary ambiance expander.

The PA 16 MK2 continues the design trend set by the ISP Core 16. The black brushed aluminum front panel only has the StormAudio logo and a single power button. Like the ISP Core 16, you can get the unit in any color you want, as long as it’s black. The PA 16 MK2 felt very dense, which makes sense when you consider that there are 16 channels crammed into its 46.3-pound chassis. Given the need for 16 XLR inputs (sorry, no RCAs) and 16 pairs of binding posts, space on the back panel of the PA 16 MK2 is unsurprisingly tight. There are two banks of eight XLR inputs each and 16 pairs of binding posts aligned along the bottom of the unit. A 12v in/out, USB port (for service), RJ45 LAN port, three-prong IEC power socket, and a master power switch occupy the left side of the back panel. Two small fans sit between the banks of XLR inputs to keep internal temperatures in check. The operation of the PA 16 MK2 can be monitored via the ISP Core 16’s configuration pages as long as you connect the amp to your network. The PA 16 MK2 is based on Pascal Class D modules and houses four of Pascal’s UREC power supplies that deliver 3000 watts of total system power. This allows the 16 UMAC amp modules to deliver 200 watts each at 8 ohms or 225 watts each at 4 ohms. Overall, both units felt solid and very well built. All screws were countersunk into the chassis, which is always a nice touch. The only minor issue I could find was that the matte plastic screen that covers the ISP Core 16’s LCD display seemed a touch loose, as I could move it about a millimeter up/down or side to side.

The physical setup of the StormAudio ISP Core 16 was pretty easy. I unhooked my personal Marantz AV8801 and slid the ISP Core 16 into its place in my equipment rack. I was amazed at how much lighter and smaller the ISP Core 16 was than my older Marantz unit, but then remembered that the Core 16 wasn’t saddled with tons of dead-weight analog inputs (seriously, who still has a use for multiple composite or component video inputs?). As I wanted to get a handle on the ISP Core 16’s basic sound character without adding too many variables into the equation, I initially connected the ISP to my reference seven-channel Wyred4Sound multichannel amp using XLR cabling. I only ran this configuration for a few days before swapping the Wyred4Sound amp out for the PA 16 MK2 and configuring the system for 7.2.6 playback. One quick note on the PA 16 MK2: it is extremely deep (~19”), so make sure that your shelf/rack can fit it. I had to remove the back panel from my Salamander Synergy equipment rack in order to fit the speaker cables. My other gripe concerns the “cable spaghetti” a 15-channel setup takes. With 13 XLR cables (plus two RCAs for the subs) connecting the ISP Core 16 to the PA 16 MK2, I had to take a lot of extra time with cable management to keep things neat. A single cable method of connecting the ISP Core 16 to a multichannel amplifier would be a nice addition. StormAudio’s ISP Elite processors have optional AES or Audio over IP (AoIP) modules, but for cost-saving reasons, these aren’t offered on the ISP Core 16. I also had to pick up some Neutrik XLR to RCA adapters to connect my two subwoofers to the ISP Core 16 as there are no RCA outputs. Don’t forget to connect a network cable from your switch/router to the ISP Core 16 and PA 16 MK2 while you are doing your cable management as it is needed for setup and control. The output jacks on the ISP Core 16 are simply numbered 1-16, so make sure that you write down what channel you are connecting to each output jack for future reference. The HDMI inputs are also numbered, so again take note of what you connect to each jack number as you’ll need it for the next step of the setup process. With my Xfinity cable box, Oppo UDP-205 UHD player, Xbox Series X, and Amazon FireStick 4K Max connected to the HDMI inputs it was time to get to work setting up the ISP Core 16.

The ISP Core 16 can be controlled via IR, web browser, or an Android/iOS app. However, for the initial setup, I highly recommend using the web browser connection from a PC or Mac, particularly if you are planning on setting up parametric EQs or utilizing Dirac Live. Upon first power up of the ISP, you can use the front panel controls to navigate to the network settings and record the IP address listed on the display. With the ISP Core 16 attached to your network, you just need to enter the ISP’s IP address into a web browser window, and you’ll be taken to the main configuration/control login page. Upon your first login, I’d also suggest that you change the ISP Core 16 to a static IP address, which is easily done from the main configuration screen. Just de-click the “DHCP Auto” button and you’ll never have to worry about your IP address changing ever again. Remember to set the last octet of the IP address to a number higher than the max number of devices you expect to have on your network (i.e. xxx.xxx.xxx.201) to ensure that you’ll never run into a duplicate IP address scenario. Even with the huge amount of configuration options, the web interface makes the ISP Core 16 surprisingly easy to set up. The GUI is very clean and easy to navigate, with items logically grouped into tabs towards the top of the screen and sub-menus (when needed) on the left-hand side of the page.

The first key step is to define your theater from within the “speakers” tab. The GUI makes this pretty easy as it divides the theater into “layers.” You start with your base layer of ground-based speakers, nine in my case. If you have multi-way (active) speakers, you can define them here. You also set the number of subwoofers (two in my theater) at this stage. Then you move to the “height” layer, which corresponds to Auro-3D’s height channels. I didn’t have any installed, so I left this at zero. Finally, you configure your “top” layer speakers. The top layer should only be used for ceiling mounted or Atmos up-firing speakers. I recently installed six Sonus faber PC-683 speakers into the ceiling of my media room, so I added them to the top-layer setup, giving me a 7.2.0.6 theater. Make sure that you double-check this setup, as once you save the theater configuration it cannot be edited. I’d like to see StormAudio add the ability to edit existing theater presets as there are situations where a user may want to add something new to their configuration, like an additional subwoofer or perhaps dedicated “height” channels. With the theater set up, you can then move on to mapping your channels if you are not satisfied with the default channel mapping. StormAudio recommends connecting your most demanding channels (i.e., left, center, and right) to specific “master channels” (which offer higher current) on the PA 16 MK2 so I had to change a few of the default speaker mappings to meet this recommendation.

In a neat twist, any unused outputs can be allocated to a second zone or even a second theater system. Yes, you read that right; the ISP Core 16 can actually support multiple theater setups, including Dirac calibration on each one. The only caveat is that you can’t exceed 16 channels between the multiple theaters. Next, you will want to configure your inputs from the “inputs” tab (makes sense, right?). From here you can rename an input, and select which HDMI video input it uses, or its main audio source. A Zone 2 audio source can be added to an input as well. This is useful since the ISP cannot route audio from HDMI sources to a second zone. You can also select a default multi-channel up-mixer like Auro-matic or Dolby Surround to apply to the source as well as trim the volume (to match other sources) or add a lip-sync delay. There is even a way to apply specific 12V triggers to an individual source. For example, say you have a dedicated CD player and just want to power up your main amplifier when listening to CDs without powering up your multi-channel amplifier that is used only for surround channels. The ISP Core 16 can easily handle unique situations like this. You can also choose to hide any sources that don’t have an active component connected, which cuts down on clutter within the app and front panel control options. Roon setup was also incredibly easy, with my Roon Core (a Windows 10 PC) automatically picking up the Roon-Ready ISP Core 16 on my network and creating a zone for it. Just double-check the Roon setup to ensure that Roon will convert any DSD files to PCM and that it will down-sample any files greater than 24-bit/192kHz.

With all my speakers and inputs set up, I now had a basic theater ready to go. However, this wouldn’t use the full capability of the ISP Core 16. Fortunately, I had an appointment set for a “remote calibration” with Matthew Trinklein, Immersive Audio Technologies’ (StormAudio’s parent company) North American Regional Sales and Engineering Manager. Prior to the session, Matt requested a diagram of my room layout and speaker positions (including all room dimensions) as well as some photos of the room so that he could determine furnishings, window locations, and seating positions. For the Zoom meeting, all I had to do was download and install the free Room EQ Wizard software (REW as it is commonly known) and the latest copy of Dirac Live onto my Windows 10 laptop. StormAudio also sent me their microphone calibration kit, which consists of a MiniDSP Umik-1 calibrated microphone, microphone stand, and all necessary cabling. The only thing not included was a long HDMI cable to connect the HDMI output of my computer to the ISP, but fortunately, I had a 15-foot cable handy. HDMI is the easiest way to get the test tone signals from REW on the computer to the ISP, so I recommend having a cheap cable handy for this task. The Umik-1 microphone is truly plug-and-play with Windows and REW, so I had everything ready in just a few minutes. Matt started off by taking measurements of all my speakers via REW to see how my room impacted the overall sound. Based upon those measurements, he decided to add a few parametric EQ boosts and cuts to a few of my speakers (mostly the front three) to minimize the amount of room correction Dirac Live would need to apply. This approach is really the best way to utilize any automated room correction system – the less work it has to do, the better. While you can create the filters directly within REW and then import them via the ISP Core 16’s speaker configuration screen, Matt added them manually to show me how easy it was to do. The ISP Core 16 can apply up to 20 PEQs per speaker, so you should be covered for just about any scenario. The screenshot below shows some of the options available when creating a filter. You can apply unique filters per speaker (as Matt did for my left, right, center, and subwoofer channels) or apply the same filter(s) to multiple speakers. Matt used REW to verify that the filters had the desired effect on each speaker and made a few adjustments before declaring that all was done.

It was now time to run Dirac Live, through the convenient “DIRAC” button right on the “Main Speakers” page. After carefully setting the speaker levels, Matt moved on to taking the measurements via nine microphone placement points. All I had to do was move the Umik-1 microphone to the desired position and let Dirac Live do its thing. After about an hour of measurements, Matt loaded StormAudio’s default cinema target curves to each grouping of speakers (one for the front soundstage, another for surround channels, and one for the subwoofers). He also selected “Full Bass Optimization” to blend each speaker’s response with the subwoofers, effectively creating a full-range speaker at each position. Crossover points were chosen here as well. While the Sonus faber Olympica IIIs and Olympica Center that make up my front soundstage give solid bass output in my room, the response is a bit “lumpy” (mostly due to my seating position) so Matt decided on a 70Hz crossover point for the front channels. My Olympica I side and Venere Wall rear surrounds all received a 76Hz crossover point with my six in-ceiling Sonus faber PC-683s getting a slightly higher 90Hz crossover. We could have gone lower on the ceiling speakers but discovered a pretty nasty rattle at around 70Hz emanating from a few of the recessed lights in my ceiling. When the weather cools down, I’ll be crawling around my attic silencing those light cans with some self-adhesive damping material. While we didn’t use it in my setup, the optional ($1,200) software license pack for the ISP Core 16 includes StormAudio’s Expert Bass Management add-on. This gives even more flexibility in how you integrate your subwoofers into your theater. For example, say you want to allocate one subwoofer to your front soundstage and another to the rear—not a problem for the ISP Core 16. Or if you have four subs, you could allocate one to your front left speaker, one to the front right, one to the center, and the last to your surround speakers. As long as you stick to the Core 16’s 16-channel speaker limit, you can do pretty much anything you want. For multi-sub maniacs, this is the only solution on the market that I’m aware of with this level of flexibility.

After letting Dirac Live chug away on my laptop calculating its correction factors, Matt then exported the filters from Dirac to the ISP Core 16 and then saved everything to a preset. Then he made a few small adjustments to the delays and saved everything again. In all, the process took almost four hours, but the results were well worth it. The “Remote Calibration” I received is available to anyone who purchases a StormAudio ISP (at an additional cost – consult with your dealer). While most dealers should be able to perform a similar setup/calibration as part of the purchase process, having someone, as experienced in room acoustics as Matt tweak your system, is a real treat. There are quite a few tricks to getting an ideal implementation of Dirac and Matt’s level of knowledge was quite impressive. I highly recommend discussing a remote calibration with your dealer.

Before we get into the performance of the ISP Core 16 and PA 16 MK2 as a pair, I wanted to briefly touch on their performance as stand-alone units. As I mentioned earlier, I initially set up the ISP Core 16 with my reference Wyred4Sound ICEpower Class D amplifier to get a feel for its general sound quality in conjunction with sources and an amplifier that I know well. This was done before running the full setup routine, so I was only able to use the default stereo theater preset to listen to two-channel stereo. Sources were the HDMI output of my Oppo UDP-205 or through Roon over IP. The Core 16 was basically running as a volume control, simply passing the signal over to my reference amplifier. To keep things brief, I can sum up the sound of the ISP Core 16 as such: incredibly transparent and exceptionally detailed.

With no doubt as to the quality of the ISP Core 16 and PA 16 MK2 with film soundtracks, I moved on to some multi-channel music. While I was completely happy with StormAudio’s default Dirac target curves for movie watching, I wasn’t as thrilled with it for music sources, as the sound was a bit “dry” for my taste. This makes sense, as StormAudio clearly denotes their curves as “theater” curves and prioritizes accuracy to the source material. I set up another tweaking session with Matthew Trinklein to work on making some changes for musical material. He showed me how to set up additional presets with different PEQ or Dirac curves applied to them. This is one of the really big advantages of the ISP Core 16, you can make it sound however you want by making a few adjustments to the target curve or PEQ filters and then saving it as a new preset. Matt helped me set up three additional presets on top of the original “Reference” configuration. The first just used the PEQ filters we had set up with no Dirac correction. The second was a “Raw” configuration, with no PEQ or Dirac correction. This would be the closest in sound to the uncorrected “Pure Direct” mode I frequently use on my Marantz pre/pro. The third was identical to the fully corrected “Reference” preset except that we cut off all Dirac correction and PEQ above 500Hz. This would allow the natural character of my speakers to show through above the room transition. All presets maintained the proper levels and delays that we originally set. You can use the StormRemote app or the browser control to switch presets instantly, which makes it easy to compare the sound. After our session, I further tweaked the Dirac Live curve on these new presets to add a touch more mid-bass output as well as added a little more roll-off in the treble. This added just the touch of overall “warmth” I was looking for.

Through the ISP Core 16 and PA 16 MK2, these three exceptional mixes sounded better than I have ever heard before. I even spent some time adding Auro-matic up-mixing to these surround tracks and dare I say they sounded even better. The StormRemote app on my iPhone made it easy for me to apply different up-mixing options on the fly, quickly comparing them to the source mix. Through the app, you can also adjust the settings for Auro-matic in real-time. I preferred the “large room” option with a strength of 7 or 8. Any more than that and the extra surrounds/top speakers overpowered the main speakers too much for my taste. All three of these discs have a lot of different layers to the sound and Auro-matic really seemed to improve the sense of immersion without destroying the core competencies of the original mix. I’ve never been a fan of up-mixing music before, but Auro-matic has changed my mind.

When spending this amount of money on A/V products, the overall user experience really factors into the ultimate sense of satisfaction. Historically, many “high-end” audio products have struggled in this regard but not the ISP Core 16 and PA 16 MK2. In the six weeks I had the units in my system I only experienced a single issue, and that was due to a known bug with certain cable boxes not refreshing their EDID via HDMI. This caused the ISP Core 16 to lose sound, but a complete system reboot using the rear power switch fixed everything. It is a rare issue (I was only the sixth reported case) but StormAudio is already working on a fix. The Core 16’s big LCD screen with its large volume level display can easily be seen from a reasonable seating distance, as can the channel level VU meters if you choose to show them. I especially appreciated the ISP Core 16’s on-screen volume/source/codec display, which is a feature missing from many other high-end pre/pros. The unit even boots up quickly, taking just a few seconds when you have “Enable Fast Boot” engaged. As far as things I didn’t love, there were only a few. There is a 1-2 second delay when switching between audio formats with the ISP Core 16. This can cause the first few seconds of a soundtrack or song to be inaudible but skipping back to the beginning of the track or chapter fixes things. A firmware update is in the works to shorten/eliminate this delay, but hopefully, it won’t be an issue with the HDMI 2.1 board slated for release later this year. The ISP Core 16 and PA 16 MK2 both contain small fans which make an audible whoosh when the units first power up, but within about 15 seconds, they settle down to inaudible levels. I’d still like to see larger, lower-speed fans (like Noctua 120 or 140mm units) used to ensure that fan noise will never be an issue. Lastly, if you wish to use a universal remote control with the ISP Core 16, you should really have an IP-based unit or plan to rely upon the StormRemote app or browser control. While I was able to program my RF/IR-based URC MX-990 to work with the Core 16, there are a few limitations with IR control. For example, there are only direct input source commands for the first six inputs. To reach any other sources you’d have to use the “> Input” or “< Input” commands. There is a similar issue with presets, with only the first five presets having direct access commands available. You can engage the four main up-mixing modes via direct commands, but there is no way to adjust their parameters via IR. Another slightly odd limitation of IR control is that the volume level can only be adjusted in 1dB increments but if you use IP control or the front-panel volume knob you can make changes in .1dB steps. The rear IR-in port on the ISP Core 16 cannot accept a direct feed from an IR hub/blaster unit (it only works with powered IR sensor “eyes”) but you can attach an IR flasher to the front panel IR sensor.

The ISP CORE 16’s exceptional sound quality on both stereo and multi-channel sources rivals anything currently on the market. While $12,999 is by no means cheap, the fact that the ISP Core 16 offers the same level of performance as StormAudio’s flagship ISP Elites makes it a bit of a bargain in the reference-level processor market.

Factor in the incredible flexibility, ease of use, overall reliability, and futureproofing offered with the upgradeable HDMI board, and the ISP Core 16’s value only increases. The PA 16 MK2 amplifier is a bit tougher sell at $13,999. While it offers excellent overall performance, there are certainly cheaper ways to get 16 channels of Pascal-based Class D power. However, you’d need the space to house multiple separate amplifiers and additional power cords. For those who need to pack 16 channels of high power into a single 3U chassis, this is one of the only options on the market and makes the PA 16 a great fit for certain installations.

In case you couldn’t tell, I absolutely loved the time I spent with the StormAudio ISP Core 16 Preamp-Processor and PA 16 MK2 Power Amplifier in my system. The two components helped me experience the best theater and multi-channel music playback I have ever heard in my media room. Whether it was a movie soundtrack or music source, everything was presented with tons of detail and was incredibly immersive. Bass response and integration were simply revolutionary with Dirac Live Bass Control, making each individual speaker sound like it was full range. The exceptional clarity of the ISP Core 16 had the added benefit of improving the sense of imaging and sound-staging, which further drew me into the source material. While the core sound signature of the ISP Core 16 was completely neutral, you could easily tailor the sound to your liking by adjusting the target curve via Dirac Live. Despite its amazing degree of customizability, the ISP Core 16 proved surprisingly easy to configure and operate via a web browser or the StormRemote app. The fact that the Core 16 is upgradeable to HDMI 2.1 shortly is just icing on the cake. If you don’t think you’ll ever need more than 16 channels, the ISP Core 16 is the sweet spot in StormAudio’s lineup and a bargain in the reference-level preamp category. The PA 16 MK2 amplifier was equally impressive, driving my 13 speakers with authority from a single slim chassis. The PA 16 MK2 did little to color the sound, instead simply presenting things as they were on the source. If you are looking for absolute top-tier performance in your theater system, I highly recommend taking a look at the StormAudio ISP Core 16 pre/pro and PA 16 MK2 amplifier. I did NOT want to ship these babies back.

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The Anthem MRX 740 has all of the features a serious home theater receiver should have. It has all of the power and just about all of the important options that you would ever want (along with a couple that I don’t know what to do with). It’s kind of an endgame product and I was more than happy to have it in my possession for the short time that I did. I miss it already, to be honest. Check out my video review below.

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