Archive for category Amplifier multiple Channel
While the AV8802A and AV8805 look similar, the AV8805 has over 1,900 part changes that are meant to enhance audio quality. These include faster DSPs, new isolation plates between the transformer and chassis to reduce noise and vibration, additional shielding and isolation between the DSPs and the audio PCBs, a new DAC board layout with a shorter signal path for improved jitter reduction, and updated HDAMs (Hyper Dynamic Amplifier Module) with precision-matched discrete devices.
One thing Marantz hasn’t updated is its best-in-class user interface, one that I find to be extremely intuitive and easy on the eyes. When powering up for the first time, you are greeted by a guided setup that walks you through the installation. First, you tell the processor how many components you’re using. Next, you’re instructed to connect the included Audyssey microphone to the unit’s front so that MultiEQ XT32 equalization can work its magic
“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.”
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!”
In most “subjective” reviews, this is the part of the review where you get the rapturous prose about how the gear transported the reviewer to musical parts previously unknown. But that is not the case with the MEGAschino; with it the rapture comes from the well-recorded music, not from the gear imbuing it with super-aural powers. So, what does the MEGAschino do? It leaves the music well enough alone. By this I mean it has a level of transparency and neutrality that reduces its sonic influence or coloring of the sound to a minimum. And while trying to do less to the sound, the MEGAschino manages to do more. Imaging, especially lateral imaging, has a level of definition that is as good as I’ve ever heard. Also, the MEGAschino’s ability to retain the three-dimensionality of a natural soundstage on good recordings was first-rate.”
I found the Russound media server function to be nearly unworkable for accessing my very large music collection. You can search your collection by artist, album, track, etc. So far, so good. The problem comes when you are scrolling through collection: you have to scroll A-Z in small chunks while the files are loading. This can be very tedious because you cannot skip to a section of the alphabet or type in a name to search. Thankfully, I found a great workaround: Roon. Using Roon I was able to select any of the three Russound streamers as my endpoint and use the Roon interface to select music from TIDAL or my own library. Other music programs that can stream to AirPlay devices should also work. A downside to this type of workaround is that you will need to switch between apps to control music selection and the Russound system.”
The control and immediacy of the A 52+ made another track shine: “Good on the Ground” by the Vijay Iyer Sextet. In this freeform jazz cut, the saxophone and piano struggle for dominance over a driving layer of standup bass and drums. When I listened with the Parasound and MartinLogan combination, all instruments were distinctly conveyed, and the drums in particular had a muscular presentation. The standup bass seemed a bit softened in attack compared with the sound put out by my reference amp on this track, but overall I was impressed by the bass control I heard with most music.