Archive for category AV Receivers
With the USS Arkansas going head to head with a soviet Akula class submarine in Hunter Killer, the TX-SR393 created a big sound field, with torpedoes swooshing convincingly about my listening room. Likewise, the Onkyo turned in a reasonably detailed performance, capturing background noise and conversations within the USS Arkansas.
While the TX-SR393 wasn’t able to provide the same level of impact I have become accustomed to from Blade Runner 2049 it did again surprise me. By comparison, the Onkyo sounded neither thin or tinny, both of which are common traits at this price-point.”
The DRX-4.3 is rated for 100wpc (2CH driven) across all 9 amplified channels with the ability to expand to 11 channels of processing via an external 2CH amplifier. The amplification section is traditional Class AB with a linear power supply and 2 very large fans flanking the rather smallish heatsinks. That’s a lot of transistors to cram into a single heatsink like this, which is common these days for Dolby Atmos / DTS:X AV receivers. Realize just a few years ago, these same-sized products had only 7 internal amplifiers. Now receiver companies are cramming 9, 11 and up to 13 channels into similar-sized products. If you were planning on running a 7.1.4 speaker configuration using this AVR, you’d have to add an external 2CH amplifier to power the surround back channels. Unfortunately, you can’t reassign the front channels to the surround backs so if you want more power to the fronts, I’d recommend getting a 5CH amplifier to power the front LCR’s and surround back channels. This is an especially good recommendation IF you’re running 4 ohm speakers for the front soundstage to take some of the pressure off this workhorse.”
Rounding out its comprehensive range of connections is an ethernet port, wi-fi antennas and eleven high-quality gold plated speaker binding posts – six of which are assignable.
The box also included an Audyssey microphone, cardboard microphone stand, cable labels, power cord and of course remote control. The included remote control lacks the LCD of its bigger brother and as with other Denon remotes, looks somewhat pedestrian in terms of appearance.
Some of the remote control’s buttons are a little small. However, the upshot of this is that you’re going to find everything you need to control and navigate the AVC-X6500H’s extensive menus directly from the remote.
The overall build quality of the AVC-X6500H was excellent and while there were some similarities between it and the AVC-X8500H, notably the pull-down flap, it doesn’t quite meet the lofty standards of the AVC-X8500H.”
“The A1080 includes the YPAO-R.S.C. (Yamaha Parametric Room Acoustic Optimiser – Reflected Sound Control) automated room correction system. It analyses the room acoustics and measures various speaker characteristics using a provided microphone, and then calibrates audio parameters to achieve optimum sound. It applies 64-bit precision EQ calculations to reduce the negative aspects of the room itself, and while not as sophisticated as Dirac, or as user-friendly as Audyssey, it can prove effective.
Unfortunately, despite the updated menus, YPAO retains its dated and confusing UI. So make sure you choose the correct speaker layout (including the overhead or presence channels) and then assign the amps accordingly. YPAO isn’t particularly intuitive compared to Audyssey on a Denon, but the automated EQ routine starts up when you plug in the mic, measuring all the speakers in the system up to eight times. You can take fewer measurements, but the more you do, the more data the system has to analyse.”
The good news is, whether I relied on the onscreen menus or the MultEQ editor app for speaker calibration, Audyssey nailed the delays and crossover settings for my speakers with dead-on balls accuracy. This would have blown my mind right out the back of my skull just a few years ago, but I’m honestly starting to take for granted as the norm rather than the exception.
Throughout my testing, I employed the SR8012 in several different configurations, including a 5.2.4 setup with RSL’s new CG5 speaker system and pair of RSL Speedwoofer 10S subs as the bed, with a quartet of GoldenEar SuperSat 3 satellite speakers hook-mounted to the ceiling temporarily. I did the bulk of my listening relying simply on the aforementioned RSL 5.2-channel system, and also set up the SR8012 right next to Denon’s AVR-X4500H in the same room, both connected to a pair of RSL CG5 bookshelves positioned side-by-side, for the purposes of direct comparison (levels matched, of course). I ended my evaluation with the Marantz powering a simple stereo pair of Paradigm Studio 100 v5 towers.”