Archive for category Review
Klipsch has divided the RP-8000F horn into two sections by the copper ring embedded into the horn. The inner section is a conical plastic piece which serves as the throat of the horn, and the outer section, the mouth of the horn, is a softer silicone piece that takes on a more orthogonal shape. The softer silicone material of the mouth is used to avoid bell resonances in the horn. The throat of the horn is a round conical shape in order to reduce early diffractions as the soundwave leaves the tweeter diaphragm. The squarish mouth shape governs its dispersion pattern. A 1” titanium dome tweeter is used to load the horn, and it uses what Klipsch calls the ‘Linear Travel Suspension’ system which is a carefully designed suspension that allows for larger excursions of the moving assembly before the suspension thwarts linear motion thereby incurring distortion. Titanium seems like a natural choice for the diaphragm material since the horn-loading and lower crossover point might be more than softer dome types such as fabric could withstand. The rear chamber of the tweeter is vented to allow backwave energy to better dissipate instead of being reflected back into the diaphragm which would also increase distortion.”
When it comes to judging the picture quality of either a television or projector, the impact of incorrect picture settings cannot be underestimated. For this reason, every display we review at StereoNET is ISF Calibrated before we make any judgements regarding picture quality.
All measurements of the Sony VPL-VW270ES were completed with an xrite i1Pro 2 spectroradiometer and x-rite i1 display Pro colourimeter (profiled with the i1Pro 2). The meters were tripod mounted, enabling measurements to be taken directly from the screen (Severtson 100” fixed CineGray screen).
Colour, Gamma, Grayscale and Luminance measurements were taken using 10% window patterns. Meter integration times were measured, and final readings taken from a mean of two readings to reduce anomalies.”
Switching to Lucy, the RX-A3080 again turned in a dynamic performance, with excellent placement of effects within my listening environment. The combination of YPAO and the A3080’s processing prowess also managed to create a convincing sense of space at the 15.45 mark.
An excellent example of this being Professor Norman’s (Morgan Freeman) lecture at the 15.45 mark. The dialogue was clearly rendered throughout the movie, even during its more frenetic moments.
The sense of space and depth the Yamaha provided was carried over into a long-time favourite, The Wolverine. While the RX-A3080 lacked some of the refinement of my Denon, it still turned in a detailed performance.
Likewise, while the bass performance was excellent, YPAO wasn’t able to exert the same type of control over the bottom end as Audyssey.
Fed with the bombastic chaos that is Mad Max Fury Road, the RX-A3080 presented a spectacular performance, easily one of the best I have heard in my home theatre.
“All discs were played back on a Panasonic UB-9000 which upsampled Chroma to 4:4:4. The Video was routed via the RX-A3080 and sent to a Sony VPL-VW270ES with a FIBBR HDMI cable. During the review period, I didn’t encounter any problems receiving 24fps, 4:4:4 HDR.
With Fantastic Beasts and Where To Find Them, the RX-A3080 put in a powerful audio performance, the crackle of magic and destruction wrought by the Obscurous having plenty of sonic impact. Although it couldn’t quite match my Denon AVC-X8500H in terms of power, it wasn’t as far off as I expected, its performance belies its mid-range price-tag.”
“The screen comes with a well laid out instruction manual for assembly. It took me around half an hour to construct the screen with the help of a friend. Setup was relatively easy and straightforward. The frame is extremely rigid and has no flex to it whatsoever. The tensioning system for the screen material is well thought out and, once installed correctly, leaves you with a perfectly tensioned screen with no visible sag or wrinkles. The screen comes with wall-mount brackets and the accessories needed to affix your screen to a wall”
“he screen comes with a well laid out instruction manual for assembly. It took me around half an hour to construct the screen with the help of a friend. Setup was relatively easy and straightforward. The frame is extremely rigid and has no flex to it whatsoever. The tensioning system for the screen material is well thought out and, once installed correctly, leaves you with a perfectly tensioned screen with no visible sag or wrinkles. The screen comes with wall-mount brackets and the accessories needed to affix your screen to a wall.
To test out EluneVision’s lofty claims about material quality, I compared it directly to a sample of StudioTek 100 on hand. It’s nearly impossible to make claims about differences between the two without having both at the same time. One objective test to judge screen material quality by is how well it can portray pixels on screen.”
“For the new Alpha Series, Barton has made changes to both the cabinet construction and internal damping. While cabinets with internal stiffening braces are unusual at this price level, the new Alphas are not just well-braced, but built with high-quality MDF to help control any cabinet resonances. Internal damping uses the same thick, compressed felt- type material normally seen in high-end speakers, with careful positioning to prevent internal standing waves.
Basic drive units were not ignored in the Alpha Series makeover, with an all-new 0.75- inch tweeter and 4.5- and 5.25- inch woofers used in various combinations between the line- up’s four models. The tweeter uses an anodized aluminum dome with a neodymium magnet and ferrofluid to reduce thermal compression, while the polypropylene woofer cones have a textured surface that, according to Barton, helps reduce distortion and cone breakup modes.”