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Made up of 18 elements, it is designed to optimise the colour convergence from the three SXRD panels for a pin-sharp and colour accurate picture, and it does so for a 100in display at a distance between 3m to 6m, with a throw ratio of 1.35:1 to 2.90:1. The ARC-F is interchangeable though, so, for an additional £8190 cost, you can switch it for the VPLL-Z7008 short focus zoom lens, with its throw ratio of 0.85-1.06:1, to cut the projector-to-screen distance to under 2m.
Both the Z-Phosphor laser’s output and the size of the iris, which sits behind your lens of choice, are constantly and automatically adjusted for the benefit of dynamic range. Each helps to tailor the correct amount of light according to the brightness conditions of the scene it’s trying to reproduce.
According to Sony, that gives the 870ES a contrast ratio of infinity:1 – part of the reason is the projector’s Advanced Iris which self-adjusts during playback. The idea is that it optimises the amount of light let through according to the light levels in each scene. In our tests, we get a better picture with the Advanced”
It’s worth noting that some of the buttons have multiple functions. For example, holding the Woofer button up for five seconds disables the ability to control the soundbar using your Samsung TV. You can use the left and right buttons to skip music files forwards or backwards, and if you hold the right button down for five seconds you can turn Anynet+ on or off. Doing the same with the left button turns auto power link on and off, while holding the up button for five seconds completes Id Set when connecting with an accessory item. Finally, holding down the sound control button for five seconds brings up a choice of frequency bands, while doing the same when the soundbar is off will reinitialise it. ”
“The only setup step that required a modicum of brainpower was to download Paradigm’s Subwoofer Control and ARC apps to my iPhone and configure the V12 subwoofer for both music and movie room installations. Both apps use Bluetooth LE (Low Energy) to connect to the subwoofer. Once a link has been made, Subwoofer Control offers Music, Movie, and Night EQ modes, along with volume, low pass filter (variable in 1-Hz steps from 30 to 120 Hz with third order, fourth order, and filter bypass settings), phase (variable in 1-degree steps from 0 to 180 degrees, with a polarity inversion setting), and Deep Bass Level (adjustable in 1dB steps from -10 to +10 dB).”
The LX500’s back panel is equally rugged and sports high- quality connectors, with plenty of room between them for plugging in thick cables. Dual HDMI outputs are provided, one supporting video and audio, and another for audio-only connections. Unfortunately, the LX500 lacks an HDMI input—a distinguishing feature found on Oppo models that let you use the player’s video processing and scaling with external HDMI sources.
Pioneer’s Precision Quartz Lock System (PQLS), a feature provided in the company’s A/V receivers, is used to eliminate jitter in HDMI connections. The LX500 also has a “Zero Signal” terminal that supports a ground connection between the player and Pioneer gear featuring a similar terminal.
The driver uses a lightweight and rigid aluminium vented cone with a composite fibre dustcap, which is combined with a proprietary injection moulded gasket and long-throw parabolic surround to allow for extreme excursion and incredibly deep bass. There’s a dual ferrite magnet motor assembly weighing over 11kg, along with a flat edge wound split-wind voice coil within the motor assembly. Together, they deliver sufficient power at the highest excursion levels, but reduce mass and improve overall driver efficiency.
The driver’s ability to move massive amounts of air is backed up by a rear-mounted Sledge STA-800D2 amplifier, combining the high current output of discrete MOSFETs with Class D efficiency to deliver a claimed 800W RMS and peaks of up to 2,500W. All this is governed by a 50MHz Analog Devices DSP with 56-bit filtering that SVS claim is the most advanced digital processor ever used in a subwoofer.”
Unlike larger-sized brethren, the Samsung UE49NU8000 uses a 60Hz rather than 120Hz panel, which limits its motion resolution, since no effective MCFI (motion-compensated frame interpolation) can be deployed for 50Hz/ 60Hz content.
The only way to increase motion resolution beyond the sample-and-hold baseline of 300 lines (according to the horizontally scrolling test pattern in Chapter 31 of the FPD Benchmark Software disc) is by engaging [LED Clear Motion] which activates backlight scanning. However, there’s significant double ghosting which makes it unappealing. Also, with 50Hz content, there’s forced frame interpolation with [LED Clear Motion] enabled, leading to noticeable interpolation artefacts. ”
There are other negatives to report. One is that I did occasionally notice DLP technology’s rainbow effect, where stripes of red, green and blue appear momentarily over stand-out bright parts of the picture. To be fair, this problem didn’t crop up as often as might be expected of a single-chip PJ running so brightly, but it was apparent with white on black content, such as the ‘chapter headers’ in Bad Times at the El Royale or the white space-ships against blackness in the 4K BD of 2001: A Space Odyssey.
The Nero 4S’s cooling fans run quite noisily in the Bright lamp setting required for HDR viewing. This is barely an issue, though, as prospective setups will likely have the PJ ceiling-mounted high above the seating position, or enclosed in its own hush box.