Archive for category Sound Bars
“More distinct details come across well. As the team enters the old complex HQ, the tap of a door keypad has electronic sparkle, while the scratch of cables being plugged in or the whine of old lockers being opened are clean and well-projected. And there’s a nice scale to its native DTS:X presentation. The sound is deep and vertical to a point. Later in the chapter, when Owen enters the jungle in search of Blue, he pauses as a flock of dinobirds pass overheard. The effect is clearly that of height, albeit ahead of me.
Later still the Isla Nublar volcano erupts and havoc ensues. Claire and Franklin are trapped as dust falls from the control room ceiling – a distant voice shouts ‘let’s get out of here!’. Michael Giacchino’s score rises in tension with brassy stabs. It’s a nice smorgasbord of sound that the LG serves up with panache and a pleasingly warm tone.
To test out the Ambeo, I first turned to movie playback using the soundbar’s heavy-duty 3D modes. Watching Avengers: Infinity War in the Standard 3D mode, the opening dialogue between Loki and Thanos provided a great introduction to the surround excitement to come, with their voices mixed over ominous deep strings and a subtle pounding of footsteps that filled the room. The punches when the Hulk battled Thanos, along with wide imaging from the score, came from all around, with a convincing amount of sound from above and behind. But the most dramatic effect was a swirling sound as the oracle Heimdall released his massive powers. When Thanos puts the Space stone from the Tesseract onto his hand, the force pulse expanded out radially from all directions of the soundbar, with a believable amount of sound coming from above.”
Such qualities were evident on “Thomas County Law” by Iron & Wine, with Sam Beam’s vocals emanating solidly from the center and the resonant hand slaps on the body of his acoustic guitar filling the front of the room in a realistic manner. An electronic music track, Aphex Twin’s “Produk 29 ”, also sounded impressively spacious and full, but the slightly crisp tone of the track’s snare drum and hi-hat samples caused me to knock back the SL8YG’s treble control to the -1 position. The song’s powerful bass came through with good definition—this is clearly not your typical one-note soundbar sub. I did occasion- ally hear some leanness in the system’s upper bass range, but the blend was acceptable for the most part.