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What We’re Listening To. Vol.22 October 2021

Chris Eberle

Nirvana, Nevermind, DGC, 1991, CD. Nirvana, MTV Unplugged in New York, DGC, 1994, DVD.

I recently read Dave Grohl’s new book, The Storyteller, and was thoroughly inspired to listen to my collection of Nirvana recordings. I highly recommend the book as it is a very well-written account of Grohl’s life and career presented as a series of short stories. If you’ve ever watched any of his documentary films, this book has the same feel. It’s a quick and easy read.

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Nirvana was a short-lived group; their rise cut short by the death of Kurt Cobain in 1994. They went at the speed of light from an underground club and bar band to arena rock, MTV, and super-stardom in just a few years. I spent some time both in the car and in my theater listening to their best-selling album Nevermind and their live performance, Nirvana: MTV Unplugged in New York.

Nevermind is a classic lineup of their best songs arranged in a gritty hard-rock style. Of course, it starts with the most famous of them all “Smells Like Teen Spirit.” Listening to it now, it amazes me that this music worked in large venues. It’s the antithesis of arena rock from the 1980s, yet it reaches the soul and gets your blood pumping in the same way. There are no synthesizers or massed guitars or extra percussion, just three guys playing their instruments with wild abandon. The CD version I own, ripped to Apple Lossless, originated at the famous Sound City Studios in Los Angeles and was the first major example of Butch Vig’s masterful engineering. The sound is homogenous and detailed at the same time. You can hear the individual instruments perfectly, yet the group sound attains chaos at all the right times.

MTV Unplugged in New York is exactly that – Nirvana songs played on acoustic instruments only. One track, the cover of David Bowie’s “The Man Who Sold the World,” includes a bit of added distortion in the lead guitar but it is still acoustic in origin; a fact easily verified by watching the concert on DVD. Hearing the group in a live setting further adds to their music’s club vibe. I can only assume that this performance was a major inspiration in Dave Grohl’s later acoustic album and tour.

I’ll be spending time with Nirvana’s other albums, In Utero and Bleach in the coming weeks but for now, I’ve truly enjoyed my trip down memory lane. I highly recommend checking out these recordings if only to learn where the Foo Fighters got their sound and style from. Enjoy!

John E. Johnson, Jr.

Lionel Hampton Presents Buddy Rich – Goodtime Records – August 2021 Buddy Rich was the world’s greatest drummer, period. There was no one else who even came close. Some say he was famous as a drummer because he got into show business. No, he got into show business because he was famous as a drummer. He played for the Tommy Dorsey Orchestra, Glenn Miller Orchestra, Harry James Orchestra. He was in the movies with the Glen Miller Orchestra. All of these orchestras highlighted him with his drum solos which were fantastic. His speed, precision, and amazing ability to accent along with the music were beyond comparison.

In this album, the world’s greatest drummer joins one of the world’s greatest vibes players, Lionel Hampton, along with a jazz orchestra.

If you are a fan of jazz but are young, you need to listen to the classics. This is one of them.

Jazz was very different in the old days. Melody reigned supreme instead of just a seemingly random array of 16th notes that have no melody.

I heard him live in Seattle in 1967. I will never forget that experience. He died 20 years later of brain cancer.

Chamber Music by Erich Wolfgang Korngold – Somm Recordings – October 2021 Erich Korngold is probably more recognized for his movie musical scores from the 1930s and 1940s such as Captain Blood (1935), The Adventures of Robin Hood (1938), The Sea Wolf (1941). He pioneered the technique of synchronizing musical rhythm to words spoken by the actors which made for a more passionate effect of what they were saying.

He was also a classical music composer, and you can hear the similarities between his classical style and his movie score style.

This album is a good way to introduce yourself to this very talented composer. The music is very romantic, calming, and stimulating at the same time.

Chet Atkins – Guitar Country – RLG Legacy – December 1964 When I was a teenager, Chet Atkins was the country guitar musician, although he also was into jazz, folk, and other genres. He played several instruments such as guitar, violin, vocals, banjo, and ukulele. On this album, he plays most of the instruments (I believe) which are combined from recording separate tracks and mixing them at the studio.

Unlike some folk and country, this album’s music has actual tunes that you can follow rather than random notes and rhythms.

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He is credited with developing the Nashville sound.

Carlo Lo Raso

David Wilcox, The Collected Works 1977-1993, EMI Records, 1993, 16/44.1 FLAC Recently while with a group of other reviewers, I happened to express my general indifference to the music of Leonard Cohen. One of my Canadian colleagues looked at me incredulously and said, “No Leonard Cohen? Well, what kind of Canadian are you then?” To which I replied, “I’m more of a David Wilcox kind of Canadian.” No, not the American folk singer by that same name but the Canadian guitar slinger whose playing abilities are absurdly good and whose music is much less full of itself, let’s say than Mr. Cohen’s. Why (my) David Wilcox never got much traction south of the border I’ll never know but his classic songs like “Do The Bearcat,” “That Hypnotizin’ Boogie,” and “Riverboat Fantasy” were staples of my youth growing up in Toronto. The music is pretty much Blues/Rock with hints of Folk and Country thrown in for good measure and yet it still comes off as unique. Definitely different than your standard Blues/Rock fare. There is more of a depth in his playing and composition than one might otherwise expect.

David Wilcox got his start playing with Canadian Folk/Country Duo, Ian & Sylvia Tyson as part of their band called Great Speckled Bird. Wilcox auditioned to replace veteran guitar player Amos Garrett who helped found Great Speckled Bird and left the band in 1970. Wilcox continued with the Tysons until 1973 when he decided to strike out on his own.

This box set is essentially Wilcox’s first five albums, remastered, along with some unreleased extras and live cuts as well. The first three albums, “Out Of The Woods,” “My Eyes Keep Me In Trouble,” and “Bad Reputation” all have a rawer, live in-studio feel to the work where the later two albums, “Breakfast At The Circus,” and “The Natural Edge” are a little slicker with more synthesizers and drum machines. But what remains consistent throughout is David Wilcox’s virtuosity with not so much speed but with tone and chord structure. I just love listening to his playing because it is so distinctive. Listening to some of the more oddball gems like “Hot, Hot, Papa,” “Cheap Beer Joint,” “Play On Your Harp,” and “The Groove” there is so much in the way of great-sounding guitar work (both technically and stylistically) that is packed into these tunes. His singing voice is also unusual in that it has both a clarity and tonal depth to it that is different and unexpected. The live recording of “Trip Out Tonight” included in the extras section is just so groovy sounding and skillful. It sounds unlike anything else. If you can find this set either on CD or streaming, I highly suggest you check it out for something enjoyable and a little bit out of left-field!

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Dum Audio is Taking Hi-Fi Back to its Roots

North Bay, Canada (October 18, 2021) — Noam Sugarman is an entrepreneur from North Bay who decided to build a home audio startup that goes against the grain of modern audio brands. Unlike most home audio companies that stuff as many tech features as possible into their products, Noam believes that digital sprawl is actually interfering with our enjoyment of music and raises significant privacy concerns.

That’s why his company Dum Audio is taking things back to the roots. Noam’s goal is to wow customers with the sound quality and do away with unnecessary features, tech complexity and high price tags. Dum Audio’s premium home audio products are a perfect step up for music lovers that currently use headphones or wireless speakers. At launch time, the company’s range of products will include a turntable, an integrated amplifier, speakers and a subwoofer – each priced at $749 CAD / $699 USD with discounts when products are bundled. Each component is designed to be simple to set up and operate, and offers a beautiful art deco design inspired by vintage hifi systems of the 70s and 80s. All the components are sonically matched with each other and customers will have a chance to order a full system, at a discounted price.

All Dum Audio components will be sold exclusively via its website www.dumaudio.com.

Let’s take a closer look at each component.

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Dum Audio Turntable

Give your favourite records the stage they deserve with our premium turntable. The Dum Audio turntable features a 2-inch MDF plinth, a cast aluminum platter, a built-in preamplifier and a custom designed tonearm. It comes equipped with an Audio Technica Model AT-3600L moving magnet cartridge. A speed control knob allows the user to switch easily between 33-1/3 and 45 rpm records.

Dum Audio Integrated Amplifier

Get amped-up for a brand new listening experience with our integrated amplifier. Housed in a 3/4-inch MDF chassis, this amplifier features 100 watts RMS of power for the left / right channels, and 200 watts RMS for a subwoofer. There are three input options: 2x RCA and Aux (3.5 mm jack). Also on-board is Bluetooth 5.0 aptX for the highest quality wireless playback. The front panel sports control knobs for treble, mid, bass and subwoofer adjustments. All rear connections are gold plated.

Dum Audio Passive Speakers

Bring crisp, high-fidelity sound to your home with our bookshelf speakers, matched perfectly to play with our integrated amplifier. Housed in a 3/4-inch cabinet, these speakers feature a 7-inch aluminum driver mated with a 1-inch silk dome tweeter. They offer power handling of up to 200 watts.

Dum Audio Passive Subwoofer

Get the powerful, high-performing bass your music is missing with our unique, passive subwoofer. Designed to work seamlessly with our integrated amplifier, the subwoofer can be used in a front-firing or down-firing configuration. Outfitted with a 10-inch driver, the subwoofer has a frequency response rated from 31 to 200 Hz, an impedance of 4 Ohms and a sensitivity of 91 dB. Gold plated binding posts round out the design.

Dum Audio Bundles: Save when you buy more than one component

An overarching goal of Dum Audio is to take the guesswork out of matching audio components for music lovers. Dum Audio components are designed to provide the best possible sonic quality when used together. That’s why Dum Audio offers an attractive discount when you purchase more than one component. Any 2 components can be yours for $1,349 CAD / $1,249 USD, while a bundle of 3 components will retail for $1,899 CAD / $1,799 USD. Dum Audio will even provide you with the cables to connect everything – your new system will be ready to play out-of-the-box!

At launch time, all four Dum Audio components will be available in a premium, real wood Walnut veneer finish and more finish options will be available in the near future.

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SPL

Phone

+49 (0) 2163 9834-0

Email

info@spl.audio

Website

spl.audio

Since 1983 we are developing audio gear for music, film, multimedia, hi-fi and broadcasting. Experimenting and listening is more important to us than designing by the book. We create innovative audio products by pushing the envelope of both technology and design in search for the unique performance that sets SPL products apart from the main stream.

The post SPL appeared first on HomeTheaterHifi.com.

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HIFIMAN HE400se Planar Magnetic Headphone Review

I last looked at HIFIMAN’s top-of-the-line new headphone model a few months ago. Let’s see what the company has in store for us at the other end of the spectrum.

HIFIMAN has had a few different HE400 model headphones in their lineup for quite some time now. Each has been at a slightly different price point but not higher than $499.00 placing the 400 series at the more approachable end of the scale. The HE400se we have in for review retails for $149.00 which makes it HIFIMAN’s most affordable headphone to date. And for that very reasonable price, it seems to have a whole lot going for it.

Highlights

HIFIMAN HE400SE PLANAR MAGNETIC HEADPHONE

An open-backed Planar-Magnetic headphone for under $150 bucks!

A full and spacious sound that works well with most kinds of music.

Nice solid bass delivery that didn’t overwhelm the mids or highs.

Very light and comfortable for prolonged listening.

Lighter “Stealth Magnet” design in the drivers claims to improve sound quality.

Borrows the same comfortable headband from the Deva model.

Introduction

I know I’ve brought this up a few times in the past, but it still just amazes me how far planar magnetic headphone technology has come and how affordable it is to sample these days. Just a few short years ago $300.00 – $500.00 was considered the entry-level for a pair of planar magnetic cans and we all thought, at the time, that was a very affordable entry point. And yet here we are today, looking at a pair of planar magnetic headphones for $149.00! It’s really kind of astonishing when you think about it. The first question that someone will likely ask is “Well, are these $150-dollar HE400se any good? I mean what can you expect to get for that kind of price?” I’m here to tell you, quite a lot! Two things that HIFIMAN is known for are constantly updating their products with new features and design improvements and then eventually trickling down much of their higher-level tech to the more affordable models. If you are interested in a very affordable pair of audiophile headphones, then I suggest you pull up a chair and read on!

HIFIMAN HE400SE PLANAR MAGNETIC HEADPHONE SPECIFICATIONS

Headphones Design:

Circumaural, Open-back Headphones with Planar Magnetic drivers.

Manufacturer Freq. Response:

20 Hz – 20 kHz

Impedance:

25-Ohms

Sensitivity:

91 dB

Weight:

390 grams

Finish:

Black headband and earpads with silver and black earcups.

Accessories:

Single 1.5-meter-long cable with 3.5 mm termination. One ¼-inch phono plug adapter.

MSRP:

$149.00

Website:

https://hifiman.com/

Company:

HIFIMAN

SECRETS Tags:

HIFIMAN, planar, open-back, headphones, headphones review 2021

The new HIFIMAN HE400se shares a familial resemblance to the previous generations of this model, particularly in the shape of the earcups. Everything else though seems to have been passed down from more expensive headphones in the HIFIMAN portfolio.

Design

The soft leatherette earpads are now angled, which is becoming increasingly popular, along with having velour contact faces and perforated interiors. The pads feel very nice against my face and the openings completely encircle my ears.

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The headband and yolk are pretty much lifted from the Deva headphones, just presented in black and silver tones here, respectively.

At 390 grams the HE400se are exceedingly light and very comfortable to have on for extended periods. The clamping force is quite agreeable and yet is sufficient to keep the headphones and band from sliding around too much on my head.

HIFIMAN’s literature makes a big deal about this thinner magnet technology, coined “Stealth,” that is used in the HE400se drivers. The company states that “the advanced magnet design is acoustically transparent, dramatically reducing wave diffraction turbulence that degrades the integrity of the sound waves. The reduced distortion yields pure sonic output that is accurate and full-range.”

While I can’t exactly validate those claims, I can say that the drivers do let a surprising amount of light through the earcups when you look through them. The driver membrane itself must be incredibly thin and transparent, along with the magnet structure being open enough to allow that to happen. It barely looks as if there is a driver there at all.

The supplied cable has a nice black rubberized sheathing and is resistant to tangling. It has two 3.5mm ends marked L and R that plug into the matching earcups while the source end is also terminated with a 3.5mm right-angled plug. A ¼” phono plug adaptor is also included in the package. No carry case is supplied.

Setup

I tested the HIFIMAN HE400se in a couple of scenarios. For listening in my studio, the headphones were driven by my Topping DX7PRO DAC/headphone amplifier. The source was my Surface 3 PRO tablet running ROON, which was connected to the Topping via USB. For mobile listening, HE400se was connected to my Topping NX4 DSD portable DAC/headphone amp that could use the output of either my Shanling M0 digital audio player or iPhone 12.

In Use

Listening to the HE400se was akin to putting on a comfortable sweatshirt or well-worn pair of jeans. I used to own a pair of the older HE400s which I greatly enjoyed, and these new headphones immediately felt and sounded very familiar. The fit and weight were extremely agreeable, and it made it easy to listen for long stretches of time. The new headphones also possessed that same spacious sound as their predecessor that flattered vocals so well, but now there was an even deeper and more potent bass presence than I remembered along with a bit more transparency in upper mids and high frequencies. That ended up making the HE400se sound pretty good with all varieties of music that I tried out with them, including classical.

Doing a quick comparison between the HIFIMAN HE400se and last year’s Secrets Best of Award-winning Monoprice Monolith M570 planar magnetic headphones proved to highlight a few interesting differences. The M570 overall sounded a bit darker than the HE400se mainly due to the HIFIMAN’s having noticeably more sparkle in the upper mids and highs than the Monoprice. Thankfully it wasn’t so much that the HE400se sounded thin, its overall sound struck a genuinely good balance. The Monoprice was a little polite in that regard. Both headphones’ bass reach and impact seemed about even which was as solid and impactful as I could want in this class. While both headphones were plenty comfortable, the Monoprice is certainly heavier, so if you are sensitive to excess weight on your head, this is something to keep in mind. Clamping force was more than acceptable for both. I honestly enjoy the sound of both headphones but the HE400se is probably the more well-rounded of the two sound-wise. The fact that HIFIMAN can get this level of sound quality to us at the price that it does has to qualify them as the best-bang-for-the-buck in headphones that I have come across so far. Like the Monoprice 570H, the HE400se does benefit from having additional amplifier power fed to it. My iPhone alone wasn’t enough to really get the kind of volume that I was after. Using my Topping NX4 DSD more than did the trick when I was on the go. That may be the only ding against the HE400se as I recall the older HE400s getting by just fine without a separate amp. Even so, the HE400se still qualifies as a tremendous value in my book.

Some of the music that I enjoyed with the HIFIMAN HE-400se was:

Sonny Landreth, “Grant Street”, Sugar Hill Records, 2005, 16/44.1 FLAC.

This is a great live recording with a lot of spatial information captured from the venue. With the right speakers or headphones, the results can be holographic. The track “Broken Hearted Road” has an opening bass line that mimics a heartbeat tempo, and it had a deep and solid weight to it. While that is happening, you can also hear the room noise/reverb, bar chatter, tinkling glasses, etc. The HE400se is adept at throwing a large image which, in this case, made me feel like I was in the environment. All the while, those great little details that complete the sonic picture aren’t obscured by that concurrent thumping bass line. Sonny Landreth’s vocals don’t have much in the way of depth of tone, but they do have an unmistakable character to them. The HIFIMAN HE400se seems to handle the vocal range with a little extra warmth to just lightly embellish the good stuff that’s already there. Landreth’s vocals still sounded as clear and detailed as anything you could expect in this category but again just a little bit sweeter in this case. His slide guitar work is unmistakable and the HE400se do great work in getting the edge, aggression, and tone sounding very fine indeed with just enough detail to spare.

David Wilcox, “The Collected Works 1977-1993,” EMI Records, 1993, 16/44.1 FLAC.

Recently while with a group of other reviewers, I expressed my general indifference to the music of Leonard Cohen. One of my Canadian colleagues looked at me incredulously and said, “Well what kind of Canadian are you then?” To which I replied, “I’m more of a David Wilcox kind of Canadian.” No, not the American folk singer by that same name but the Canadian guitar hero whose playing abilities are absurdly good and whose music is much less full of itself, let’s say than Mr. Cohen’s. Why (my) David Wilcox never got much traction south of the border I’ll never know but his classic songs like “Do The Bearcat” and “Riverboat Fantasy” were staples of my youth up in Toronto. Listening to his acoustic guitar intro to the intimate “Life is Funky,” the HE400se do an excellent job of not only getting the tone and ring of the guitar strings correct but also get across the amount of tension applied to each pick and pluck. You can just about feel it. The sheen on the high strings sounds especially good through the HIFIMAN cans. Then when the piercing electric guitar comes in at the end of the song, it sounds so cleanly reproduced and cuts the atmosphere like a knife. Listening to “Cheap Beer Joint” through the HE400se brings out some more of the fantastic acoustic string details that are in this track, along with hearing fingers slide up and down and the wood of the guitar body flexing as he plays.

Gary Karr, “Adagio d’Albinoni”, Impex Records, 1982, DSD64 File.

Secrets writer Todd Cooperider turned me on to this recording of renowned double-bassist Gary Karr. He was recorded in a church with the accompaniment of the church organ and the results have a lovely depth of tone and dimension to them. Listening to “Adagio: In G Minor” over the HE400se I easily was able to get a good sense of the recording space and the rendered bubble of sound extended well beyond my ears. Open back cans, by the nature of their design, almost always have an advantage in delivering that open and more effortless sense of space. The HIFIMAN HE400se also delivered in the bass department and helped me feel the depth of both Karr’s lowest bass notes and the lower register organ notes. And yet the HE400se drivers were also quick and sounded detailed enough to get all the nuances of the strings and pipes when they weren’t busy mining the bottom octaves of the scales. Those expressive reverential tones from both double-bass and organ varied through the piece, ranging from subtle to piercing. The planar magnetic drivers had no issues keeping up and getting things to sound as they should without any distortion that I could detect. On this same track, the Monoprice M570 did well but came across as a little cooler sounding with a touch less sparkle than the HE400se. Kick drum and bass lines sounded full and had plenty of impact.

Melody Gardot, “Currency of Man”, Decca Records, 2015, 16/44.1 FLAC

Another great album from Melody Gardot, this time with some distinct Motown influences throughout the tracks. “Same to You” starts with a great groove from the kick drum, bass, and electric guitar. The sound is open and full, seemingly extending outside the boundary of the earcups. Melody Gardot’s voice is warm and rich sounding and placed perfectly centered in space. The horn section also sounded snappy and properly brassy but without being annoying or grating. “No Man’s Prize” gives off the vibe of a 1940s hard-boiled film noire special. Extremely intimate vocals with languid piano accompaniment and subtle horns and bass. The sound is full and enveloping but the subtlest of details from her breathy, close mic’d voice comes through clearly through the HE400se.

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Bow Wow Wow, “I Want Candy”, RCA, 1982, 16/44.1 FLAC.

Sometimes you just want to listen to something fun and cueing up this 1980s New Wave hit always does the trick for me. Many hit songs of the era were recorded in such a way that they sound flat and two-dimensional, this thankfully isn’t one of them and it can ultimately sound great on headphones. The opening sequence of big, punchy kick drum hits leading into that slightly nasty and distorted guitar riff that everyone knows sounds really, really good on the HE400se. That distorted guitar sound can get edgy and annoying if not rendered correctly and the HIFIMAN HE400se get it right. The lead singer’s Kewpie-doll pitched singing style has body and is sexy, it doesn’t come off sounding too thin which I’ve encountered in some cases. Overall, just a great party tune that totally grooves and sounds fantastic on these headphones. Switching to the Monoprice M570 headphones and the presentation becomes noticeably softer and a little less precise.

Conclusions

The HIFIMAN HE400SE provides some of the best sound quality for the price that I have encountered from headphones thus far. Highly recommended!

Likes

Classic open-back headphone soundstage.

Great bass response, appealing midrange, and sparkling highs.

Light and Comfortable.

A steal for the price.

Would Like To See

If they were just a little easier to drive for the smartphone crowd.

In the final analysis, I think the HIFIMAN HE400se brings a lot to the table when it comes to that increasingly scarce concept in headphones, value for the money. Open-backed headphones that have a great low-end response, balanced with an appealing sounding midrange and sparkling highs. I mean what’s not to like here for the (these days) paltry sum of $149.00? Add to that, they are light and comfortable for long listening sessions, and we have the makings of one of the best screaming bargains in headphones altogether. Yes, they do require a little more “go-juice” than your average smartphone provides to sound their best. But finding a good, affordable DAC/ Amp/dongle to use with your smartphone is not a big issue these days. And you’ll certainly elevate the sound of your phone to new heights to enjoy with these headphones in the bargain. If you already have a decent headphone amplifier or DAP, they should have no issues with driving the HIFIMAN HE400se headphones. I’ve very much enjoyed my time with these cans. Forgive me if I’m sounding like a broken record but, they are probably the best bang-for-the-buck headphones out there – at least that I am currently aware of.

The post HIFIMAN HE400se Planar Magnetic Headphone Review appeared first on HomeTheaterHifi.com.

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DENON INTRODUCES NEW S-SERIES 8K AV RECEIVERS

The Latest High-Performance Surround Sound AVRs Offer Stunning 8K Video, Multi-Room Streaming and Voice Control Capabilities

CARLSBAD, Calif. (October 21, 2021)—Today Denon®, the world’s leading manufacturer of premium home entertainment and personal audio products since 1910, introduced two new S-Series AV Receivers (AVRs), the AVR-S760H and the AVR-S660H. Each of the new S-Series AVRs are designed with three 8K HDMI inputs to accommodate people looking to upgrade to the latest 8K entertainment and gaming sources. The AVR-S760H and S660H were built with the latest technologies to deliver an immersive surround sound experience for movies and music and feature advanced voice control and connectivity options.

“With the new Denon S-Series AVRs, users can build the very best 4K home theater today and know their AV receiver is also 8K ready when they are,” said Trip Randall, president of Denon. “These AVRs offer outstanding features and functionality to meet demanding entertainment needs at an affordable price for customers ready to upgrade from beginner systems or sound bars. With seven channels of discrete amplifications, the AVR-S760H offers extra upgrades, such as Dolby Atmos or DTS:X capabilities for the most realistic, immersive home cinema experience.”

AVR-S660H 5.2 Channel AVR

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The Denon AVR-S660H high-performance 5.2 channel AVR delivers five channels of 75W per channel amplifications (8 ohms, 20Hz-20kHz, THD: 0.08%, 2ch. driven). This simple and solid AVR provides a true-to-life surround sound experience featuring Dolby TrueHD, DTS-HD Master Audio decoding for high-resolution and lossless soundtrack playback. The AVR-S660H features the latest and advanced HDMI specifications such as 8K/60Hz and 4K/120Hz pass-through capabilities on its three HDMI inputs up to 40Gbps, Dolby Vision, HDR10, HDR10+, Dynamic HDR and HLG as well as 8K upscaling and HDCP 2.3 support on all HDMI inputs (6 in/1 out). The AVR-S660H also offers built-in HEOS® multi-room music streaming technology, enabling users to enjoy their favorite content wirelessly in every room.

AVR-S760H 7.2 Channel AVR: Upgrade to a 3D Audio Experience

The Denon AVR-S760H high-performance 7.2 channel AVR is a feature-packed home entertainment hub delivering superb audio and video performance. The AVR-S760H features the latest immersive 3D surround formats, an advanced 4K and 8K HDMI video section and built-in HEOS® multi-room music streaming technology.

With seven channels of discrete amplification rated 75W per channel (8 ohms, 20Hz-20kHz, THD: 0.08%, 2ch driven), the Denon AVR-S760H delivers a lifelike 3D audio experience, leveraging the latest surround sound formats including Dolby Atmos®, Dolby Atmos Height Virtualization Technology, DTS:X® and DTS Virtual:X. Users can build a stellar 5.1.2 Dolby Atmos surround sound system by installing height or top speakers, or Dolby Atmos elevation speakers atop matching floor standing or bookshelf loudspeakers. Users can also enjoy a multi-dimensional listening experience thanks to DTS Virtual:X or Dolby Atmos Height Virtualization technologies without height or top speakers, or even without surround speakers. This creates the excitement of immersive 3D audio, simplifying installation for rooms where the placement of additional loudspeakers is impractical.

Advanced 8K HDMI Video Section with eARC

To ensure the best picture quality possible, both the AVR-S660H and AVR-S760H feature an advanced HDMI section including three 8K HDMI inputs supporting 8K/60Hz and 4K/120Hz video pass-through up to 40Gbps. The AVRs are easily connected via eARC (Enhanced Audio Return Channel) to deliver uncompressed and object-based audio from the TV to the receiver via a single HDMI cable. All HDMI inputs (6 in/1 out) boast 4:4:4 Pure Color sub sampling, HDR10, HDR10+, Dolby Vision, Hybrid Log-Gamma (HLG), Dynamic HDR and BT.2020 pass-through support for exceptional clarity. Users can also enjoy 8K upscaling on all inputs and HDCP 2.3, the latest copy protection standard for effortless playback. Gamers also have a host of technologies available for a smoother and quicker gaming experience, including: 4K/120Hz pass-through, Variable Refresh Rate (VRR), Quick Frame Transport (QFT) and Auto Low Latency Mode (ALLM).

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High Resolution Music Streaming & Multi-Room Support

The Denon AVR-S660H and AVR-S760H are compatible with Apple® AirPlay 2 for iPhone users while the front-panel USB port offers convenient audio playback of other high-resolution audio formats (WAV, FLAC, ALAC and DSD 2.8/5.6 MHz files) from a variety of players. Wireless connectivity to popular streaming music services like Spotify®, Pandora®, Tidal and more are also easily accessed via Bluetooth or HEOS built-in technology. With HEOS Built-in, both AV receivers can stream music wirelessly across compatible HEOS built-in products such as Denon Home 150/250/350 wireless speakers from anywhere in the home. Listeners can play the same song in every room or select a different song for each connected room from the HEOS app.

Audiophile Heritage & Performance

Both the Denon AVR-S660H and AVR-S760H offer industry-leading sound quality, offering high-resolution audio streaming with support for FLAC, ALAC and WAV files as well as DSD 2.8/5.6MHz. The latest AVRs include a phono input for vinyl enthusiasts to enjoy their collection. With dual subwoofer outputs, listeners can easily add multiple subs to achieve optimized low frequency dispersion for movies or music listening.

Improve Accuracy with Audyssey Room Correction

Both new models use Audyssey MultEQ technology for simple, accurate speaker setup and acoustic calibration of the system. The technology detects the size, type and configuration of the speakers used and measures their response in up to six listening positions for optimal performance. With the AVR-S760H, listeners can further customize settings to their liking via the advanced Audyssey MultEQ Editor app, available for purchase in iOS and Android stores.

Additional Features & Benefits

With a suite of new updates, both AVRs offer a variety of other benefits. “Dialog Enhancer” lets users to adjust the dialog level on the fly, while a newly added HDMI signal information feature allows users to confirm if 8K or 4K120 signals or other HDR formats are passing through the AVR. Additionally, the AVR-S760H offers a “Dual Speaker Presets” feature, enabling users to store and switch instantly between two different speaker configurations and Audyssey settings. The new S-Series AVRs also work with Amazon Alexa, Google Assistant, Apple Siri for voice control of AVR functions.

The AVR-S660H and AVR-S760H are available for $449 and $549, respectively, at authorized Denon retailers. For more information, please visit denon.com.

About Denon Denon is a trusted world leader in the manufacture of the highest-quality home theater, audio and software products since 1910. Denon is recognized internationally for innovative and groundbreaking products and has a long history of technical innovations, including the development and groundbreaking commercialization of pulse-code modulation (PCM) digital audio. Denon Electronics is owned by Sound United LLC.

About Sound United

Sound United is a division of DEI Holdings with an award-winning portfolio of audio brands that deliver industry-leading home theatre and personal audio listening experiences for a wide-range of consumers. Each brand provides an expansive array of audio products that includes high-end and custom installation audio, to mid-tier markets that cover loudspeakers, sound bars, AV receivers, wireless multi-room music systems, Bluetooth® speakers, amplifiers, turntables and headphones.

Dedicated to artfully reproducing audio for listeners and enthusiasts around the world, Sound United is comprised of Denon®, Marantz®, Polk Audio, Definitive Technology, Polk BOOM, HEOS®, and Boston Acoustics®. Each brand offers a unique approach to bringing home theatre and music to life. Whether it’s through the legendary heritage of Denon, the classic sound of Polk Audio, the premium performance of Definitive Technology, the highly-sought-after amplification of Marantz, the action-inspired form factors of Polk BOOM, the wireless home audio solutions of HEOS, or the accessible performance of Boston Acoustics, Sound United is your sound — so listen.

The post DENON INTRODUCES NEW S-SERIES 8K AV RECEIVERS appeared first on HomeTheaterHifi.com.

DENON INTRODUCES NEW S-SERIES 8K AV RECEIVERS published first on https://123movieshub.tumblr.com/

[edithrusch]

Theory Audio Design 5.2 System Review

The Theory Audio Design surround system is a flexible, room-friendly powered loudspeaker system.

Featuring dual 15” subwoofers, and compact, high-performance surface-mount loudspeakers, the Theory surround system is controlled by a slim chassis unit that provides power and control for all the Theory loudspeakers. Aided by the Acurus Muse immersive pre-amp/processor, the Theory sound system will transport you to otherworldly sonic pleasure.

On both music and film, the Theory Audio Design system when paired with the Acurus Muse pre-amp/processor produced some of the best sound I have heard to date. The Theory system main speakers, which can be configured for stereo, surround, or Atmos can be purchased as surface, on-wall, or inwall units. The system can be integrated easily into any room décor.

Highlights

Theory Audio Design 5.2 System

Compact Multipurpose High Output Loudspeaker System

High Output Passive Subwoofer System

9-Channel Amplified Digital Loudspeaker Controller

Automatic Configuration of Surround System Settings

Loudspeaker Processing for all Theory and PRO Models

Surround Formats Supported: 3.1, 3.2, 3.3, 5.1, 5.2, 5.3, 7.1, 7.2, 5.2.2 ATMOS

Introduction

The Theory Audio Design 5.2 surround system that I have in for review, which consists of 5 surface-mount satellites, two 15” subs, and a controller/amplifier, may not be familiar to many music and audiophile listeners. I was not familiar with them either but soon found out that the man behind Theory has a history in High-End sound. L. Paul Hales the founder and chief engineer at Theory is the same L. Paul Hales that was the head of the storied Hales loudspeakers of the early 1990s. The Hales System Two Signature Loudspeaker was given a tremendous review by Stereophile contributor Robert Harley in 1990. At the time, Robert Harley considered it a world-class loudspeaker. Many decades later, L. Paul Hales offers a unique and updated system solution for discriminating listeners.

Theory Audio Design 5.2 System SPECIFICATIONS

Sb25 Surface Mount Loudspeaker

Description:

Compact Multipurpose High Output Loudspeaker System

Operation:

Passive, Requires 1 THEORY ALC Amp channel

Drivers:

2 x 5″ THEORY Carbon Fiber Low-Frequency Driver 1 x 1.4″ THEORY Advanced Polymer Compression Driver

Bandwidth:

58Hz -23kHz

Sensitivity:

94dB-108dB SPL

Power Handling:

200W (AES)

Power Requirements:

Requires THEORY Amplified Loudspeaker Controller

Maximum Output:

117dB

Nominal Impedance:

4-ohms

Colors:

Black

Accessories:

sb25 Universal Mount Adapter, sb Tabletop Stand

Dimensions:

21.5″ H x 9.5″ W x 3.8″ D

Weight:

23 lbs.

List Price each:

$850.00

Sub15

Description:

High Output Passive Subwoofer System

Operation:

Passive, Requires 1 THEORY ALC Subwoofer Amp channel

Drivers:

1 x 15” THEORY Woofer w 4-Inch Voice Coil

Bandwidth:

22Hz – 125Hz

Sensitivity:

96dB

Power Handling:

500W (AES), 1000W Continuous

Power Requirements:

Requires THEORY Amplified Loudspeaker Controller

Maximum Output:

124dB

Nominal Impedance:

4-ohms

Colors:

Black

Dimensions:

21.3” H x 23.5” W x 19.8” D

Weight:

76 lbs

List Price Each:

$1500.00

ALC 1890 Loudspeaker Controller

Description:

9-Channel Amplified Digital Loudspeaker Controller

Inputs:

8 x Balanced Analog Audio w Loop Outputs (1 mic/line level switchable)

Outputs:

9 x Speaker Outputs 8 x Balanced Analog Audio Looping Outputs 12VDC/Contact Closure Trigger Loop Output

Trigger:

+12VDC or Contact Closure Trigger Input w Loop

Surround Formats Supported:

3.1, 3.2, 3.3, 5.1, 5.2, 5.3, 7.1, 7.2, 5.2.2 ATMOS

Audio Operation:

96kHz/24-bit

On-Board DSP:

96kHz/32-bit

DSP Features:

Automatic Configuration of Surround System Settings Loudspeaker Processing for All Theory and PRO Models Input Trim Signal Routing Gain Delay (up to 75msec per channel) 160 Parametric EQ Filters (20 per channel) 8 x 8 Parametric Bass Management (Bass Steering) Mono Summing: 8 Stereo + 4 mono Signals Bass and Treble Controls Master Volume Clip Limiter Internal Sine and Pink Noise Sources

Bandwidth:

5.5Hz-40.6kHz, -6dB

Frequency Response:

20Hz-20kHz, +/-0.2dB

Amplifier Power Output:

Channels 0-1-2: 300W, 4-ohms

Channels 3-8:

100W, 4-ohms, bridgeable to 300W*

Voltage Gain (all channels):

30dB

Input Sensitivity:

Channels 0-2: 1.1V Channels 3-8: 660mV

Power Requirements:

Standby: 16W Idle: 41W (1/8 power, all ch. driven): 281W

Idle Noise (speaker program, typ., A-wt.):

Channels 0-2: -82dBV (0.00008V) Channels 3-8: -80dBV (0.00010V)

Signal to Noise Ratio:

Channels 0-2: 108dB Channels 3-8: 105dB

Distortion (1kHz, 1dB below max output):

<0.02%

AC Operation:

100V-240VAC, 50-60Hz

Finish:

Matte Bright Aluminum

Dimensions:

1.75″ H x 17″ W x 15″ D 1.75″ H x 19″ W x 15″ D w Rack Ears

Accessories:

8 x Euro-to-XLR Adapters Included

Software:

Theory Music and Surround Automator Auto system configuration tool

Weight:

13 lbs *Bridged channels ok for sb speaker models only, not for subwoofer use.

List Price Each:

$3500.00

Acurus Muse Immersive Preamp/Processor

Frequency response:

20 – 20kHZ ± 0.1 dB

SNR:

>110dB (A-wt)

THD:

< 0.02% (20 – 20kHz)

Stereo Analog Inputs:

2 X Gold Plated RCAS L/R Unbalanced

Digital Inputs:

2 X Coax RCA, 2 X Optical

Multi-channel Analog Outputs:

12 X Balance XLR + 4 X CAB-20 Bal. XLR

Digital Outputs:

1 X coax RCA, 1 X Optical

Digital Video Inputs:

8 X HDMI 2.0b (2.1 ready), 4K pass-thru

Digital Video Outputs:

1 X HDMI 2.0b (2.1 ready), 1 X 2.0b

Front Panel Display:

5” LCD touch-panel

Serial:

2 X DB9, 2-way control, 2 X USB programming ports

Ethernet:

1 X ethernet, web interface + TCP/IP control

12V Trigger and IR:

1 X 3.5mm In, 2 X 3.5mm Out, IR Remote

Charging Port:

2 X USB 5V, 2A

Dolby Atmos Native Decoding:

15.1

DTS:

X Native Decoding: 11.1

Post Processing:

Dolby Surround Upmixer, DTS Neural: X Upmixer

Loudspeaker Adjust (I):

Delay, Polarity, Large/Small, Crossover

Loudspeaker Adjust (II):

PEQ

Loudspeaker Adjust (III):

ASPEQT Room Correction System

Product Dimensions:

3.5” X 17” X 15”

Product Weight:

23 lbs.

Finish:

Black Satin Anodization, Laser-Etched Logo, White Chassis

MSRP:

$6499.00

Design

The Theory Audio Design 5.2 system is very different from what other manufacturers offer today. I would say it is an all-in-one package designed to provide the ultimate playback of movies and music. The end-user will only need to provide a surround decoder pre-amp and source. This can be an advantage for those upgrading since most people will have an existing surround receiver and or a surround preamp available.

It is best to think of the Theory system as an amplified speaker array. The Theory ALC-1809 9-Channel Amplified Digital Loudspeaker Controller unit will provide the power for the speakers (in this case the sb25 surface-mount speakers) and subwoofers (the sub15 woofers). The advantage of this kind of approach is that the amplifier will be optimized for each speaker. All the variables that one would encounter in trying to match an amplifier with speakers become a non-issue and is instead one of the strengths of this design. The end-user will not need to worry if they are getting all the performance out of their speakers and amp. Electrically and mechanically, the amp and speakers will operate at their best. They are like a good team, kind of like Olympic synchronized divers. Note that the amp will also adjust for delay. When you use a surround pre-amp, be sure not to set the delay parameters on the pre-amp unit.

In use, Theory Audio offers a download of the software that allows the installer to set up the system. Theory offers in-wall, as well as on-wall speakers, and there are 2 different sizes of subs, a 15 inch and a 12 inch. By using the software, the installer can tailor the speakers to the room by electronically adjusting the physical positioning of the speakers to the listening seat.

The speakers appear to be built to very high standards, pro-standards if I may say. The sb25 on-wall speakers sent to me are seriously heavy and come with a heavy-duty bracket for wall mounting. A self-mount stand is available for use on a stand or on a shelf and I was able to get the stands for this review. The subs are large and heavy, but very nice looking.

Because the speakers and amp are designed to work with each other, the speakers will not operate properly without the ALC-1809 amplifier. For this review, I was sent five sb25 surface-mount speakers and two sub15 woofers. Theory systems can accommodate up to 7.2 and 5.2.2 Atmos installations. For more information, please visit their website Theory Audio Design.

Setup

The first thing I did to prepare for set up was that I downloaded the Automator software to my computer from the Theory Audio web page. The Automator software allows the installer to input settings into the Theory ALC-1809 amplifier controller amplifier. Once installed I used the cable provided by Theory to link my computer to the Theory ALC-1809. At the beginning of the review period, Theory was in the process of updating their software, so I used the opportunity to set up the Theory package as a 2.2 system. My impressions of music playback were taken from this initial setup. When the new software was available, I then deleted the initial version and installed the new Automator V 2.0 software from the Theory webpage, and proceeded to install the settings for a 5.2 system. The video/film impressions were done using the new Automator V 2.0 version.

Once the software was installed, I called on my old friend Matt. Matt is a member of the River City Audio Society, and we like to share time on our audio hobby. He helped me unbox and connect the speakers to the ALC-1809 controller amp and an Acurus Muse preamp/processor. The Acurus Muse is a complete 16 channel preamp/processor that was loaned to me for this review and a big thank you is due to the folks at Acurus for this favor. www.acurusav.com – MUSE

I had mentioned that the subs (the Theory sub15 speakers) were large and heavy. This is when it pays to have good audio friends like my friend Matt that visit the gym. Matt was able to help me lift and place the subs in position and then connect the speaker wire to the amp and all speakers. (The Theory ALC-1809 controller amp has the processing built in to adjust for the crossovers, delay, and room for the speakers in the Theory speaker system.)

The Acurus Muse was connected to the Theory ALC-1809 with high-performance XLR cables. For source, we used the Blue Sound Node music streamer (a great device) connected via digital optical, an Amazon Fire Stick connected to the Muse via HDMI, and a turntable, the Pro-Ject Juke Box S2 connected via analog RCA (the Pro-Ject Juke Box S2 has a built-in phono stage). Pro-Ject Juke Box S2 Review – HomeTheaterHifi.com In addition, I connected my Samsung TV via optical out and HDMI ARC to the Acurus Muse (the Acurus Muse will accept a multitude of inputs and outputs).

Once everything was in place, I connected the Theory ALC-1809 to my computer via the provided cable. On the new software, the setup is basically a 5-step process. First, the app will ask how many Theory ALC-1809’s you will use. Then in step one, the installer selects the speaker layout (2.0, 2.1, 5.1, etc.). When you select, the app shows the speakers in the picture. Step two, the installer selects the speaker models being used. After the installer selects the speaker models the installer will enter in drop-down boxes the distance of each speaker to the listening chair or couch, the distance from the wall (or on the wall), and the distance from the nearest corner of the room. This is the most time-consuming part of the setup. When you are ready, you will go to step 3 and apply and activate your settings. Next in step 4, the installer will adjust the bass level. When that is done, step 5 will ask you to send the settings to the memory of the ALC-1809 controller. After a few minutes, you are done. I found the experience both fun and easy, especially since I played with the settings a few times to set the bass level (I set the level by ear and of course to my preference).

When we were done with the initial set up my buddy Matt remarked how elegant and well designed the Theory system was. I have to agree. The quality of the build and the ease of installation are noteworthy. Now came the moment of truth, Matt and I needed to hear how the system sounded in 2-channel with dual subs. The initial phase of the review was in 2-channel as we waited for the update to the current Theory Automator app. Just to make sure everything would fire up; Matt and I played some records he brought from home on the Pro-Ject Juke Box S2. The install was a success. Playing a record of James Brown hits brought us into instant party mode. Right away I heard the timing and dynamics of the music that gave it a terrific jump factor. I couldn’t wait to hear more.

In Use

I like to listen to music that I have grown to love on systems that I review. Buddy Miles and his “Them Changes” LP are one of them. This LP was a part of my coming of age in the early 1970s. I remember buying the LP when it first was available and just grooving to the music with my friends after school. Little did I know then that decades later, I was to meet the man who recorded the album, Alan Hendler.

Alan was a member (original member like me) of the River City Audio Society. Alan and I struck up a friendship ten years ago that lasted until his death last year. I remember Alan as having a strong opinion on everything audio, from amps to speakers, to recording techniques. One day when I was visiting Alan, I found a copy of Buddy Miles Them Changes LP in his collection. I was surprised because Alan usually listened to classical and soundtracks, and that’s when he revealed that he was the engineer on that record.

Alan had a great system at home which included Magnepan III speakers driven by Berning OTL tube amps, and Audio Note preamplification. Alan cued up “Down by the River” from the Buddy Miles Them Changes LP on Tidal that day and let it rip. The opening guitar solo on this track is one of the nastiest, howling solos you will ever hear. It was reproduced in a haunting and deeply resonating way. I was on the edge of my chair, and I just slumped back into the chair as I was struck by the musical current. Alan looked at me beaming with pride because he had been a part of this record. So, how does this track compare when played back on the Theory system? Did it get the nasty right?

The answer is most definitely yes! The guitar exploded from the speakers and the snare drum sizzled and spit, and when the voices and drums came in, they were soaring. The soundstage was huge. Tonality was wonderful and I could hear Buddy Miles’s voice reproduced with his characteristic nasality. Even though the Theory sb25 surface mount speakers are against the wall, the sound was very dimensional. Most audiophiles will look for soundstage depth and height and find it in some mini-monitor speakers or even more so on planar speakers like the Magneplanars. I must report that the dimensionality coming from these on-wall speakers rivaled the Magneplanars. The imaging and focus were pin-point sharp. With sadness in my heart, I would like to think that my friend Alan would have enjoyed hearing this system.

Another album I have enjoyed over the decades is George Duke’s space funk experimental jazz (for its time) LP, “Feel.” I purchased the album in 1974 when it was first released, and for the review, I used the streaming service Qobuz to play the music. When the opening track, “Funny Funk” began I was propelled by the snappy drums and funky synthesizer syncopation of the music. Immediately my toes started tapping and the reproduction by the Theory system made me want to get up and dance. On the following track, “Love” when George Duke starts singing the Theory system places him dead center and a little behind the monitor screen. George Duke’s voice was reproduced with proper weight and rock-solid focus. When the searing guitar by Obdewl’l X comes in it was reproduced with nuance and finesse and appropriate searing thunderbolt clarity. (Obdewl’l X is a pseudonym for Frank Zappa)

My buddy Matt (who is a big Zappa fan) tells me that the name Obdewl’l X is the name for a character in Frank Zappa’s opera, Thing Fish. The collaboration with Zappa is no coincidence as George Duke was a member of Zappa’s band at the time. Fortunately, I was able to see Frank Zappa, George Duke, and Captain Beefheart together during the Bongo Fury Tour of 1975. Those were the days! I sadly lost my copy of Thing Fish, but Matt has his.

As I continued to listen to this very familiar album, I was pleasantly surprised to hear some deep notes not reproduced by my previous systems of the last 40+ years. Congratulations to the Theory subs for finally allowing me to hear things on one of my favorite albums. In addition, I continued to be treated to a very good reproduction of voices. On the track “Yana Aminah” Flora Purim was reproduced in a way that was angelic and seductive. During the tracks of the album Feel, I was pulled along by the rhythmic pulse of the music. The Theory speaker system demonstrated outstanding timing and dynamics. Did I mention that the Theory system likes to play loud? As I was listening, I kept adding more gain to the volume. The Theory system just kept opening up to more sound. It did so cleanly and without the distortion that you hear with most gear. (a note of caution, the Theory system will play so loudly and cleanly that you could easily approach ear-damaging levels without knowing it.)

Once I got the new software from Theory, I installed and hooked up the center and rear/side speakers to the system. I thought I would check out a new film online. The Tomorrow War starring Chris Pratt is a new Sci-Fi thriller on Amazon Prime that I thought would be a fun watch on the Theory System. My wife and I sat down with our popcorn and cued up the film. The premise of this film is that in the future a relentless alien species begins to exterminate humanity. The people in the future create a time portal to allow previous generations to fight against the threatening alien creatures. In the opening scene, the Theory woofers provided impressive, clean, and extended low frequencies with the thunder and rain as the characters are thrust into the future. Later, when the voices came in, they were very well reproduced. As the characters encounter the aliens for the first time, the gunshots from the automatic rifles felt like punches to my chest. In order to escape, Chris Pratt and his team need an airstrike. When the bombers release their payloads and they explode, it felt like the floor was rippling.

I have to say, though, that it was during the scene when the alien female is being extracted that I was most blown away by the sound. Chris Pratt and his team arrive in helicopters and of course, there is a lot of gunfire and explosives. As they approach, the low frequencies coming from the woofers were vibrating the couch and it seemed like I could see the waves riding on the floor! Back in the day when I was selling audio and video, we had a product called the Butt-Kicker. The Butt-Kicker was a device that attached to the bottom frame of your couch and would shake during low-frequency playback. I am glad to announce that Butt-Kicker is not needed if you have the Theory sb15 woofers and you are watching The Tomorrow War.

I played The Tomorrow War back at a high level, and never did it seem like the Theory system was straining. What was also impressive was the way the system reproduced the sound of the helicopter propellers and flying debris as if though they were flying overhead. The Theory system can be designed for Atmos playback with additional speakers and even amps, but if you are limited to 5.2, based on what I heard, you may not miss much.

Another lifetime ago I was teaching high school theatre and I was able to take my Thespian Troupe to New York to see shows and attend theatre workshops. One of the shows we were fortunate to see was the revival of Les Miserables. I had been a fan of the music since the early 1980s and was inspired by the show, and knowing the talent I had then, I decided to produce and direct the show at the high school the following year. Many years later came the film version with Hugh Jackman, Russel Crowe, and Anne Hathaway. I decided to use this film to review the Theory system because I love the music and I know it so well.

As the film opens, the Theory system presented a large, magnificent soundscape allowing the thrilling opening score to soar. When the cast begins singing “Look Down” I enjoyed the open, clear rendition of the individual voices. During the film, I was able to hear the backing instrumental lines easily. Violins, oboes, flutes, etc. were very present and audible, even during loud passages and massed voices. Watching the film, I marveled at how well the singing human voice was reproduced, it was outstanding. Especially outstanding was the performance rendered by Anne Hathaway as Fantine. During the “I Dreamed a Dream” sequence, the staging, photography, acting and singing hit one of the high points of the film. With Anne Hathaway carrying the music, the song is both wistful and terrifying. The Theory system really pulled me into the story.

As the film progressed, I realized the greatest strength of the Theory system. When listening especially to “I Dreamed a Dream” and later Eponine (Samantha Barks) while singing “On My Own”, the performances illustrate the Theory system’s ability to reproduce the timbre of the instruments and especially the human voice. Subtleties in inflection and resonance are superbly reproduced with proper roundness and smoothness. If I had to compare the sound to something else, I would say that the Theory system has the kind of smoothness and dynamics you normally only hear in large horn speakers, but with a sweetness usually found on the best British mini-monitors.

I had hoped that the Theory system would elevate my favorite music on the score, Jean Valjean (Hugh Jackman) singing “Bring Him Home”. But alas, the Theory system only faithfully reproduced what is in my opinion the biggest letdown of the show. The staging, direction, and singing are not up to other high points in this film, that’s just my opinion. But, if you audition the Theory system, see if the salesperson can play “I Dreamed a Dream” from the film, it will bring you to tears.

Conclusions

While not cheap, the THEORY AUDIO SYSTEM will bring outstanding sound performance comparable to systems many times its price. Many people will consider the Theory system the best currently available.

Likes

Ease of Operation and Installation

Outstanding Sound Quality

Room Friendly

High Sound Output

Would Like To See

None

The combination of the Theory Audio System and Acurus Muse pre-amp/processor produced a compelling and immersive sound experience. Throughout the review period I never tired of listening to the system. I was happy to listen to favorites on music and film as much as I could. Although the system is not inexpensive when compared to other high-end products the Theory system seems very, very reasonably priced. The Acurus Muse, although used only as a pre-amp/processor seemed a great match for the Theory system. The sound quality and build of the products here will be hard to match and will give systems costing upwards of 2 to 5 times the price a good run for the money. I give this combination the highest recommendation for those seeking the best in surround and music sound.

The post Theory Audio Design 5.2 System Review appeared first on HomeTheaterHifi.com.

Theory Audio Design 5.2 System Review published first on https://123movieshub.tumblr.com/

[edithrusch]

Sonus faber Factory Tour 2021

It’s not every day when a premier audio brand such as Sonus faber decides to invite you, as part of a select group of audio “journos” to visit their design and manufacturing operations.

Especially when said operations are in Italy. Not unlike a car nut being invited for a peek at how Ferraris or Lamborghinis are made, it’s truly an opportunity not to be missed! In a bizarre twist of fate, I received the invitation for this event just after penning my Op-Ed on the current state of audio shows (https://hometheaterhifi.com/editorial/oped/a-word-about-the-current-state-of-audio-shows/). At that moment in time, I had been slated to go to CEDIA, AXPONA, and RMAF with the Sonus faber trip tentatively falling somewhere in the middle of that. In short order, I would see AXPONA and RMAF get canceled (one of them permanently) over COVID-19 concerns and CEDIA 2021 shrivel to the point of irrelevancy for the same reason. Ironically this left only the trip to Italy as a go. A trip that I was more than happy and willing to take but one that, with four separate plane flights and three packed airports, would put my double-vaccinated status to the ultimate test, more than any of the now-defunct shows might have. I decided that this trip would be a good indicator to me if audio shows and related travel could start happening in a safe way. At this point, I would like to thank the leadership and staff at Sonus faber and the McIntosh Group for putting this trip together. The attention to detail and professionalism in organizing the travel, on-site COVID testing, and general handholding in making sure we had all the appropriate documentation in order were outstanding. Time to brush off my rusty Italian because I was going to be working it hard-core the next few days!

And we’re off!

September 28th. After my flights from Columbus, Ohio, to Newark, New Jersey and finally arriving in Milan, my initial concern that international air travel was going to be some difficult and drawn-out affair was put to rest. With COVID test results and country-specific entry form in hand (different forms apply for different European countries), things went smoothly. The biggest challenge was wearing a mask for the lengths of time required on the planes and in the airports. Not something I’d ever want to see become a permanent situation but certainly understandable in the times we are in. My driver, an affable chap named Mattia met me and industry colleague Al Griffin from Sound and Vision outside the arrivals terminal at Malpensa airport and shepherded us on a two-hour drive from Milan to our hotel In Vicenza. We weren’t in Kansas anymore, Toto!

Piazza Dei Signori and the Palladian Basilica.

Cathedral of Saint Mary of the Annunciation, exterior.

Cathedral of Saint Mary of the Annunciation, interior.

Cathedral of Saint Mary of the Annunciation, interior.

Our hotel was in the historic center of Vicenza where we got to explore several of the old churches and piazzas (town squares). Everything in this area was dripping with old-world charm and history, from the cobblestone streets to seemingly endless archways and statuary. There was also a traditional open-air market with dozens of stalls in the main central square, doing what seemed a brisk business in the early afternoon.

Statue of Andrea Palladio.

Entryway Arch.

Disequalibri Monument.

Open-air Market.

Mixed in with all this history though were many thoroughly modern shops, artisan bakeries, restaurants, and bars. This very much old-world meets new-world sort of vibe was a theme that would repeat itself in the coming days of this trip and beyond at a merely superficial level. We had the afternoon to get settled and we would be attending a dinner that evening to meet and greet everyone and get a sense of what would be happening on the tour starting tomorrow.

Welcome to Sonus faber!

Main Building Exterior.

Main Entrance.

September 29th. The next day began with the eight members of our little group (all hi-fi and lifestyle writers/editors) boarding a shuttle bus for a short drive to the main Sonus faber headquarters/production building in the town of Arcugnano. The building itself is a thoroughly modern construct with a scalloped roof design that mimics the shape of a violin when viewed from above. Here we were met by Marta Vecellio (Sonus faber’s perpetually sunny Marketing Manager) who would be our guide for most of the two-day tour.

Marta Vecellio Sonus faber’s Marketing Manager.

Marta begins to walk us through Sonus faber’s product history.

Marta began with an introduction to the history of Sonus faber and its founding in 1983 by the late Franco Serblin, an Italian entrepreneur and designer who was passionate both about musical instruments and audio. The building’s lobby area was designed to be almost a mini-museum that showcased several milestones in Sonus faber’s product development, which Marta studiously walked us through.

From Right to Left- The Parva, The Minima, and The Electa Amator. Sonus faber’s first three loudspeakers.

From Right to Left- The Guarneri Homage, and The Amati Homage.

The Stradivari.

The Il Cremonese.

Marta began with the earliest speakers, the Sonus faber Parva, Minima, and Electa Amator from the 1980s (all two-way bookshelf designs) through 1993’s Guarneri Homage (the first Sf speaker exploring the lute design motif) and 1998’s Amati Homage (Sonus faber’s first production three-way speaker). She then walked us through some even more ambitious floor-standing designs such as the Stradivari from 2004, 2015’s Il Cremonese, and the towering Aida from 2017, to touch on just a few. Examining each of these display examples closely, one cannot help but be impressed at the level of handcraftsmanship and respect for the natural materials used in the creation of these speakers. It certainly made for a beautiful history and body of work.

Handmade Crossover Tester.

Handmade Crossover Tester- Close up.

And yet, the one thing that honestly blew my mind most of all about this display was not even a speaker. It was a large, handmade crossover tester whose casework was completely made of solid walnut with hand-etched names and values at all the switches and knobs. Made in 1984, this analysis tool, that anyone else would probably have encased in a standard workaday plastic or metal box, was built and finished to the standard of fine heirloom furniture. Looking like something out of an early James Bond movie, it struck me as the sort of absurdly beautiful object one builds if they are equal parts passionate, obsessive, and more than just slightly mad.

Production Boutique.

Sonus faber Aida, Final Assembly.

Sonus faber Aida, Final Assembly.

Next, Marta escorted us to a segregated area of the assembly floor known as the Production Boutique. This large room is reserved exclusively for the assembly of Sonus faber’s Reference collection loudspeakers. The room was clean and modern-looking with hardwood flooring and floor-to-ceiling windows that let in plenty of natural light. Take the workbenches and organized parts shelves out of there and it could easily double as someone’s living room with the right furnishings. During our visit, we witnessed three craftsmen carefully putting the finishing touches on a gorgeous pair of Aida loudspeakers in a stunning fiery red finish. “The Queen,” as these speakers are known internally roughly cost about $140,000 US dollars for the pair and it was plain to see the meticulous care and attention to detail that the artisans were exhibiting in this final assembly stage. If I were the lucky future owner of these speakers, this sort of insider experience at seeing my speakers come to life would be the kind of thing I would completely geek out over!

Simone Farinello, Sonus faber Production & Operations Manager.

Moving from the Boutique area, our group was brought into the main Production and Assembly floor where the bulk of Sonus faber’s products come into being. Marta introduced us to Simone Farinello, Sf’s Production & Operations Manager. Simone has been with the company for 26 years and it was clear from listening to his explanation of the various activities that happen on this floor, his deep affection for both the brand and the art of what he and his staff of 24 craftspeople do here.

Inspecting Lumina I Front Baffles.

Stretching and Trimming Leather Accents.

Installing Front Baffles on Lumina CI.

Loading Components into a Serafino Loudspeaker.

Serafino Interior.

Table full of Electa Amator III Speakers.

Electa Amator III Interior.

Simone walks the floor with us introducing us to various staff and outlining what each person is doing. Everything from trimming and wrapping leather to assembling and loading crossovers to installing drivers and damping material to final assembly was actively being done here. Today we see craftspeople working on various Lumina models (Sf’s most affordable tier that is almost entirely made in Italy), several Serafino and Vox speakers from the Homage Tradition collection, and a table loaded with several pairs of the beautiful little Electa Amator III speakers replete with their jewel-like crossovers, lovely solid American Walnut cabinets, and Carerra marble baseplates.

Crossover Assembly.

Custom Made Capacitors.

Speaking of crossovers, the company sources its crossover components from global vendors that build the key parts to Sonus faber’s specifications. Custom-made capacitors from ClarityCap and Mundorf are one such example. As the Italian sense of heritage and pride runs deep in the company’s veins, Sonus faber will always look to see if an Italian vendor for any component is available that meets the rigorous standards they expect.

Lumina III Baffle QC reject.

Lumina III Baffle QC reject, Close Up.

Simone explains to us that while final assembly, testing, and quality control is done here, the cabinets are built and finished at one of two outside woodworking facilities that Sonus faber contracts with (we will be visiting both tomorrow), and then they are transported here for him and his people to complete. Speaking of quality control, he pulls out what looks like a Lumina III front baffle panel, in Wenge, from a short stack of “rejects” to show us. It has two masking tape strips with arrows drawn that point to the offending blemishes that deem the panel not currently usable. Looking it over we were all honestly straining to see these supposed imperfections in the finish. I had to practically put my nose to the panel to find what Simone was talking about. The point here is that the finishing checks are rigorous. Any panel, trim, or cabinet flagged at this stage will be sent back to the woodworking shops to salvage and restore.

Technician QC Testing a Driver.

Sonus faber Speaker Archive.

Everything is Documented down to The Last Detail.

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We are then taken to the component testing area where we see a technician stress testing individual drivers using a computer and a special driver testing rig. Pretty much every driver and component is tested in some way to make sure that it meets the performance targets. It’s a time-consuming process but it is much easier to catch a flaw at this stage than after everything is assembled and at final testing. Also in this room is what amounts to a speaker archive, comprised of binders of material outlining how every current model of Sonus faber loudspeaker is put together, down to the smallest part. It’s like a set of How-To encyclopedias that are regularly referenced and are a necessity for training. The one thing Simone does lament is that (like on this side of the pond) it’s difficult to find the sort of young, willing, and interested talent that they need to comprise the next generation of builders to keep up with the demand for Sonus faber’s products. That, along with the global supply chain issues, have been the two most pressing difficulties that the company has had to work with.

Serafinos Waiting for Parts for Final Completion.

He points to a pallet of a dozen Serafino loudspeakers that have been built to as far a stage as possible and they now are simply waiting for the missing parts to complete their construction. He calmly states that every speaker that we see on this floor is spoken for by either a customer or dealer. There is no excess capacity now. Simone estimates that if at least the supply chain was normal, the company could almost double its output, demand being so high.

Sonus faber Design Lab sign. That’s all we can show you!

After a splendid Italian lunch (I mean c’mon, we’re in Italy and how could it be anything but?), Marta brought our little group across the street to what at first blush was an outwardly unremarkable building. But inside was housed what amounts to the company’s personal “Skunk Works” unit, the Sonus faber Design Lab. This is the place, for example, where the Lumina line was created, not out of market necessity but because they wanted to know if it was possible. The Maxima Amator was also cooked up from the fruitful minds here as almost a side project due to sudden additional “free time” brought on by the pandemic. Due to the sensitive nature of the work done here, our group was politely asked not to take photos of the creative area. What I can describe to you in broad terms is that, as someone with an art background, I instantly felt quite at home in this large open-concept space. The area is shared by designers, 3D artists, and marketing folks but there are no departmental silos here.

Vice President of Research, Design and Product Development, Livio Cucuzza hamming it up with McIntosh Group PR Manager Extraordinaire, Julia Lescarbeau.

Livio Cucuzza, the Vice President of Research, Design, and Product Development emphasized that there is a sense of open camaraderie and creativity amongst all of them. Ideas from everyone are freely encouraged and explored and while they do much of their prototyping and exploration using 3D computer modeling, I was excited to see old-school mood boards covered with pencil sketches, napkin doodles, and photographic inspiration all over the walls. Livio explained to us that as a rule of thumb, Sonus faber designs are informed by what the designers see in the natural world. These inspirations can be both from something that occurs organically in nature or natural elements that have been artfully worked by human hands. That’s the visual part of the Sonus faber DNA. And while I can’t expressly tell you or show you what they were working on, I can say that some very interesting ideas are percolating in that building! Towards the back of the space, Livio showed us a medium-sized testing area complete with an anechoic chamber for putting test mules through their paces and exploring if the concepts they are working on are sound. The front of the building houses one of two recently completed listening rooms at Sonus faber. Both rooms can be configured for 2-channel or surround sound listening. The room at the Design Lab is called “The Grey Room” while the other in the main building is “The Blue Room.” Both rooms were built with the assistance of RPG Acoustics and are treated with a higher percentage of diffusion over absorption.

The Blue Room with the Sonus faber Lumina V.

Paolo Tezzon, Sonus faber Brand Ambassador.

It was time for our first listening session in “The Blue Room” so back across the street we went where we were met by Paolo Tezzon, Sonus faber Brand Ambassador. Paolo had prepared a pair of Lumina V tower speakers for us to sample. I had spoken with Paolo the previous evening and mentioned that while I had reviewed Sonus faber speakers in my own home before, my room is far from ideal. So, I was looking forward to hearing what they sounded like in a more “perfected environment.” The speakers were set up well into the room, raised about 6-inches on solid stone bases, and toed in so the tweeters converged right at the listening position. I had previously reviewed the Sonus faber Lumina III and while impressive, I felt that they were a little light on the bass for my taste. Tyler Stripko had a turn at reviewing the Lumina V and noted a stronger bass foundation from the bigger cabinet and bass drivers. I wasn’t expecting an impressive bass response from these speakers, positioned so far into the room as they were, but I was pleasantly surprised at how low and solid the Lumina V sounded in here. Beyond the excellent bass performance, I felt that the Lumina V imaged precisely and threw a big and bold soundscape with the music selections that Paolo had chosen. Saint-Saens’s “Danse Macabre” sounded particularly dynamic with spatially well-defined instrument sections and a great sense of air. I don’t particularly care for Leonard Cohen but the track “You Want It Darker” displayed a palpable sense of weight and texture to Cohen’s almost guttural vocal rendition. Very moody and omnipotent sounding; you felt it in your chest a bit.

The Blue Room with the Sonus faber Maxima Amator.

Joshua Dellinger, Experience Director at World of McIntosh with Paolo Tezzon, Sonus faber Brand Ambassador.

We stepped out of the room while the speakers were swapped out and when we returned, we were greeted by a lovely pair of Maxima Amator speakers. It’s obvious by the way Paolo talks to us about these speakers that they hold a special place in the product line. After all, when Sonus faber started, they only built two-way speakers for a good long time. The Maxima Amator is extra special because they are the company’s first tower speakers made with solid walnut cabinets. The wood being an integral part of the speaker’s sonic signature, much like it would be in a violin or a guitar. Replaying the same tracks we heard with the Lumina on the Maxima Amator revealed the expected leaner bass response when moving from a three-way to a two-way design. But it also revealed where the Maxima excelled and that was an overall smoother and more beguiling tonal character in the mids and treble. Imaging on “Danse Macabre” remained incredibly good. A very satisfying listening experience in both cases!

The Grey Room, Front End.

Roberto Gamba, Sonus faber’s Home Theater and Custom Install specialist.

Shuffling back to the Design Lab, we entered “The Grey Room” where we met Roberto Gamba, Sonus faber’s Home Theater and Custom Install specialist. Much like Paolo had done in the two-channel demos, Roberto had selected several movie and concert clips that he was going to demo for us through “The Grey Room’s” 9.4.6 channel system based around the Sonus faber Palladio CI speakers and four Gravis subwoofers. The whole shebang was powered by McIntosh electronics along with being controlled and calibrated by a Trinnov Altitude 32 processor. To say that the experience was immersive would be a significant understatement! Dynamics, detail retrieval, and object tracking were exceptional. Particularly outstanding was the bass calibration for the room. The tangible sense of detail and pressurization in the lower octaves was quite remarkable. Wonderful stuff and a great way to cap off the day! Off to dinner!

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September 30th. This morning we again piled into the shuttle bus and began our drive to the outskirts of Padova to visit the two woodworking companies that Sonus faber exclusively uses. Let me preface this by saying that while not entirely certain about what to expect on this part of the tour, I have visited a few speaker manufacturing operations and so had a preconception of seeing large CNC machines and a lot of automated production commensurate with a company having the resources that Sonus faber does. What I would find however is that Sonus faber employs the talents of two small, family-owned artisanal wood fabricators/finishers each with a long, rich history of doing things very much by hand.

De Santi Woodshop Entrance.

De Santi Shop Floor.

Our first stop was at De Santi, a small Italian woodshop that had specialized in the making of fine furniture and grandfather clocks when Franco Serblin came across them in the mid-80s. Serblin’s desire to use solid wood to build his speakers, much like fine musical instruments, and shop owner Luciano De Santi’s know-how with the material in question, led to a fruitful partnership. Now, almost four decades years later, De Santi (run by Luciano’s son Stefano) builds almost every Sonus faber cabinet here. The company is also responsible for the final finishing of all the matte loudspeakers. Any cabinet that requires a glossy finish is sent on to the other woodshop Sonus faber uses as they specialize in high-quality lacquering.

CNC Cutting of Internal Braces.

Grading and Matching Wood Grain.

Bonding and Clamping Wood.

Examining a Sheet of Walnut Veneer.

Completed Matte Finish Cabinets.

Walking carefully through the facility we can see every stage of enclosure production being worked on:

CNC cutting of MDF internal bracing, blocks of walnut and wenge being graded and grain-matched, wood drying stations, the bonding and slicing of veneers, the assembly, curing, and finishing stages. And yes, they have the machinery to help with precision cutting and so on but so much of this work is still performed by hand by skilled craftsmen with a wealth of experience. And they also mention the difficulties in finding youth that wants to be trained in this craft to comprise the next generation of artisans.

Maxima Amator Raw Cabinets.

Aida Cabinet Wings.

Artisan Examining and Filling Aida Cabinet Wings.

Close Up of Aida Cabinet Wing Layers.

Spying some Maxima Amator cabinets in their sanded raw walnut finish you can only admire the long swaths of solid wood that have been bonded together to make these creations. I speak with another artisan who is working on a set of the outer “wings” that are part of the Aida loudspeakers. He explains how each wing is made up of 15 layers of bonded beechwood ply, with the grain of each layer running perpendicular to the one previous, and finally topped with the outside veneer layer. Each wing is hand-finished to a state of raw perfection before being sent to the lacquering specialist. Ending our tour here, it just amazes me how almost every Sonus faber cabinet can come out of this modesty-sized (staff of 20) and very human operation.

Bi.sma Woodworking.

Taking another short bus ride to the second finishing facility we soon arrive at Bi.sma, an even smaller operation than De Santi. As I mentioned earlier, this shop specializes in high-gloss lacquer finishes. They do all the finishing work for the Sonus faber’s Reference and Homage collections along with select McIntosh speakers that were designed and built by Sf.

Sprayed Cabinets Air Drying.

Cabinets Awaiting Sanding and Polishing.

Hand Sanding Before Polishing.

Ready for Polishing.

Right After All These Cabinets.

Polishing Stage

In short order, once the speaker cabinets are sprayed, they are air-dried in a special curing room for 30 days, after which they are alternately sanded and polished to a final glass-like finish. Bi.sma’s owner, Marino has been doing this work for over 40 years and is still active on the shop floor. My Italian came in handy here because I was introduced to Marino’s wife and once she heard me speak the language, she graciously began giving me a brief history of the operation. The shop got its start doing refinishing work on fine furniture and larger items like pianos. In time they got so good at it that they began doing piano restoration work for high-end clients like Steinway. We saw the just-finished glossy body of a black grand piano drying in a room separate from the speakers. Now, like De Santi, most of Marino’s production work is done for Sonus faber. According to his wife, Marino is in the shop every day, first to arrive and last to leave. Not because he must be here but because he wants to be. “This is his life, his passion” she proudly stated of her husband. “His hands touch every cabinet that comes through the shop.” I see Marino out of the corner of my eye, examining the glossy finish on some speaker front baffles. I approach and just quietly watch him while he scrupulously examines the final finish. Marino lifts and turns the wood at several angles to see if he can spot any surface imperfection under the light, then laying the panel back down he runs his hands over the length of it slowly to ensure that the finish is completely smooth. His eyes quickly look up, he acknowledges me with a simple nod and then he continues on with his work. I was informed that Marino was working on a special project so we were asked not to take photos of what he was doing, sorry. We finished up our tour of Bi.sma and headed back to our hotel and then a lovely dinner with the Sf staff to wind down, pick brains and generally let all we’d seen sink in. Tomorrow would be an early rise to get to Milan and catch my flight back home.

Vicenza By Night.

October 1st, 5:00 AM. Standing outside the hotel and waiting for my ride to the airport, the streets of old Vicenza were stone quiet but beautiful and peaceful in the light of the streetlamps. Running over the meat of everything I’d seen over the last two days, I was struck by how unique a company Sonus faber was. Like I’ve said, I’ve been to other speaker companies and talked to people who work at them and all have a love for what they do, a desire to do a good job, and an understanding that they are doing something kind of special. Sonus faber is the only relatively large speaker company I have been to that still has the feel of a small, boutique operation. It feels very much like a family and the whole Italian passion, artisan craftsmanship thing is not some cleverly contrived marketing slogan. It’s the real deal. You feel it while being here. The staff, the people in the assembly area, the woodworkers, the designers, they weren’t putting on a show for our little group of journalist interlopers. They were going about their jobs and were genuinely happy to have us find out about what they were up to.

In a time where there is a ton of research and scientific knowledge about what makes a good-sounding loudspeaker, the idea of making beautiful speakers out of solid wood, so that it resonates like a musical instrument and is integral to the final sound may seem incongruous by comparison. And yet Sonus faber has found a way to excel at this craft. Balancing the science and the art of speaker making to produce something truly special. Something that stirs all the senses. It was truly an enlightening and memorable few days.

Arrivederci, Italy. Till we meet again…

Salute!

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ARCAM Announces the Immersive and Musical AVR5

ARCAM’S new AVR decodes 12-channels of Dolby Atmos and DTS:X, and is compatible with Dolby Vision up to 4K, Apple AirPlay2, Bluetooth aptX HD, Chromecast, MQA, and Roon

Cambridge, UK, October 13th, 2021 – Today, ARCAM unveiled the AVR5, bringing the Cambridge maker’s outstanding AVR performance to a new, lower price point. The AVR5 becomes the HDA range’s entry-level receiver, easing in alongside its fellow Class AB AV receivers, the AVR10 and AVR20, and the range-topping G Class AVR30.

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Since its 1976 launch, ARCAM has built a reputation for creating musical sounding products – its home cinema machines are as adept with soundtracks as they are with sound effects. The AVR5 maintains this philosophy, natively decoding 12 channels of immersive audio from Dolby Atmos (with upmixing from Dolby Surround) and DTS-X (with upmixing from DTS:Neural:X), delivering a musical and cinema-like experience from a 7.1.4 speaker array.

Compatible with Dolby Vision and HLG, the AVR5 is the perfect partner for those playing the latest content from the likes of Disney+ and Netflix, as well as the Xbox Series X/S and compatible Blu-ray players. The AVR5’s HDMI sockets enable 4K HDR passthrough, with its eARC support making it possible for a suitably equipped TV to send back lossless audio. The AVR5, like all other ARCAM AVRs, can be upgraded to support HDMI 2.1 for completely uncompressed 8K video on all inputs and outputs.

Pop the hood and the ARCAM HDA range opener reveals first-class audio technology, including a pair of ESS ES9026PRO DACs used in the AVR30. The ARCAM design team’s implementation of this high-performance ESS HyperStream II DAC maximises the performance of this exceptional component, achieving exceptionally low noise. The bedrock to the AVR5’s musicality is its 7 channels of ARCAM Class AB amplification driven by a custom in-house designed linear supply fully capable of sustaining 1.5KW of total power consumption.

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Ease of use is central to all ARCAM designs. AVR5 users can stream from smartphones and tablets using Apple AirPlay 2, Bluetooth aptX HD, Google Chromecast built-in, and Spotify Connect. The 2021-updated Harman MusicLife UPnP app enables playback and control of the AVR5 on Android and iOS and facilitates internet radio, music streaming, and podcast listening. The new ARCAM also fully supports MQA meaning TIDAL HiFi subscribers can experience the highest available audio quality from TIDAL Master recordings. And its Roon Ready status enables Roon members to use the system’s acclaimed interface when surfing Qobuz, TIDAL, and locally stored music libraries. The AVR5 can also form part of a Roon-driven multi-room system, seeing it slot into even multi-brand home systems.

Additionally, ARCAM prepares the AVR5 for Dirac Live, the world’s leading room correction system. An optional extra, to activate the system, users should download the Dirac tuning tool to a Mac or PC and purchase a licence at www.dirac.com/online-store/arcam-avr5/. For a limited time, AVR5 owners can benefit from a 50% discount available via ARCAM’s website www.arcam.co.uk.

“The AVR5 offers the legendary sound performance of ARCAM to a wider audience,” said Jim Garrett, Senior Director, Product Strategy and Planning, HARMAN Luxury Audio. “With its lower price point, comprehensive and configurable feature set, the AVR5 is the perfect addition to any home cinema.”

The ARCAM AVR5 will be available at a retail price of $2,000 in November 2021.

About HARMAN

HARMAN designs and engineers connected products and solutions for automakers, consumers, and enterprises worldwide, including connected car systems, audio and visual products, enterprise automation solutions, and services supporting the Internet of Things. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, and Revel®, HARMAN is admired by audiophiles, musicians and the entertainment venues where they perform around the world. More than 50 million automobiles on the road today are equipped with HARMAN audio and connected car systems. Our software services power billions of mobile devices and systems that are connected, integrated, and secure across all platforms, from work and home to car and mobile. HARMAN has a workforce of approximately 30,000 people across the Americas, Europe, and Asia. In March 2017, HARMAN became a wholly-owned subsidiary of Samsung Electronics Co., Ltd.

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VIZIO D32-f4 32-inch HDTV Preview

The VIZIO D32-f4 is an extremely capable 32-inch display with 1080p resolution, super-accurate color, and Smartcast. For just $230, this HDTV is great for gaming or entertainment if you don’t have a lot of room.

Big TVs are great but not every room can accommodate a 65-inch flat panel display. For smaller spaces, there are 32-inch screens like VIZIO’s D32-f4. This 1080p display is only $230 but it offers a lot of the same features and performance of its larger cousins. You get super-accurate color with VIZIO’s full set of calibration options. Gamers will appreciate its low input lag and support for variable refresh rates. And streaming fans can take advantage of VIZIO Smartcast with its plethora of content carriers and convenient integration.

I enjoy doing TV reviews but dealing with large screens and freight can sometimes be challenging. When VIZIO offered me a review of their 32-inch D32-f4, I was only too happy.

Unpacking the panel and attaching the legs took about five minutes. I had the D32 set up in my office in short order. After a quick trip through the initial setup and a 10-minute update, Smartcast appeared on the screen. A few minutes later, I was watching Netflix in the TV’s calibrated mode which looked amazing. I took some quick measurements and found that this mode is super accurate; so much so that I won’t need to calibrate, though I certainly will because that’s how I roll.

I’m already impressed with the performance and features VIZIO is delivering here for just $230. Stay tuned for my full review with benchmark tests and my observations on both streamed and disc-based content. This will be a fun one!

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McIntosh Expands Custom Install Offering with New MI1250 12-Channel Power Amplifier

Delivers Pristine Music Playback to Multiple Rooms for Whole House Audio.

Binghamton, NY – October 14, 2021 – McIntosh, the global leader in prestigious home entertainment and ultimate-quality audio for over 70 years, is proud to introduce the MI1250 12-Channel Power Amplifier.

The versatile McIntosh MI1250 12-Channel Amplifier can distribute pristine music playback in multiple rooms in a home. It delivers 50 Watts into 8 Ohm speakers or 90 Watts into 4 Ohm speakers via highly sophisticated closed loop digital switching amplifiers that are paired with extremely robust power supplies to produce performance levels that are rarely achieved in distributed audio.

The MI1250 has installer-friendly physical dimensions and is 2U rack mountable via the included mounting ears (the mounting ears are removable for non-rack installations). As a highly efficient Class D amplifier, it does not require noisy cooling fans to maintain nominal operating temperature.

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On the front panel, multi-color LED indicators display the status of each channel. On the back are unbalanced inputs plus 2-pole Phoenix style push-in speaker terminals for each channel. Also located on the back are volume controls for volume balancing, along with 2 digital audio inputs (either coax or optical) that can be bussed, and channel summing circuits for easy mono signal distribution.

Other features included on the MI1250 are:

Power Guard® signal overload technology that prevents overdriving the speakers.

Sentry Monitor short-circuit protection circuit that disengages the output stage before current exceeds safe operating levels and then resets automatically when operating conditions return to normal.

BUS input and outputs to easily distribute a stereo signal to multiple outputs and/or multiple amplifiers.

Individual channel inputs.

12 Volt triggering capabilities to automatically turn other connected McIntosh components on and off.

Eco-friendly on/off signal sensing that turns the unit off if no input signal has been detected for a set amount of time or automatically turns the amp on when it senses a signal.

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The MI1250 includes many McIntosh design cues including a black glass front panel housing an illuminated McIntosh logo, along with a familiar form factor that is highlighted with silver trim. Contact a local McIntosh dealer to learn more about integrating the MI1250 into a custom whole house audio installation.

Pricing and Availability

Orders for the MI1250 can now be placed with Authorized McIntosh dealers with shipping expected to begin in late October or early November 2021 to the United States and Canada, and to the rest of the world shortly thereafter.

Suggested retail price (VAT, shipping and any customs duties related to current standards of individual countries are excluded): $4,000 USD.

About McIntosh

Founded in 1949, McIntosh Laboratory, Inc. is known for offering distinguished quality audio products, superior customer service and the ultimate experience in music and film. All McIntosh products are handcrafted at the Binghamton, NY factory by over 150 employees with a passion for music and the McIntosh heritage. McIntosh continues to define the ultimate home entertainment experience for discriminating consumers around the world, with the iconic “McIntosh Blue” Watt Meters globally recognized as a symbol of quality audio. Since its inception, McIntosh has been powering some of the most important moments in music history and pop culture. From President Lyndon Johnson’s inauguration speech to Woodstock to the famous Grateful Dead “Wall of Sound,” McIntosh has not only witnessed history, it has shaped it. With McIntosh, customers have the ability to create their own premium audio experience – and truly live their music.

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DALI SPEKTOR 2 Bookshelf Loudspeaker Preview

The DALI SPEKTOR 2 Bookshelf Loudspeaker is a value-priced high-performance compact speaker with a furniture-grade finish and audiophile sound.

I’ve just received a pair for review.

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DALI Loudspeakers is known for making products that are as well regarded for their furniture quality construction as their high-end sound. Over more than 35 years of designing and building speakers, they have built a clientele of more than one million customers in over 70 countries.

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The leadership at DALI determined that the world needed a loudspeaker which was both affordable and musical. With the SPEKTOR line of speakers, DALI has accomplished the company’s goal of bringing the DALI experience to a new level of attainability to audiophiles with a limited budget. The speakers here for review are from the middle of the line, the SPEKTOR 2, retailing for a modest $400 per pair. Watch this space for my full review of DALI’s present to the audio community.

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BenQ GV30 Portable Projector Review

The BenQ GV30 Portable Projector is a truly convenient lifestyle product. In minutes, you can set it up, indoors or out, project an image up to 100 inches diagonal on a wall or screen, and enjoy full rich sound.

BenQ’s GV30 Portable Projector is a compact and convenient projector that can be set up just about anywhere, even outside. It throws an image up to 100 inches diagonal onto a wall or screen. With water-resistant construction and a small chassis, it’s easy to sling over your shoulder in its included carry bag. You can even run it from an internal battery for up to two-and-a-half hours. An Android streaming dongle installs inside it so you can stream your favorite content from the internet. The best part is its internal speakers which deliver surprisingly rich and vibrant sound.

Highlights

BenQ GV30 Portable Projector

Portable medium-throw projector

DLP/LED light engine with 720p resolution

Wide color gamut

Compact and portable with included carry bag

Impressive sound from internal speakers

Can run from an internal battery for up to 2.5 hours

Android streaming dongle streams a vast array of content

Introduction

If a projector is to be truly portable it must be small and light. And it should have a short-throw lens and rugged construction. And it should come with a nice carry bag. And it should work without an external video source or the need for power. Wait, what!? Yes indeed, the BenQ GV30 Portable Projector does all these things including that last one. It has an internal battery that powers it for up to two-and-a-half hours. That’s a first in my experience.

It also has a maintenance-free LED light source rated for 20,000 hours. The light engine is a DLP chip with 720p resolution. Though it doesn’t have HDR or cutting-edge video features, it does include a wide color gamut. It also has a slick auto-focus system that gets the picture sharp with the touch of a button in only a few seconds.

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The best part though is its sound quality. Audio in projectors is usually more of an afterthought with most units sounding like the tinny speakers built into televisions. But the GV30 goes way beyond that with a 2.1 array of drivers that put out a surprising amount of bass and distortion-free volume.

All of this is packed into a water-resistant chassis that isn’t much bigger than a hard-cover book. The carry bag? Yep, it’s in there. This is one cool projector that I’m looking forward to checking out.

BenQ GV30 Portable Projector Specifications

Type:

Single-chip DLP 0.23”

Native resolution:

1280×720, 16:9 (accepts up to 1080p)

Light source:

LED

Service life:

20,000 hours

Light output (mfr):

300 ANSI lumens

Throw ratio:

1.2:1

Image size:

30-100 inches

Video connections:

2x HDMI 1.4b

Audio connections:

3.5mm analog output

Speakers:

2x 4 watts, 1x 8 watts

Dimensions:

4.7” x 7.7” x 7.3” (WxHxD)

Weight:

3.5lbs

Warranty:

3 years

BenQ GV30 Portable Projector Price:

$599

Website:

www.benq.com/en-us/projector/portable/gv30.html

Company:

Benq

SECRETS Tags:

Benq, gv30, dlp projector, led projector, portable projector, Projector Review

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BenQ V7050i UST Projector Review

Design

At first glance, the GV30 doesn’t look like a projector. It reminded me of a cool case used to hold 45rpm records, except in miniature. Sticking out the top is a leather loop that lets you carry the projector with one finger. At 3.5 pounds, that isn’t too difficult. The round shape isn’t just for show; large grills on both sides vent what is by far the best built-in speaker system I’ve ever heard in a projector, ANY projector. Though small in size, the array of midrange/tweeters and a single woofer produce convincing bass and a wide soundstage. They also manage impressive volume from just 16 watts total amp power. Careful tuning, a DSP controller, and a smartly engineered resonance chamber are the main reasons for the GV30’s superior audio. And the speakers can be used via Bluetooth to play music if you wish.

The projector sits on a removable base that’s secured with a strong magnet. This serves two functions. Not only is it easy to remove for storage, but the body can be easily rotated to raise the image up and down. Of course, this will introduce keystone distortion but there is an auto-correction feature that fixes that. Even cooler is the auto-focus control which has its own button on the remote. One press and the GV30 projects a focus target on the screen, adjusts the lens, then prompts you to save or tweak manually. I never needed to override the automatic function; it delivered a sharp image every time. You can dial in geometry and focus in under a minute.

The DLP engine runs at 1280×720 resolution though signals up to 1920×1080 can be input. An LED light source is rated for 300 lumens and 20,000 hours of use. That’s over 10 years of service if you watch five hours every single day. The GV30 is compatible with all contemporary sources through an HDMI 1.4 input on the side. A second one hides inside a small chamber where you can install BenQ’s QS01 Android streaming stick. This expands the content choices to the universe of shows and movies available on the internet. Also included is a USB-C input that accepts DisplayPort video. This makes it easy to hook up a laptop, tablet, or phone. You can also plug a thumb drive into this port. Of course, you can cast wirelessly to the QS01 if you wish. It’s compatible with AirPlay and Chromecast.

An external power supply is included in the package for indoor use but if you don’t have a power outlet close by, an internal battery runs the GV30 for up to two-and-a-half hours. Actual runtime will depend on which lamp setting you use and how loud you play the audio.

The remote is a small handset with all the necessary functions included. It is not backlit. At the top are power toggle, focus, and keystone buttons. Next are direct-access keys for Amazon and input selection. After the nav pad, you get a home key which opens the Android interface. A microphone button activates voice control via Google Assistant. Last is the volume rocker switch.

Setup

Opening the box reveals a premium quality carry bag that cushions the GV30 securely. In addition to the projector and its base, there is an external power supply (also in white) and the QS01 streaming stick. It is installed in a special chamber which hides under the side grill. It plugs into an HDMI port with a small USB cord for power. Once you close it up, there’s no need to remove the grill again.

I set the GV30 in its base and leveled it so there would be no keystone distortion. The correction feature works as intended but it will reduce resolution slightly. Once powered up, I pressed the top-center button on the remote for auto-focus. A small target appeared, the lens racked through its entire adjustment range, then settled on perfect focus, all within about five seconds. I found it worked best in the dark.

I set up the Android 9.0 interface with some of my go-to services like Amazon and Disney+. Netflix can be used to but it takes a few more steps. You first install the Aptoide app, then install Netflix within it. Streaming quality will of course depend on the speed of your internet connection and wi-fi.

The GV30’s menu is a simple affair with just basic picture controls and six picture modes. Cinema is the best one with a D65 color temp, 2.2 gamma, and a slightly widened color gamut. I’ll get into those details in my benchmark tests. There are no calibration options besides brightness, contrast, and sharpness. The picture modes have different color temps, mostly on the cooler side. The bright mode will deliver a little more light, but with a very green tint to the picture.

I also checked out the GV30’s DSP-controlled audio modes. You get five choices that are like the sound modes found on many AV receivers. In my theater, Cinema provided the best balance and the widest sound stage.

In Use

Streaming

When the QS01 stick is installed in its hidden chamber, the GV30 automatically loads the Android 9.0 interface on startup, which takes only a few seconds. After exploring the menu system, I watched a few YouTube videos. Quality varies widely which is no surprise, but content from more experienced creators like Hoovies Garage or Global Cycling Network looked very sharp and detailed. The most impressive thing though is the sound. When seated behind the projector, it truly seems to come from the screen. The front sound stage is wide and deep with superb balance. My appetite was whetted for more movie watching.

Navigating the Android TV menus is intuitive and efficient. You can add apps for most popular services, and they work the same as their counterparts on Apple TV or LG’s WebOS. The GV30 is a very capable smart TV with the QS01 in operation.

I also tried out the iPhone mirroring function. By selecting the Wireless Projection icon, then linking my iPhone 12 as a mirrored device, I got an exact copy of my phone’s screen from the GV30. This is a great way to play video or show photos stored on mobile devices. I also had no trouble enabling AirPlay to rock a few tunes from my phone’s library. The sound filled the room with both Foo Fighters and my classical collection getting equal love. As a Bluetooth speaker, the GV30 excels.

Blu-ray Movies

Though most users will be streaming content, I wanted to play the best possible content on the GV30 as well. I started with Dune, the David Lynch version from 1984. The audio struck me first as the sound was clearly coming from the screen even though the projector was sitting eight feet away from it. I observed that to get the best effect, I had to sit about three feet behind the projector. When I moved to the side or in front of it, the sound became localized. The audio tuning here is significantly better than what I’ve heard from any other projector or television for that matter.

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The GV30 handled video processing just fine. Though it’s a little softer than a 1080p display, the difference wasn’t as great as I expected. 720p is still hi-def and it is far superior to the 480i available on DVD. The color was nicely saturated and black levels were reasonable; about as good as a budget DLP is going to get. Overall contrast was pleasing in both bright and dark content with strong highlight and shadow detail throughout.

Moving on to Minority Report, I wanted to see how the GV30 handled its smeared backgrounds and monochromatic color palette. Here, the slightly warm color temp was an advantage as it brought extra vibrance to what is often a flat-looking film. Soft backgrounds didn’t distract from finely detailed foreground objects and I could clearly see the textures in actors’ faces and in small objects.

I finished up my viewing with Star Wars: The Rise of Skywalker. The GV30 did an admirable job with the murky scenes on Exegol. All the detail was visible, even in the most heavily veiled shadows. Motion processing in the more intense action scenes was solid. This is an area where DLP shines because there is no motion blur whatsoever. LCD and LCoS displays always have a bit of smear when objects move quickly across the screen. The lush hues of the Rebels’ jungle hideout were strongly portrayed with deep greens and reds. The GV30’s color is exemplary.

Battery Life

I never thought I’d be commenting on battery life in a projector review but here we go. The GV30 powers up even when the power supply isn’t plugged in. It boots into the LED’s low power mode though you can select Normal if you want a brighter picture. I stuck with low power but turned the volume up all the way to watch Dune. The battery made it just over two hours before signaling defeat which impressed me greatly.

I should note that this test is highly subjective. There are many variables that affect battery life. If you use the streaming stick, that consumes power. Turning up the LED obviously will shorten runtime. And the volume level has an effect too. I think it’s reasonable to say that you can expect around two hours of runtime at low LED power whether you’re streaming or playing a disc.

On The Bench

The GV30 has no calibration controls for gamma, grayscale, or color gamut. But in its Cinema mode, it tracks reasonably well to D65, 2.2, and Rec.709. There is some bonus red which is incorporated well so that it doesn’t overblow that color. I measured all the modes and found Cinema was the most accurate. It had natural-looking color, decent contrast, and solid light output.

Grayscale tracking shows a bit of warmth in the darkest tones and a slight green tint in brighter areas of the image. Mid-tones are visually perfect with an error right around 3dE. The overall average of 4.82dE is good performance for a projector at this price point. In actual content, these errors are barely noticeable. Gamma tracking is close to 2.2 except for a dip at 10% which means that step is too bright. The GV30 has average contrast for a DLP with well-rendered shadow detail.

The color chart shows a Rec.709 target with some bonus saturation in red, magenta, and blue. Inner targets are very close to the mark. That means most picture content, which falls between 20 and 80% brightness, will look very accurate. The brightest elements will show some extra saturation which is a good thing for low output projectors like this. Even though there isn’t a ton of light here, that extra color saturation gives the picture some punch. The average color error of 3.69dE is very good for a projector at this price point.

Light Output and Contrast

For the output tests, I used my usual configuration with a Stewart Filmscreen Luminesse covered with Studiotek 130 material, gain 1.3. The meter was set 10 feet back from the center of the screen. In the Cinema mode, max white was 30.5378 nits, the black level was 0.0689 nit and the contrast ratio was 443.2:1.

In the Bright mode, output rises to 45.8702 nits which contrast remains the same. This mode has a very green color temp and is appropriate for areas that have a lot of ambient light.

If you have a lot of warm-toned lamps near the screen, the Daytime mode offers similar output to Cinema with a cooler color temp.

Conclusions

For $599, the BENQ GV30 PORTABLE PROJECTOR delivers big-screen entertainment with a solid picture and phenomenal sound from streamed sources or discs. At this price, it’s hard to beat.

Likes

Solid picture with good contrast and vibrant color

Impressive battery life

Convenient streaming options

Phenomenal sound from built-in speakers

Would Like To See

For $599, I can’t complain

BenQ has delivered a fantastic portable projector in the GV30. With rugged construction, solid picture quality, and amazing sound, it is a very capable entertainment machine that fits in a small carry bag. And that bag is included! The fact that it can also run on batteries is just icing on the cake. With a myriad of ways to get your audio and video content into it, wired or wireless, you won’t need much besides an internet connection to enjoy it.

It’s hard to say enough about its sound quality. Though it delivers the excellent video I’ve come to expect from BenQ, it ups the audio quotient considerably. With just 16 watts of total power, its built-in speakers rival any high-end soundbar I’ve heard. And it is significantly better sounding than any other portable projector I’ve experienced. That you can use it as a Bluetooth speaker is a nice bonus.

For $599, I can’t fault the GV30 in any way. It delivers exactly what’s needed for convenient portable entertainment whether you want to watch a movie, TV show, or just listen to music. If you’re looking for a portable display for your next adventure, the BenQ GV30 Portable Projector comes Highly Recommended.

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DENON INTRODUCES NEW AVR-X1700H 8K AV RECEIVER

Industry-Leading AV Receiver Manufacturer Introduces its Latest High-Performance AVR Boasting Three 8K HDMI Inputs, 7-Channels of Potent Amplification, Height Virtualization Support and Multi-Room Streaming for an Exhilarating Home Entertainment Experience

CARLSBAD, Calif. (October 19, 2021)—Today Denon®, the world’s leading manufacturer of premium home entertainment and personal audio products since 1910, introduced the new 7.2-channel AVR-X1700H high-performance AV Receiver (AVR). It features three 8K HDMI inputs to accommodate the latest 8K sources for advanced gaming and lifelike entertainment experiences. Trusted by the industry’s best professional installers and enthusiasts, the new X-Series AVR also offers the latest immersive 3D surround formats, an advanced 4K and 8K video section and built-in HEOS® multi-room music streaming technology. The AVR-X1700H delivers seven channels of amplification at 80W per channel (8 ohms, 20Hz-20kHz, THD: 0.08%, 2ch driven).

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“The AVR-X1700H is a great starting point for budding enthusiasts looking for a fully-featured AVR at an accessible price. Complete with multiple 8K HDMI inputs, virtualized surround sound and several other technologies usually found in premium home theater systems, this AVR has it all,” said Trip Randall, president of Denon. “At a time when so many people are considering system upgrades to watch their favorite TV and movies in higher quality, this receiver handily delivers the next-gen experience our customers are demanding.”

Immersive Audio for the Ultimate 3D Theater Experience

The Denon AVR-X1700H enables an immersive 3D audio experience with support for the latest surround sound formats, including Dolby Atmos®, Dolby Atmos Height Virtualization Technology, DTS:X® and DTS Virtual:X. Users can either design a 5.1.2 Dolby Atmos surround system by installing height or in-ceiling speakers, use Dolby Atmos elevation speakers atop existing loudspeakers, or take advantage of DTS Virtual:X and Dolby Atmos Height Virtualization technologies. Both Dolby and DTS technologies add virtualized height and surround sound effects to recreate immersive audio in 7.1, 5.1 or 2.1 speaker arrangements. This allows fewer loudspeakers to create the sensation of a sound field that extends above and beyond the listener, and is ideal for systems without discrete height or surround speakers in the room.

Advanced 8K HDMI Video Section with eARC

To ensure the best picture quality possible, the AVR-X1700H features an advanced HDMI section. The six input/one output HDMI board includes three 8K inputs supporting 8K/60Hz and 4K/120Hz video pass-through up to 40Gbps. All HDMI inputs boast 4:4:4 Pure Color sub sampling, HDR10, HDR10+, Dolby Vision, Hybrid Log-Gamma (HLG), Dynamic HDR and BT.2020 pass-through support for exceptional clarity. Enjoy 8K upscaling on all inputs and HDCP 2.3, the latest copy protection standard for effortless playback. The AVR-X1700H is easily connected via eARC (Enhanced Audio Return Channel) to deliver uncompressed and object-based audio from the TV to the receiver via a single HDMI cable. Gamers also have a host of technologies available for a smoother and quicker gaming experience, including: 4K/120Hz pass-through, Variable Refresh Rate (VRR), Quick Frame Transport (QFT), and Auto Low Latency Mode (ALLM).

High Resolution Music Streaming & Multi-Room Support

The Denon AVR-X1700H is compatible with Apple® AirPlay 2 for iPhone users while the front-panel USB port offers convenient audio playback of other high-resolution audio formats (WAV, FLAC, ALAC and DSD 2.8/5.6 MHz files) from a variety of players. Wireless connectivity to popular streaming music services like Spotify®, Pandora®, Tidal and more are also easily accessed via Bluetooth or HEOS built-in technology. With HEOS Built-in, the AVR-X1700H can stream music wirelessly across compatible HEOS built-in products like Denon Home 150/250/350 wireless speakers from anywhere in the home. Listeners can play the same song in every room or select a different song for each connected room from the HEOS app.

Audiophile Heritage & Performance

The Denon AVR-X1700H puts sound quality first, with support for high-resolution audio streaming across a variety of formats, including: FLAC, ALAC and WAV files as well as DSD 2.8/5.6MHz. The latest AVR includes a phono input for vinyl enthusiasts to enjoy their collection with exceptional clarity and detail. With dual subwoofer outputs, listeners can easily add multiple subs to achieve optimized low frequency dispersion for movies or music listening.

Improve Accuracy with Audyssey Room Correction

The AVR-X1700H uses Audyssey MultEQ XT for simple, accurate speaker setup and acoustic calibration of the system so home theater enthusiasts can refine their systems for an optimized listening experience. The technology detects the size, type and configuration of the speakers used and measures their response in the room for optimal performance. It works from a simple 2.1-channel setup to a 5.2.2 Dolby Atmos/DTS:X setup. Listeners can further customize settings to their liking via the advanced Audyssey MultEQ Editor app, available for purchase in iOS and Android stores.

Additional Features & Benefits

The latest 8K AVR hosts a variety of other benefits, including a “Dual Speaker Presets” feature, enabling users to store and switch instantly between two different speaker configurations and Audyssey settings. “Dialog Enhancer” lets users to adjust the dialog level on the fly, while a newly added HDMI signal information feature allows users to confirm if 8K or 4K120 signals or other HDR formats are passing through the AVR. For optimum accessibility, the AVR-X1700H has a Bluetooth Audio Transmitter, which gives listeners the opportunity to enjoy their favorite content via Bluetooth headphones and can be used either as Bluetooth-only playback, or simultaneous playback with connected speakers.

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The new AVR also works with Amazon Alexa, Google Assistant, Apple Siri and Josh.ai for voice control of AVR functions. It also supports major third-party command protocols like Control 4 SDDP (Simple Device Discovery Protocol). HDMI diagnostics mode and a smart remote management via Domotz or OvrC are also supported.

The AVR-X1700H is $699 and will be available starting November 2021 at authorized Denon retailers. For more information on the latest additions to the Denon X-Series receivers, please visit usa.denon.com/us.

About Denon Denon is a trusted world leader in the manufacture of the highest-quality home theater, audio and software products since 1910. Denon is recognized internationally for innovative and groundbreaking products and has a long history of technical innovations, including the development and groundbreaking commercialization of pulse-code modulation (PCM) digital audio. Denon Electronics is owned by Sound United LLC.

About Sound United

Sound United is a division of DEI Holdings with an award-winning portfolio of audio brands that deliver industry-leading home theatre and personal audio listening experiences for a wide-range of consumers. Each brand provides an expansive array of audio products that includes high-end and custom installation audio, to mid-tier markets that cover loudspeakers, sound bars, AV receivers, wireless multi-room music systems, Bluetooth® speakers, amplifiers, turntables and headphones.

Dedicated to artfully reproducing audio for listeners and enthusiasts around the world, Sound United is comprised of Denon®, Marantz®, Polk Audio, Definitive Technology, Polk BOOM, HEOS®, and Boston Acoustics®. Each brand offers a unique approach to bringing home theatre and music to life. Whether it’s through the legendary heritage of Denon, the classic sound of Polk Audio, the premium performance of Definitive Technology, the highly-sought-after amplification of Marantz, the action-inspired form factors of Polk BOOM, the wireless home audio solutions of HEOS, or the accessible performance of Boston Acoustics, Sound United is your sound — so listen.

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Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier Review

Classé has a long history of marketing high-end audio products.

I have had several in my list of reference components. Their Delta PRE Preamplifier and STEREO Power Amplifier represent their latest entries. The preamplifier is one of the new types called a digital preamplifier meaning that you can choose to pass an analog input signal through an ADC and DAC to add digital tone controls as well as EQ bands and subwoofer low-pass.

I found them to perform in an exemplary manner, with the preamplifier having some of the lowest distortion and noise I have ever seen. This results in a very clean, detailed sound.

The on-board DAC has a re-clocking circuit that completely rejects jitter, and the phono preamplifier has both MM and MC capability.

The stereo power amplifier is very heavy, and heavy is good. It delivers 250 watts of low distortion power per channel into 8 Ohms.

There are inputs for every source known to audio, and the unit I received had the optional four HDMI input, one HDMI output PC card which allows the user to connect all of their HDMI sources with just one HDMI cable connected to a TV.

Highlights

Classé Delta PRE Preamplifier and Delta STEREO Power Amplifier

The preamplifier had incredibly low distortion and noise.

DAC has a re-clocking circuit that rejects all jitter.

Inputs for every type of audio source.

The power amplifier has massive build quality, including huge speaker connectors.

Wattage output meters.

Introduction

Classé, whose products are made in Japan, is a high-end audio manufacturer that has been around for a long time. I have had several of their products in my reference kit, and still have some of them.

The quality has always been very high, and their current offerings, the Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifiers are reviewed here.

You can see from the photos below that both items are very attractive with a combination of gray and black. They have displays on the front for volume and menu on the preamplifier and output wattage meters on the power amplifier.

The power amplifier has vents on the front that serve a rectangular tunnel inside the chassis with a fan on the rear to pull air through. The output transistors are mounted on the outer surface of the tunnel, and this serves to keep them cool. This is quite unique.

The included remote control is styled in the same way and has a plethora of buttons to keep you busy.

You can also download an app that will let you use your phone or tablet to control both the preamplifier and power amplifier. To do this, you need to connect the CAN-BUS jack on the rear panel of the two components together (an Ethernet cable works for this) and connect the ETHERNET jack on the preamplifier to your home network. If you need wireless connectivity, use a wireless bridge to convert a wi-fi connection into a LAN connection for the preamp.

CLASSE DELTA PRE STEREO PREAMPLIFIER AND DELTA STEREO POWER AMPLIFIER SPECIFICATIONS

Classé Delta PRE Stereo Preamplifier

GAIN:

–93 dB – +14 dB

DSP (ADC/DAC) is applied to analog inputs when tone and/or EQ are enabled. No DSP is applied if no tone or EQ is enabled.

INPUT IMPEDANCE:

50 kOhms

OUTPUT IMPEDANCE:

50 Ohms

MAXIMUM OUTPUT:

9 V RCA, 18 V XLR

FREQUENCY RESPONSE:

5 Hz – 90 kHz (2 MHz when in Bypass Mode)

HARMONIC DISTORTION:

0.0015%, 20 Hz – 20 kHz (0.0004% when in Bypass Mode)

IM:

0.002% (0.001% when in Bypass Mode)

SIGNAL-TO-NOISE RATIO:

125 dB

PHONO:

MM and MC (0.5 mV)

DAC:

32 bit/ 384 kHz Capable Input

TONE:

0.5 Db Steps

EQ:

Five bands/channel

HEADPHONE OUTPUT:

540 mWatts, 5.6 Ohms Output Impedance

DIMENSIONS:

Width: 17.5” (44.5 cm), Length: 17.5” (44.9 mm) (including connectors), Height: 4.75” (12.1 mm)

WEIGHT:

29.8 pounds (13.5 kg)

MSRP:

$9,999.00 USD

Classé Delta STEREO Power Amplifier

CONTINUOUS POWER OUTPUT PER CHANNEL (0.1% THD+N 1 kHz):

12.5W / 8Ω delivered in pure class A operation 250W / 8Ω 500W / 4Ω 350W / 2Ω

FREQUENCY RESPONSE:

1 Hz – 650 kHz, Minus 3 dB

HARMONIC DISTORTION (500 kHz Bandwidth, 25 V):

<0.0016% at 1 kHz <0.002% at 10 kHz <0.003% at 20 kHz

INPUT IMPEDANCE:

82 kOhms

INTERMODULATION DISTORTION (IM):

<0.0018%

DIMENSIONS:

Width: 17.50 in (44.4 cm) Depth: 19.37 in (49.2 cm) Height: 8.74 in (22.2 cm)

WEIGHT:

102.3 Pounds (46.4 kg)

MSRP:

$12,999.00 USD

Website:

http://www.classeaudio.com

Complete Specifications for Preamplifier (click on photo to see larger version)

Complete Specifications for Power Amplifier (click on photo to see larger version)

Design

The Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier are fully balanced, with the preamplifier being a Pure Class A design at all output levels. They are balanced from input to output, and even if you use one of the RCA unbalanced inputs, the signal is converted to balanced for the complete signal path.

The power amplifier has 12.5 watts of Class A bias, with the remainder being Class A/B. Twelve watts is in the range of normal listening levels.

The internal structure of the preamp has an input buffer followed by a volume control stage that is equally a Class A output stage. Depending on the input selected, the input buffer is replaced by a phono stage or by the DAC if the source is digital. Therefore, a minimal number of stages are in the signal path. Analog input signals that have the tone controls and/or EQ bands added, use a buffer and ADC in the signal path.

The driver and output stages in the power amplifier are push-pull with 16 Lateral MOSFET output devices per channel (8 per push-pull leg). The power supply has several hundred thousand µF of capacitance, and that is very important to the dynamic range performance.

In the preamplifier, an ASRC (Asynchronous Sampling Rate Converter) upsamples the incoming digital data to either a 44.1k or 48k multiple. Jitter is reduced through the intrinsic workings of the ASRC. However, due to the fact that the digital data may pass through other switches and digital processing, such as Sigma DSPs and delay lines, Classé decided to use a re-clocking circuit right before the data enter the DAC. The DAC consists of eight DAC chips in a quad-balanced configuration in the analog output stages.

The rear panel of the preamplifier is shown below. Click on it to see a larger version so you can observe all the inputs and outputs. Everything you might need is there.

Here is a closeup of the optional HDMI card that was on my review unit.

It has four HDMI inputs that are capable of passing 4K video. There is one HDMI output that you connect to your TV. For me, the inputs go to my cable TV box, a ROKU streamer (for streaming from sources like Netflix, Disney, Hulu, Tubi, Peacock, etc.), a Google Chromecast box (lets me send video on my phone to my TV wirelessly), and my 4K disc player. This simplifies things a great deal since the TV just works with the one HDMI input cable. A future hardware update will let you pass 8K.

The DAC is capable of processing up to 32 bit, 384 kHz sampling digital input signals.

The phono input is MM and low-voltage MC-capable with picofarad and Ohm settings for the load. MC and loading are rare in preamplifiers. You usually find these only in stand-alone phono preamps.

The rear panel of the power amplifier is shown below.

You can see that the speaker binding posts are huge. There are two pairs per channel which let you bi-wire if you choose. There is also an Ethernet connector and trigger jack which lets you automatically power on the amplifier.

Here are some screenshots of the front panel where the menus are shown (click on it to see a large version).

There are some features that I have not touched upon, and you can see them described in the downloadable user’s manual.

In Use

For this review, I utilized a VPI HRX turntable, Sumiko Starling phono cartridge, Otari MX-5050B-III-2 Reel-to-Reel Tape Deck, AURALiC ALTAIR G1 Digital Audio Streamer, OPPO BDP-105 Disc Player, Sennheiser HD 660 Headphones, and Sonus faber Lilium Speakers. Also in use were Clarus Crimson Audio Cables, and a Clarus Concerto Power Conditioner with Crimson Power Cable.

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Complete List of Reference Components: OPPO BDP-105 Universal Player (4), OPPO UDP-205 Universal Player (2), VPI-HR-X Turntable with Sumiko Starling and Palos Santos MC Cartridges, Otari MX-5050B-III-2 Reel-to-Reel Tape Deck, AURALiC ALTAIR G1 Digital Audio Streamer, Manley Labs Steelhead Tube Phono Preamplifier (2), Balanced Audio Technology VK-5i Pure Class A Triode (Tube) Stereo Preamplifier (2) (Fully Balanced), Balanced Audio Technology VK-500 Solid State Stereo Power Amplifier (Fully Balanced) (250 Watts per Channel), Pass Labs Xs Stereo Preamplifier, Pass Labs XP-20 Stereo Preamplifier, Pass Labs XP-27 Phono Preamplifier, Pass Labs Xs 300 Monoblock Pure Class A Power Amplifiers (2) (300 Watts/each), Parasound JC 1+ Monoblock Power Amplifiers (2), Lamm LL1 Signature Stereo Pure Class A Triode (Tube) Preamplifier, MartinLogan CLX Full-Range Electrostatic Speakers (2), Sonus faber Lilium Speakers (2), Paradigm Reference Signature SUB 2 Subwoofers (2), Custom-Built Computer for Audio Analysis, Accupel HDG-3000 Digital Color Signal Generator (1080i capable), Component Video and DVI Output, ColorFacts Pro Video Test and Calibration Software, Version 6.0, Spyder Sensor, SpectraPlus Audio Analysis Software, Audio Precision SYS-2722 Spectrum Analyzer, Staco 3PN2210B-DVM 22 Ampere Variable Transformer (for adjusting line voltage to 120 volts during amplifier power output tests), Classé SSP-800 Surround Sound Processor, Emotiva XMC-1 Surround Sound Processor, Classé CA-5200 Five-Channel Power Amplifier (200 Watts per Channel), Pass Labs X600.8 Power Amplifiers (4) (600 Watts/Each), Audio Control Phase Coupled Activator (Sub-Harmonic Generator), Carver Platinum Mark IV Ribbon Speakers (2), MartinLogan Summit X Hybrid Electrostatic Speakers (2) (Rear Left/Right), MartinLogan Stage X Hybrid Electrostatic Speakers (3) (Center and Sides Left/Right), MartinLogan Balanced Force 212 Subwoofer, Velodyne DD-18+ Subwoofer (3), HiFiMAN HE1000 Planar Magnetic Headphones, OPPO PM-1 Planar Magnetic Headphones, Sennheiser HD 660S Headphones, OPPO HA-1 Headphone Amplifier, Bryston BUC-1 USB Converter, Sony VPL-HW55ES 1,920 x 1,080p Digital Projector, 90″ (Diagonal) Stewart Grayhawk Projection Screen, Sony 75″ UHD (4K) Flat Panel Display, Clarus Audio Cables, Clarus Concerto Power Conditioner with Crimson Power Cable.

Music – Art Pepper meets The Rhythm Section – Vinyl

This has become one of my go-to albums for audio component reviews because it is my favorite classical jazz album. I have it in vinyl re-issue, CD, DSD, and streaming. I used the vinyl here.

I immediately noticed incredible detail that the Delta components delivered. This is due to distortion being so low. Sometimes there can be too much detail with a component, which usually means there is a bit of noticeable distortion with leading-edge transients. That is not the case with the Deltas. It was just detail, pure and clean. The sound was also very warm, and I thought that perhaps there might be some even-ordered harmonics in the main preamplifier or phono preamplifier, but the bench tests proved otherwise.

Music – Alessandro Piccinini Lute Music – Streaming

Another good album to test the presence of detail, Mónica Pustilnik plays the lute with a great but tender expression and is hugely musical and entertaining. Here, as with the Art Pepper album, detail was not obscured with edginess but was very clean. The leading edges of the plucking of the strings were crisp but not unpleasant. I continue to be very impressed with the quality of digital music from streaming over the Internet. It certainly seems to be the future of music, vinyl and reel-to-reel resurgence notwithstanding.

Music – Norah Jones: Come Away with Me – CD

This is one of my wife’s favorite albums, and it is certainly a good one for listening to the human voice. I would like to get it on the reel-to-reel tape version, but it is too expensive for me ($450).

Norah sounds great on any source version, and through the Classé Deltas, she sounds magical. Warm, sweet, compelling. I had to get up and fix myself a hot chocolate while this was playing. Too good to just sit and listen.

Music – Stan Getz Quintet – Reel-to-Reel Tape – International Phonograph, Inc. – IEC EQ

I used the XLR line outputs from my Otari MX-5050B-III-2 deck into XLR inputs on the Delta preamp.

This is my first product review where I used Reel-to-Reel (RTR) tape as a music source. It was recorded by International Phonograph, Inc originally and the consumer tapes are made by copying a copy of the original master at 15 IPS. There is no digital intermediate step. Analog all the way. Some tapes are made with digital intermediates, and some are made from digital masters, usually DSD. To me, having digital in the signal path somewhere between the master and the consumer tape negates the reason for listening to tape. If I want digital in there, I will buy a CD or DSD download. Digital adds artifacts that cannot be removed. Even though these artifacts might not be very noticeable, there are there and not acceptable to me as a reel-to-reel enthusiast.

Stan Getz may be the most recognized name in classical jazz, regardless of the instrument, which in his case, is tenor sax.

Analog tape sounds very different from digital recordings, even vinyl that has been cut from analog tape. It is very warm and rich, with fine detail that seems to be missing from digital music.

So, for the low-distortion, low-noise Classé Deltas, tape sounded glorious. Listening with headphones, that fine detail was very apparent. Less so with speakers across the room, but the warmth and intimacy were still there. I plugged my Sennheiser HD 660S headphones into the headphone output jack on the Delta PRE Preamplifier to compare it to the headphone output on the tape deck. They sounded similar. From speakers, Getz’s sax was not quite the same as with headphones, but it still is superior to digital versions.

I think that to appreciate what analog tape can really sound like, you do need components with low distortion and noise. The Deltas deliver that.

After I wrote my notes on the subjective listening, I performed the bench tests, and I added some Tone Control and EQ. Shown below is the frequency response using no DSP which meant that the signal path was analog from input to output (red line). The frequency response with the tone control enabled, but without any adjustment of tones is shown in green. In this case, the signal goes through an ADC/DAC cycle and is rolled off about 0.2 dB above 10 kHz. Also seen are the frequency response using tone controls to add deep bass response below 60 Hz and attenuate high frequencies above 3 kHz to adjust for when playing an IEC tape using NAB EQ (yellow line). This would be the case for tape decks in the USA which only have NAB. My deck has a switch for both NAB and IEC.

Listening to an IEC tape with NAB EQ results in a lack of deep bass and a bit too much high frequencies. This is because the Post-emphasis EQ curve for IEC increases the deep bass and lowers the high frequencies more than is done with the NAB Post-emphasis. This is explained in more detail in my last RTR music tape reviews. I applied a small amount of EQ in between 70 Hz and 80 Hz to lower some resonance that I have experienced with my speakers. I don’t know (yet) if it is due to the speakers sitting on our hardwood floor or perhaps due to their being in corners of the room. The difference in sound that the Tone and EQ that I added masks any difference that the ADC/DAC added on its own, compared to having no ADC/DAC in the signal path. Adding EQ requires addressing the EQ menu and selecting one of the five available EQ bands, selecting a frequency, amount of emphasis or attenuation, and the Q. A high Q will make the tip of the EQ curve sharp, while a lower Q makes the tip flat side-to-side as seen in the 70 Hz EQ trough shown below. You can see the selections for this in one of the menu screen shots shown above, just before the beginning of the In Use section.

Music – Narita – Tatsukin Narita, Violin, Yun-Yang Lee, Piano, UltraAnalogue Recordings – NAB EQ

This RTR tape has piano and violin. Violin is particularly edgy when there is harmonic distortion in the amplification signal path. The Deltas have very low distortion, so the violin sounded fabulous here, i.e., smooth but detailed. This smoothness can result from having low distortion but also from a rolled off high frequency response. The bench test results in this review show the reason.

The five tracks on this tape are “Danse Macabre” by Camille Saint-Saens, “Zigeunerweisen” by Pablo de Sarasate, “Bloch Nigun” by Bloch, “Introduction & Tarantella” by Pablo de Sarasate, and “Meditation” by Jules Massenet, all composed in the late 1800s and early 1900s.

Again, the tape was recorded by UltraAnalogue Recordings, and it is a modern recording, not an old tape from the 1950s or 1960s. It is a copy of a copy of the original master tape. The owner of the recording company builds violins as his main business and records various classical musicians himself. He made the bow for the violinist in this recording.

I am more of a fan of the piano than the violin, but this paring is certainly wonderful. However, the violin “Meditation” track by Massenet is one of my favorite compositions.

Low-level detail is present in this tape as in the IPI tape reviewed above. This detail includes the rustling of clothing. It really adds ambiance that is just not there in digital recordings. This is what I wanted to hear with the Deltas, and it was there.

On The Bench

I bench tested the Delta PRE Preamplifier and Delta STEREO Power Amplifier separately, using XLR inputs where possible, XLR outputs on the preamplifier, and of course, the speaker outputs on the power amplifier.

First, the preamplifier.

I used the default configuration setting which allows tone control and EQ, and I label it No Bypass, meaning that it is not the Bypass configuration setting that does not have tone or EQ capabilities. Except where indicated, I set the Volume control to 0.

At 1 kHz, 1 Volt input, and 1 Volt output, distortion was 0.00058%. One Volt represents 0 dBV, which is shown on the Y-axis. This is extremely low distortion, among the very lowest I have ever measured in a preamplifier. The highest distortion peak was at -115 dBV. The noise floor is at about -138 dBV.

With the tone control enabled, but no tone adjustments added, the ADC/DAC circuit was active, shown below. The noise floor was increased to -127 dBV, and the distortion peaks were about 10 dB higher. Peaks above 7 kHz were buried in the noise floor.

As shown above, the use of the ADC/DAC in the signal path did increase the distortion, but it was still so low as to be inaudible, or nearly so.

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Switching to the Bypass configuration, shown below, the spectrum looks exactly like the Default configuration with no tone or EQ enabled. Therefore, you could use the Default configuration with tone and EQ for certain types of music or particular source, and then choose the Bypass configuration from the remote control when you want a pure analog signal path.

Below is a test using 2 Volts input and the volume control set to minus 14 dB so that the output was 406 mV which is a typical listening level with the standard 2 Volts output from a CD player. This is within the 12.5 Watts of Class A bias. Distortion is low.

Moving on to the 19 kHz, 20 kHz test, shown below, with 1 Volt input, the output drops a bit to 724 mV. The IM peaks on either side of the 19 kHz and 20 kHz peaks are very small.

Enabling Tone adds the ADC/DAC, shown below. The peaks on either side of the 19 kHz, 20 kHz peaks are about 8 dB higher, but the peaks out at around 38 kHz and 46 kHz are the same height. The noise floor is about 10 dB higher.

For the standard IM (Intermodulation Distortion) test using 60 Hz and 7 kHz sine waves, shown below, IM was 0.00064% with 1 Volt in and 852 mV out. This is extremely low and a superb result.

With Tone enabled but no actual tone adjustments made, the noise floor went up as expected, and the measured IM increased to 0.00291% which is still an excellent result.

In the Bypass configuration, the result was identical to the Default configuration with no Tone enabled.

Let’s look at THD+N vs. Frequency, using 1 Volt in and 1 Volt out, shown below. The red line is the result with no Tone enabled, and the green line is with Tone enabled. With no Tone, distortion stays below 0.001% all the way up to 50 kHz, while with Tone enabled, it is below 0.004% up to 20 kHz.

THD+N vs. Output Voltage is shown below, no Tone enabled in red and Tone enabled in green. Distortion is higher at very low voltages due to the noise floor remaining the same, which makes the measurement value higher. It is best at about 2 Volts output. Clipping occurs with the ADC/DAC enabled (Tone enabled) at 5.7 Volts output.

The spectrum shown below is the same one I showed in the In Use section. It indicates the effect of Tone and EQ adjustments that I made, which activated the ADC/DAC. This was for the purpose of listening to IEC EQ tapes using a deck that has NAB EQ. However, I would have to put aside my rejection of any digital signal processing in the audio path from the tape mastering to the speakers when using this Tone and EQ configuration. It is an alternative. In the mood: turn it on. In a purist mood, turn it off. Having the choice makes it more palatable. One can save the “Tape with DSP” as a configuration and just select it when desired.

A Hum Spectrum is shown below with the test signal (1 kHz sine wave) on. There are no 60 Hz and its harmonics peaks.

With the test signal off, shown below, the noise floor dropped below -140 dBV. Superb.

Here we begin the tests on the Delta PRE Preamplifier’s DAC. I used the digital coax input. First, 1 kHz at 0 dBFS. 16/44.1 sampling. Output was nearly 4 Volts. Distortion was a low 0.0022%.

With 24/192 sampling, the distortion peaks are somewhat higher, but the measured value, which includes the lower noise floor, is 0.0007%.

In the figure below, I added 532 psec (picoseconds) of 1 kHz sine jitter to a 10 kHz sine wave test signal. As you can see, there are no jitter peaks at 9 kHz or 11 kHz. This means the Delta PRE Preamplifier’s DAC rejects jitter. I asked Classé if the DAC uses a re-clocking circuit, and they said yes. What this means is that with the USB digital input from a computer, which normally has a lot of jitter, that jitter will be removed.

The same thing occurs with 24/192 sampling, shown below. So, the Delta PRE Preamplfier’s DAC is really excellent. Definitely Audiophile-Grade.

Here is the DAC’s linearity test. At 16/44.1 sampling, it is linear to -97 dBFS, while at 24/192 sampling, it is linear to -114 dBFS.

Here is the Frequency Response, shown at 16/44.1, 24/96, and 24/192 sampling, -5 dBFS input, 2.31 Volts output. In all cases, the response begins to drop off at 5 kHz and is down 0.2 dB at 20 kHz. At 50 kHz, the response is down 0.9 dB. The smoothness in sound quality that I mentioned in the In Use section is a result of low distortion rather than a rolled off high frequency response since being down only 0.2 dB at 20 kHz would not be enough to smooth out the sound.

Back to analog signals, here is the phono preamplifier performance. First, the Frequency Response using the MM input with a 200 pF (pico-Farads) load. The response is within 0.3 dBr from 20 Hz to 50 kHz.

Below is shown the spectrum with a compressed Y-axis, and the response with (flat line) and without (curved line) Pre-Emphasis RIAA curve applied. You can see that the Post-Emphasis curve which the Delta PRE Preamplifier applies is exactly as it should be, 20 dB increased at 20 Hz, and 20 dB attenuated at 20 kHz.

Using the MC input configuration with a 330 Ohms load, the response is again within 0.3 dB out to 50 kHz.

Notice that the response is higher in the midrange than at either end. This is what gives the warm vinyl sound that I heard.

OK, let’s go to the Delta STEREO Power amplifier, and start with 1 kHz and 2 Volts output. Distortion was 0.0056%.

Increasing the output to 20 Volts, THD+N was still very low, at 0.0009%. This is at 8 Ohms load (50 Watts). Some of the lowest I have ever tested. Combine this with the low distortion of the Delta PRE Preamplifier, and you get superb detail and clarity, which is exactly what I heard in the listening tests.

With a 4 Ohms load, 2 Volts output yielded 0.006% THD+N.

And at 20 Volts output with the 4 Ohms load, 0.0015% THD+N. Very low.

The 19 kHz, 20 kHz test also yielded excellent results, first at 2 Volts output into 8 Ohms

… and at 20 Volts output into 8 Ohms. There are only four side peaks on either side of the 19 kHz and 20 kHz test signal peaks.

Using a 4 Ohms load and 2 Volts output, side peaks are few.

At 20 Volts output into 4 Ohms, side peaks increased to seven.

Here is the standard IM test at 2 Volts output into 8 Ohms. IM was 0.0023%. Excellent.

At 20.5 Volts output into 8 Ohms, there are more peaks, but the total measurement is lower, at 0.0011%. This is because the measurement is logarithmic, meaning the IM peaks at -90 dBV are less, compared to the dBV Voltage at 20.5 Volts than the peaks at 2 Volts output.

With a 4 Ohms load and 2 Volts output, shown below, IM was 0.0034%, a bit higher than at an 8 Ohms load.

And at 20.5 Volts output into 4 Ohms, IM was 0.0015%.

Here is an oscilloscope view of a 20 kHz waveform, using dBr instead of Voltage. The red spectrum is at 29 Volts output (105 Watts) and the green spectrum is at 43.47 Volts (236 Watts), both into 8 Ohms. You can see that the waveforms are very smooth, and the 236 Watts spectrum is near the rated output. The curves represent both the positive and negative voltage swings in dBr next to one another.

Here is the spectrum for a 4 Volts load. The yellow line is with 20.23 Volts output (102 Watts), the red line at 30.39 Volts output (231 Watts), and the green line at 34.73 Volts output (302 Watts). Again, they are very smooth.

Expanding the X-axis, you can see how smooth they really are.

Shown below is THD+N vs. Frequency at 8 Ohms load, 2 Volts, and 20 Volts output. At 2 Volts output, it stays below 0.006% all the way out to 50 kHz, and at 20 Volts output, it is low at low frequencies, and at 20 kHz, it is only 0.024%.

With a 4 Ohms load, distortion stays below 0.007%, and at 20 Volts output, it reaches a maximum of 0.054% at 20 kHz. These are really nice results. Very impressive.

THD+N vs. Power (Watts) Output shows that it meets specifications, with 250 Watts into 8 Ohms regardless of the bandwidth.

At 4 Ohms load, the output is 430 Watts at the specification of 0.1% THD+N. This is lower than spec, but that is due to the wall AC voltage dropping. If the wall voltage is maintained (120 Volts), the specified output will be reached.

Here is the Frequency Response with 2 Volts and 20 Volts output into 8 Ohms load. It is pretty flat out to 200 kHz, with the roll-off beginning at about 38 kHz.

At 4 Ohms, the roll-off begins at about 24 kHz but is still very flat out to 200 kHz.

Conclusions

The Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier are superb. They are two of the best preamps and power amps I have ever tested. I don’t know what else to say except that I hate to see them go. Never ran out of power, never ran out of pleasure listening to them.

Likes

Very low distortion

Massive build

Choice of bypassing DSP

Plenty of power

Reasonably priced vs. very high quality

Would Like To See

Can’t think of anything

Well, maybe a heating pad for my back from lifting the power amplifier

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Wells Audio Dragon Headphone Amp Preview

How much difference can a headphone amp make to your listening?

Should it be the proverbial ‘straight wire with gain’, or should it shape the sound and add something positive to it? Those were the questions I had when I encountered the Wells Audio Dragon headphone amp. It’s a large device – a hybrid solid-state and tube amp with a large transformer.

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I listened to pure analog music and a lot of high-resolution digital recordings to see how it fared and compared it to other tube and solid-state headphone amps. My conclusions are in my upcoming Dragon review here at Secrets of Home Theater and High Fidelity.

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HIFIMAN HE400se Planar Magnetic Headphone Preview

HIFIMAN has had a few different HE400 model headphones in their lineup for quite some time now.

Each has been at a slightly different price point but not higher than $499.00 placing the 400 series at the more approachable end of the scale. The HE400se we have in for review retails for $149.00 which makes it HIFIMAN’s most affordable headphone to date. And for that very reasonable price, it seems to have a whole lot going for it.

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I know I’ve brought this up a few times in the past, but it still just amazes me how far planar magnetic headphone technology has come and how affordable it is to sample these days. Just a few short years ago $300.00 – $500.00 was considered the entry-level for a pair of planar magnetic cans and we all thought, at the time, that was a very affordable entry point. And yet here we are today, looking at a pair of planar magnetic headphones for $149.00! It’s really kind of astonishing when you think about it. The first question that someone will likely ask is “Well, are these $150-dollar HE400se any good? I mean what can you expect to get for that kind of price?” I’m here to tell you, quite a lot! Two things that HIFIMAN is known for are constantly updating their products with new features and design improvements and then eventually trickling down much of their higher-level tech to the more affordable models. If you are interested in a very affordable pair of audiophile headphones, then I suggest you keep an eye on the Secrets website where my full review of the HIFIMAN HE400se headphones will soon publish.

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Introducing the all-new Zeppelin The Beauty of Sound

Bowers & Wilkins re-imagines the Zeppelin for the streaming age

First introduced in 2007 as the ultimate iPod dock, the Zeppelin is reborn in 2021 better-sounding, better-looking and smarter than ever. The new Zeppelin has been re-imagined for the streaming age. It’s now both smarter and more flexible, while its high-resolution sound is more detailed and dynamic than ever.

Distinctive, innovative design For over 15 years, each new generation of Zeppelin has been the only truly beautiful and unique design in its class – and, like every Bowers & Wilkins design, its shape is defined by acoustics. The new and completely redesigned Zeppelin is available in two finishes, one dark (midnight grey) and one light (pearl grey) and now includes switchable, dimmable ambient lighting to create a ‘halo’ lighting effect on to its metal pedestal stand.

Engineered for performance The new Zeppelin is a complete stereo system in one component, featuring dedicated left and right speaker assemblies around a central, large subwoofer, all powered by 240W of amplification. Those premium components are mounted in an ultra-rigid, FEA-optimised enclosure that is carefully sculpted to ensure the best possible acoustic performance, with minimal material around the edges of each drive unit for outstanding sound dispersion. The result is room-filling stereo sound no single-box rival can match.

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The new Zeppelin’s two Decoupled Double-Dome tweeters – originally featured in the award-winning 600 Anniversary Series – are mounted at the far edges of the enclosure and are fully isolated from vibrations running through the cabinet generated by other, larger drive units. This ensures a wide, spacious and highly accurate sound.

The tweeters are paired with 90mm midrange drivers using Bowers & Wilkins proprietary Fixed Suspension Transducer (FSTTM) technology – found in all the company’s premium floor-standing speakers, including the reference 800 Series Diamond, the monitor speaker of choice for Abbey Road Studios.

Finally, a new 150mm subwoofer is on hand to add deep, detailed and refined bass to the open, high-resolution sound of the combined system. Mounted centrally at the heart of the Zeppelin’s structure, its design is carefully optimised to avoid unwanted ‘rocking’ of the cabinet as it operates, resulting in a cleaner-sounding and more agile bass delivery.

Every generation of Zeppelin has been the best-sounding system of its era. The new Zeppelin, by combining proven drive unit technology with its new high-resolution streaming platform, is simply the best yet. The overall result is an exceptional musical performance whether from a wirelessly connected source or via a streaming service.

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The Music You Love, Instantly If you want to stream music from your mobile device, tablet or computer, the new Zeppelin includes both AirPlay 2 and aptX Adaptive Bluetooth, making it suitable for both iOS and Android users. Spotify fans can enjoy the convenience of Spotify Connect, ensuring both high-quality sound and convenient, easy operation. And best of all, the new Zeppelin can also be controlled via the Bowers & Wilkins Music App, which gives instant access to a host of streaming services including Deezer, Last.fm, Qobuz, Soundcloud, TIDAL and TuneIn. More services are being added regularly.

Connected, Smart, Intuitive The new Zeppelin offers Alexa built-in: no need for any external components. Simply ask for the song you want to hear, and your Zeppelin will oblige. If you prefer, your Zeppelin can be operated by physical buttons on the top rear of its elegant enclosure.

Finally, the new Zeppelin has been engineered to last. Its powerful digital ‘brain’ can be upgraded over time, with multi-room capability planned for introduction in early 2022. That will make the Zeppelin compatible with both other new Zeppelins in a multiroom environment or, if you prefer, a multiroom system based on Bowers & Wilkins own Formation range of high-resolution wireless speakers.

The Beauty of Sound So, the Zeppelin is reborn, better than ever in every regard. With the new Zeppelin, you no longer have to choose between a fully featured wireless speaker with the streaming services you need and a sleek, sophisticated design with the room-filling sound you want. Now, you can have both.

The Zeppelin is available from October 13, 2021 in Midnight Grey or Pearl Grey from $799.00 USD.

About Bowers & Wilkins Bowers & Wilkins, founded in the U.K. in 1966, has been at the forefront of high-performance audio technology for more than 50 years. It designs and manufactures precision home speakers, headphones, custom installation and performance car audio products that set new standards for innovation and sound quality, earning countless awards and accolades from the world’s leading recording studios and musicians. Bowers & Wilkins’ reputation is based on the unwavering pursuit of the best possible sound and an unsurpassable music listening experience. Bowers & Wilkins joined the Sound United LLC family of brands in 2020.

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