Τα καλυτερα απο το Home Theater Magazine

[ΑΝΔΡΕΑΣ Κ.]

Oi εκδοτες του Home Theater Mag ανακοινωσαν τα εφετινα βραβεια RAVE(Recognition of Audio and Video Excellence) με βαση τις κριτικες που ελαβαν τα προιοντα αυτα στο περιοδικο.

Και οι νικητες ειναι:

Product of the Year:
Definitive Technology Mythos Four Speaker System

Best High-End Speaker System:
Krell Resolution 2 Speaker System

Best Midrange Speaker System:
B&W LCR6000 S3 Speaker System

Best Entry-Level Speaker System:
Paradigm Cinema 70 v.2 Speaker System

Best Entry-Level Projector:
Optoma H30 DLP Projector

Best Overall Projector:
Sharp XV-Z12000 DLP Projector

Best Flat-Panel Display:
Panasonic TH-42PX25 Plasma HDTV

Best Source Component Under $500:
V, Inc. Bravo D2 DVD Player

Best Source Component Over $500:
Meridian G98DH DVD Transport

Best Amplifier Under $3,000:
Cary Audio Cinema 7 Amplifier

Best Amplifier Over $3,000:
Lexicon CX-7 Amplifier

Best Pre/Pro Under $3,000:
Adcom GTP-880 Pre/Pro

Best Pre/Pro Over $3,000:
TacT Audio TCS mkII Pre/Pro and Room-Correction System

Best Receiver Under $1,000:
Yamaha RX-V2400 A/V Receiver

Best Receiver Over $1,000:
Rotel RSX-1067 A/V Receiver

Best Rear-Projection Display:
JVC HD-61Z575 D-ILA HD Monitor

Best Home-Theater-in-a-Box System:
KEF KIT100 Instant Theatre

Best Convergence Product:
Creative Labs Sound Blaster Wireless Music System

Best Custom Product:
PSB CustomSound CHS 80 Speaker System

DVD Awards

DVD of the Year:
The STAR WARS Trilogy (Fox)

Best Video:
Once Upon a Time in Mexico (Columbia TriStar)

Best Audio:
Master and Commander: The Far Side of the World (Fox)

Best Bonus Features:
The Alien Quadrilogy (Fox)

Best Restoration:
The Good, the Bad and the Ugly Special Edition (MGM)

Best Animation DVD(s):
Walt Disney Treasures (Buena Vista)

Τωρα να υπηρχε και κανενα καλο παιδι να περνουσε και καμμια φωτο....

 

[Giovanni Dimitropoulos]

Product of the Year:
Definitive Technology Mythos Four Speaker System

So I was chatting with Paris Hilton the other day about some arcane aspect of cosmic string theory (OK, all aspects of cosmic string theory are arcane to me) when it suddenly hit me: The slender, silvery beauty of Definitive Technology's Mythos speakers might actually be a drawback. I was so disturbed by this realization that, using ancient Latin with such eloquence it would have brought tears to Cicero's eyes, I cancelled our date to go shopping for the latest opera releases on SACD, returned the new issue of Foreign Affairs that I'd borrowed from her, and headed home to drink a seaweed-and-algae smoothie while meditating on the problem.

There's simply no doubt about it. The Mythos speakers that Def Tech sent me for review—floorstanding Mythos Fours for the mains, a Mythos Three for the center, and a pair of never-before-seen-by-normal-humans Mythos Gems for the surrounds, plus a SuperCube II subwoofer—were drop-dead gorgeous. I'm talking stunning, can't-get-them-out-of-your-mind, wouldn't-kick-them-out-of-bed-for-eating-Limburger-cheese-and-Wassa-crispbread gorgeous.

The Mythos Four exudes class and style as it presses upward from its elegant glass base. It soars toward the ceiling like a refined cathedral spire built to appease the gods of great sound and stylish décor. The sylphlike horizontal Mythos Three rested lightly atop my TV, looking for all of the world as if it were only temporarily reclining and might, at any moment, choose to soar upward, as well. The Mythos Gems, about as perfectly proportioned as tiny speakers can be, beckoned from their perches in the back of the room.

There's no law of physics nor any pending Constitutional amendment that I'm aware of declaring that speakers must look average at best and toad's-butt ugly if at all possible. But our collective puritanical background subconsciously forces most red-blooded Americans to be highly suspicious of any component that even has a whiff of style about it (Apple's iPod being a giant—or, more accurately, a tiny—exception to the rule). Our feelings run much the same with people. Geeky nerds aren't expected to be the best dressed guys at the lunch buffet; and, well, I don't really think Paris Hilton reads Foreign Affairs, either.

Some misguided people are going to dismiss these Mythos beauties as just another collection of pretty faces with no substance to them—and they'd be wrong. Stultifyingly wrong. If Def Tech had just jumped on the rapidly moving lifestyle bandwagon and simply crammed a few basic drivers inside a cabinet cosmetically tailored to appeal to the flat-panel TV-buying crowd, then none of this would matter. The fact is that, while Def Tech most admittedly designed these speakers around a contemporary cosmetic concept, they also used their engineering prowess to breathe silky sonic life into their creation.

No Peaking
Here's an example of what I'm talking about. Def Tech engineered the Mythos Fours, Threes, and Gems (plus the Mythos Twos, which the company sent me before they had a pair of Gems ready for me to listen to) with the intention that there would be a subwoofer in the system, so there's no midbass peak designed into the speakers. Some manufacturers use this trick to fool the listener into thinking there's bass where there is none. In addition to detrimentally altering the sonic balance, such a peak makes it more difficult to smoothly integrate the speakers with a subwoofer.

That's a rather bold step because, if you put these speakers on a demo wall in a store and compare them with another speaker that's been voiced with a peak in the midbass, your first reaction is likely to be that the Mythos are a little thin and weak, rather than highly accurate and neutral. But, here again, your thinking would be going in the wrong direction. Add a subwoofer, such as the SuperCube II, and—like a rich socialite with a dark past—these mild-mannered, highly refined beauties turn into adrenaline-pumping, take-no-prisoners competitors that will eat for lunch (belch included) just about any other system in the price range.

The system's blending of bass and beauty is quite astounding. I've rarely run into a combination where it was so easy to match the subwoofer to the speakers—or a combination that sounded so natural together. It's as if they were made for each other (which, now that I mention it, they were).

If you've long been a fan of Def Tech's bipolar speakers, this Mythos system has a slightly different sonic character than you might be used to, largely because the Mythos speakers feature a forward-radiating design, not a bipolar one. As a result, the soundstage isn't as big as that of the larger bipolar towers. There's something here that's equally as appealing, though. The Mythos are so intimate in their imaging and precise in their reproduction that they create a sonic portrait with such subtlety and sincerity that, if you could somehow freeze forever such an audible moment, it would be worthy of hanging in the Louvre.

The cabinets' narrowness, the lack of parallel sides, the excellent internal damping, the PolyStone mineral-filled polymer front baffles, the specially annealed aluminum dome tweeters with silk surrounds, and the Medite planar bass radiators that refuse to let midrange frequencies bleed into the room combine to provide the unfettered, thoroughly unencumbered lightness of being a Mythos speaker. But what it really boils down to is this: How do these slender silos sound when you plunk them on the floor or pop them on the wall next to your plasma? In a word: three-dimensional and thrilling. Well, that was three words, but you get what I mean.

Strong yet Subtle
The underlying nature of the Mythos Fours, Threes, and Gems (which, by the way, also fared quite well as main speakers when I paired them with the SuperCube II subwoofer) is a subtle sweetness and unerring accuracy. The sonic blend of the bass with the midrange vocals, guitars, and harmonica on Blues Traveler's Truth Be Told DVD-Audio disc is a great example of this; at the same time, the ensemble flawlessly reproduced the maniacally defined antics found on Chesky's Musical 5.1 Surround Show SACD. In fact, if you don't think these speakers have what it takes to run with the ugliest but best sounding speakers in the price range, listen to "Music for Cello, Helicopter and Cars" on the Chesky disc. If the system is dialed-in properly, it'll change your opinion of how good a lifestyle product should be.

All of the aspects that make music sound so good achieve similar results with movies. Master & Commander was much more than I bargained for with this system—especially early in the movie, when you're lulled into calm by the creaking of the ship and the breaking of the waves just before a hell storm of canon shots is released. These Mythos are no passive wallflowers, let me tell you. Seabiscuit, a much less rambunctious movie that relies on subtlety of sound and narration as a large part of its story, was just as engagingly portrayed and just as enjoyable.

Hopefully the Mythos are an early indication of a paradigm shift in the way manufacturers and consumers think about how products should perform and fit into our lives. I, for one, am certainly ready for this shift. Even if other manufacturers don't follow Def Tech's lead, this system is still a mighty fine-sounding and damn good-looking group of speakers.

Highlights
• Mythos beauty is more than skin deep
• Gems utilize wide-dispersion bipolar array
• Music and movies are equally stunning

 

[Giovanni Dimitropoulos]

Best High-End Speaker System:
Krell Resolution 2 Speaker System

Krell's new Resolution Series speakers are all about pure hedonistic pleasure. Think of them as the speaker equivalent of a fire-breathing, 500-horsepower Dodge Viper SRT/10. But hold on a sec: The Resolutions are more than an exercise in brute force engineering. Their manifest also includes incredible precision, hyperclarity, and ultra-low distortion. Forget the Viper; the Resolutions are closer to a Porsche 911 GT3.

The Resolution Series handily sidesteps a classic dilemma: what components to use when testing speakers. Since Krell builds electronics and source components, I could use an all-Krell system to duplicate the sound that Krell's founder and CEO Dan D'Agostino heard when he designed the speakers. Synergy was assured.

It Begins with a Crossover
I can attribute a big part of that synergy to the Resolution Series' crossover networks. D'Agostino initially practiced the fine art of crossover design years ago when he engineered crossovers for B&W and MartinLogan's flagship models. He sees the crossover as the interface between the power amplifier and speaker. For these speakers, he selected extremely high-current/

high-voltage components, just like the ones found in Krell's powerhouse amp. On the other hand, the Resolution crossover's flat, easy-to-drive impedance curve won't stress even the most modestly endowed amps when the playback levels turn fast and furious. It's a crossover that any amplifier could love.

The Resolution 2's curvaceous wooden cabinet was an imposing presence in my theater. Moving its 140-pound mass around my room was definitely a two-person job. The Resolution 2 has a 1-inch tweeter, a 6.5-inch midrange, and two 8-inch woofers. The speaker's three separate crossover boards—one for the woofers, one for the midrange, and one for the tweeter—are based on the three crossovers tucked inside Krell's standard-bearing $37,500 LAT-1 speaker.

The Resolution C center channel will unflinchingly keep up with the Resolution 2s. The C's driver complement includes twin 8-inch woofers, a 4-inch midrange, and a 1-inch tweeter in a sealed cabinet. The appellation "full-range" is routinely applied to all sorts of lightweight poseurs, but this time it's for real; the Resolution C claims to reach all the way down to the 40-hertz range. It's not shielded, but I can't imagine anyone putting this 90-pound behemoth on a Sony Trinitron TV.

The Resolution 3 two-way monitor has a 1-inch tweeter and an 8-inch midbass driver. It's no bookshelf speaker; it feels a lot heavier than its purported 45 pounds. You'll need a serious set of stands to properly support these beauties.

The Resolution Subwoofer is unique on a number of counts. First, Krell subs are the only subs you can buy that are powered by a Krell amp—in this case, a 700-watt Krell amp. The stereo RCA/XLR input and output options rise above the norm. Instead of the usual continuously variable low-pass cross-

over control, the Resolution Sub offers just four discrete settings: 60, 70, 80, and 100 Hz. These filters are available for use as low- or high-pass crossovers; the latter is intended for use with satellites. I'm sure most of you will stick to the sub's crossover bypass and let your pre/pro handle bass-management duties. The Resolution Sub is in the minority, as it is an acoustic-suspension (sealed-box) sub, and that's OK with me. I find sealed subs to have tighter, truer pitch definition than ported designs.

The speakers' inert cabinets are decked out with gorgeous cherry veneers, and their drivers peek through rubber cord "string" grilles. All of the speakers are outfitted with dual sets of WBT's very best speaker connectors. The Resolution 2 and Subwoofer sit on adjustable stainless-steel cone feet; however, if you're worried about gouging your wood or tile floors, Krell also supplies heavy-duty rubber-tipped feet.

Krell Goes to the Movies
My all-Krell support staff included the Showcase processor, amp, and DVD player; the SACD Standard player; and the FPB 350Mcx monoblocks for my stereo listening tests. Sure, I experimented with other components and remained impressed with the Resolutions' sound, but I spent the majority of my time in all-Krell nirvana. Krell components fare best when run via their balanced connections, and I used DH Labs' solid-silver Revelation interconnects. I also used DH Labs' Q-10 biwire silver cables with all of the speakers.

Man, these speakers are fun. As soon as I heard the Rolling Stones' Four Flicks DVD boxed set, I was sold. The Stones sounded absolutely live; I've never heard anything better at home. The sound was miles ahead of what I remember when I saw the band at Madison Square Garden. The Resolution C's charms extend way past merely crafting lifelike dialogue; its unbridled full-frequency response is matched by its wide-open dynamic capabilities. Charlie Watts' drum kit does its business in the center channel; it's almost always reigned in over less dynamically adroit speakers, but the Resolution C gives it room to move. If you ever get a chance to hear the Resolutions, check out "Honky Tonk Women," and you'll see what I mean.

My effects-driven DVDs barely exercised this macho system's moxie. In Chicken Run, the gnashing machinations of Mrs. Tweedy's machine showed the Resolution ensemble's tightly controlled, linear bottom octaves. Never a hint of boom or bloat; just effortlessly deep subterranean bass.

The Main Event: Music
With speakers this good, Miles Davis' tasty Bitches Brew feels even more densely textured and alive. I cranked the hell out of Davis' fiercest bopping boogies and discovered that the Resolutions like to be played loud. When I turned it up again and again, they refused to turn nasty. The sound is extremely neutral, yet it never veered over to coolly analytical. I'll just say that these speakers tell the whole truth and nothing but the truth about the sound of my discs.

At the quieter end of the spectrum, I spent some time with Bob Dylan's Live 1964: Concert at Philharmonic Hall. The solo set is all-acoustic, but the feeling in the air is electric as he previews a bunch of tunes that he'd soon record for Bringing It All Back Home. The Resolutions' soundstage was incredibly wide and deep, with laserlike focus. You know what? SACDs were even more vividly rendered. On Blues in Orbit, Duke Ellington's 1965 recording, I clearly heard the acoustic spaces between the instruments. The Resolutions dredged up a truly extraordinary amount of low-level detail and ambience.

The towering Resolution 2s might be visually or even sonically overwhelming in a smaller room, so I experimented with the Resolution 3s upfront. Yes, the towers' gravitas was scaled back, but this still-heavyweight system will cut the total price down from $21,000 to $17,000. That said, I consider the complete Resolution 2/3/C/Subwoofer system to be a relative bargain. It's barely more than half the price of D'Agostino's take-no-prisoners LAT-1 speakers. What surprised me most about the Resolutions was their fluency with music and movies. I'd recommend this system to die-hard audiophiles and hard-core home theater buyers with equal enthusiasm.

After the review, Krell sent some fellows to pick up the system. As soon as the Krells were history, I went through withdrawal. I usually look forward to getting reacquainted with my reference system, but I couldn't stop thinking about the Krells. I want them back!

Highlights

• Krell powered subwoofer
• Audacious style
• Equally fluent with both music and movies

 

[Giovanni Dimitropoulos]

Best Entry-Level Speaker System:
Paradigm Cinema 70 v.2 Speaker System

(δυστυχώς δεν βρήκα μεγαλύτερη..... :roll: )[/quote]

 

[Giovanni Dimitropoulos]

Best Entry-Level Projector:
Optoma H30 DLP Projector

 

[Giovanni Dimitropoulos]

Best Overall Projector:
Sharp XV-Z12000 DLP Projector

 

[Giovanni Dimitropoulos]

Best Flat-Panel Display:
Panasonic TH-42PX25 Plasma HDTV

 

[Giovanni Dimitropoulos]

Best Source Component Under $500:
V, Inc. Bravo D2 DVD Player

SRP: $249
Basic Description

DVD player which plays DVD/DVD-R, VCD/SVCD, CD-DA/CDI-FMV, CD, MP-3, CD-R/CD-RW and supports MPEG-1, MPEG-2, MPEG-4, JPEG, DIVX. 8/16/32/48x fast forward and fast backward. Will output in 480i, 480p, 720p, and 1080i. DVI, component, S-video, and composite video outputs for video, analog RCA, and both coaxial and optical digital outputs. Remote control included. Unit measures 16.9” W x 10.2” D x 2.6” H and weighs 5.5 pounds. 1 year warranty.


Associated Equipment

RCA Scenium HDLP50W151 50” DLP rear projection television, Fujitsu P42VHA30WS 42” Plasma monitor, Marantz DV-4400 DVD player (for comparison), Audioquest and Accell video cabling, Panamax 5300 line conditioner.


Setup

Although the manual that accompanies the D2 is full of color pictures and multiple hookup descriptions, some of the information is not quite correct. The manual states that it is necessary to connect a composite video cable to initially obtain an image, and then, via the setup menu, you can change the output resolution and select between DVI or component, etc. This is not true. There is a button called "TV Mode" at the top of the remote that will allow you to cycle between the various output modes until you get an image. Once you can see what you are doing you can go into the setup menu and set this as the default mode. If you select a particular DVI mode that doesn't work with your TV (which I most promptly did), then you would normally be in trouble. In fact, the manual discusses a procedure to get the unit to return to its composite output state by holding down buttons and pushing a particular code in. This is completely unnecessary once you realize what the "TV Mode" button does.

So after forging ahead with the setup I realized that the DLP television set I was using will not accept a 720p signal via DVI (or anything else). This is unfortunate as its native resolution is 720p. Go figure! 480p and 1080i did work, so I used those modes when testing the DVI output. Later, with the plasma monitor, I was unable to get a fullscreen image with the 480p output even though its native resolution is 480p. Go figure! Isn't this a crazy digital world? With this set the 720p and 1080i modes did work however. I should mention that there is a custom DVI setting menu. If you know about these things then you might be able to adjust parameters like PreHSync, HSyncTotal,VideoWidth, VSyncActive, etc. I didn't mess with it because I was too worried about screwing something up. I had more troubles...

In the manual it states that the YPbPr output is for progressive video. Oh, no! What if you have a television that accepts component video, but doesn't offer progressive capability (i.e. a set that is non-HDTV ready)? Well, never fear. It turns out that the component output will work interlaced as well. You just have to choose between outputting (1) S-video and composite or (2) composite and component. You can forget about using DVI and outputting to another TV, but you weren't planning on doing this anyway, were you?

In the audio realm things were acting strangely as well. From my reading of the manual it seems that if you set the output of the D2 for digital that analog will not work and vice versa. As far as I can tell, setting these options did nothing. I was able to get analog output in either setting and digital as well. I thought it might relate to the decoding, but DTS worked regardless of the setting via the digital output. Hmmm...

Okay. So I finally had a handle on everything and decided it was time to pop in a disc like Akira with a THX Optimizer so I could make all the video adjustments and start looking at some DVDs. The unit offers adjustments for Brightness, Contrast, and Saturation on the DVI output and guess what? They were cranked all the way up! I played with the controls (and by the way if you don't touch a button on the remote they disappear pretty fast) and noted that each adjustment bar made a huge difference. The bars were so coarse that I could only get so close to the proper setting. Luckily, the sets both allowed adjustments on the DVI input for contrast, sharpness, brightness, color, and tint. With the Scenium I was able to tune the TV and get the controls the way I wanted them. The plasma was another matter. When I adjusted the white level the black level was all out of whack and vice versa. Every way I tried (with the controls on the monitor or on the player) I could not get the image properly adjusted according to the test disc. I finally just gave up and watched some video material that looked all right. Just for kicks I tried another DVD player and found that with the component output on this player I had no trouble getting the image properly adjusted. For some videophiles this may be reason enough to pass on this player with certain displays.

The remote was a bit quirky too. It is not backlit and although some of the buttons glow in the dark, the ones that do are not the important ones like play, stop, skip, etc. This was unfortunate, but the main controls are at the bottom of the remote and it was easy to remember what they did. What seemed strange is the fact that there are numbered buttons (just like every other DVD remote), but I couldn't figure out a way to use them. I tried entering 0's, hitting "enter" after the buttons, but nothing seemed to make them work. All the other buttons on the remote worked as they should. On page 6 of the manual it shows a picture of the remote with a description of the keypad as "Number Keys (0-9)." It would have been nice if they told you how to make 'em work!

Just when you thought it was safe to go to the front panel...Hey. Wait a second. There seems to be something missing. Well, actually there are two things missing. The first may seem a bit superfluous but I don't think so. There is no "stop" button. You read correctly. There is reverse and fast forward--apparently those are important, but no "stop." Just in case you are wondering, yes I tried the "open/close" button and sure enough--the tray opened up! There is a "stop" button on the remote, so I guess I could make do. But one thing I seriously missed is no chapter or track number. Even an old DAK CD player I borrowed from a friend back in 1985 had track numbers. How could someone think this isn't important? If you have the TV on you can push "info" and get the chapter information, but it is not on the front panel.

When I left the tray open for a while and walked away and tried to get the machine going again nothing happened. This same thing happened two other times. The remote didn't have any effect and the buttons on the front panel didn't do anything either. I finally just pushed the manual power button on the unit and the controls seemed to work again, but no picture. What was going on? I pushed the trusty "TV mode" button and got picture. I entered the setup menu and, sure enough, all the settings were back to default! How could this be? The unit lost all the settings. I made some adjustments and confirmed that turning off the power lost all the settings. After living with this problem and readjusting everything from scratch I began some Internet searching and found many others who had encountered problems with this unit. I plodded on and was reassured by the fact that this player could upconvert DVDs and play mp3s, photo discs, and divx discs. In my reading I noticed that there was a firmware upgrade. Read on.


Firmware Update

One of the capabilities of the Bravo D2 is the ability to update the firmware on the player. For the hearty computer user this will be a snap. Even for me it turned out to be only a small amount of extra work. The firmware on the player was 1.1.9 and the new update would take it to 1.1.10. The first thing to do was download the update. It is a .iso which means you have to burn the image onto a CD. Your favorite recording software should offer this as an option--mine was an older version of Adaptec CD Creator 5.0 Basic. After burning the CD you need to push a few buttons, hold down another, click a few times on the remote, and viola, updated firmware. Although there is no mention of the actual fixes, I can tell you two things that were changed. For one, the settings now stuck whether the unit was hard-powered off or not. The second was the display settings such as contrast were default in the center positions. Other than that, I can't tell you what else is different. I haven't experienced a lock-up since the firmware update, but who knows if that is just a fluke or not. Only time will tell. At least now I don't have to worry about losing the settings if I do have to turn the hard-power on and off. On to the video...


Additional Description

If you've made it this far, then you must be interested in why this product is worth all this trouble. The reason is pretty simple: flexibility, DVI output, and price.

There have been other units that output DVI, but most of them have either been fairly expensive or mediocre machines at best (with quirks worse than the D2). The purported advantage of the Digital Video Interface (DVI) output is obvious--it's digital. I can hear the vinylphiles scoffing as I write this. If you have a digital display like an LCD, DLP, LCOS, or a plasma monitor that can accept a DVI input, then it is possible to send a direct digital signal from the DVD player without conversion to analog and conversion back to digital inside the television. Theoretically, this should give an visual improvement due to the avoidance of A/D and D/A conversion.

The fact that this machine can play VCDs, SVCDs, and divx (or MPEG-4) is a big plus. You can play movie discs, etc., that were burned in a computer as easy as playing a DVD. The machine will play mp3 music discs and photo discs as well.

Lastly, some of us audiophiles have spent a lot more than $249 on power cords. A friend of mine swears by his D1 (an older model), and lets his son play VCDs of cartoons and the like without worrying about damaged DVDs, etc. Another has combined several DVDs onto one disc so that his daughter can watch her Disney movies one after the other. All just a few of the reasons why this machine is unique.


Viewing, Part I--480p, 720p, 1080i, oh, my!

The first bit of testing I did was to see if I could tell much difference between the different output resolutions offered by this player. For the neophytes: 480i is standard interlaced DVD output, 480p is standard progressive DVD output, 720p is one of the ATSC High Definition standards that is currently used by ABC, and 1080i is what most people think of as High Definition and is used by most broadcasters. All high-definition-ready digital sets will accept a 1080i, so that this output should work on any set. That is the same case with 480p, but on the plasma the 480p signal through the DVI input did not work properly--the image was inset in the center of the screen and was too small. The RCA Scenium set did not work with 720p but possibly the custom DVI configuration menu might have fixed this.

Within a short time I became aware of another limitation of the D2. Although the player has a selection for component video output at 1080i, it did not work. I just got an error message that I couldn't play the disc, so I finally gave up on doing this sort of test. I wasn't too concerned as I really was interested in the DVI performance and not the component. For anyone who doesn't have a digital display and thinks that perhaps they would like to use this player for upconverted component--take heed. This brings up another important issue: Are you gauranteed a better picture by doing upconversion in a player versus using upconversion in the set itself? The answer is: not necessarily. On to the tests.

DVI 480p vs. 1080i. I tried this test first and realized that I couldn't try 720p because it wouldn't work on the DLP. I used chapter 7 from Akira. On the 480p I noticed what looked like combing and some jitter on vertical motion. It looked a little like what deinterlacing errors look like. Colors were rich and vibrant which boded well for the image through the DVI output in general. When I switched to 1080i I thought the vertical motion had improved and clarity was improved and at the same time the image seemed smoother--somewhat of a contradiction, but that is the best way to describe it.

Component 480p vs. DVI 1080i. I continued to use Akira and there were more obvious issues with artifacts especially regarding vertical motion with the component output versus the DVI output. This may vary based on display and depends on the quality of the progressive component output as well. Later I compared the quality of the Bravo with a similiarly priced player by Marantz, the DV4400. But first, I switched over to chapter 2 on the superbit version of Seven Years In Tibet. With the component output the image was slightly soft, but colors were good. With the 1080i DVI output there was more noticeable film grain but improved clarity and depth. On certain scenes it definitely looked more natural than the component output. On this player it is clear to me that the preferred output would be the DVI.


Viewing, Part II--Aspect Ratio Troubles

This player handles 4:3 material by placing the image smack dab in the middle of the 16:9 frame which will work fine for most people. Black bars are on the sides, so if you get freaked out about the possibility of burn-in on your plasma monitor then be warned. The problem begins with older, non widescreen-enhanced movies. Anyone who has had experience with HD material that is in the wrong aspect ratio can empathize--there is nothing you can do unless you happen to have an analog projector with various settings to correct for the error. With digital displays it is a no go. What this means is things are stretched when they shouldn't be and letterboxing looks way too skinny. The only solution is to run this material in the component and then select one of the zoom modes on your television. This should blow up the image to fit in the 16x9 screen shape and make everything look correct. If you have a 4x3 set then there is nothing to worry about anyway.


Viewing, Part III--Comparison with Marantz DV4400

Say you don't care at all about all those extra features that are unique to the D2 (like MPEG-4 playback). How does the unit stack up against a typical progressive scan player with component output? Good question. Let's see...First I calibrated the Marantz using the THX Optimizer on the same Akira DVD. I began the comparison with chapter 11 from The Red Violin. My notes about the image with the Marantz say: "Creamy, colors like velvet, slight softness." With the Bravo I just wrote: "Colors appear richer." Succinct, but yes, it does sum up the difference. The D2 had a way of showing more depth, more vibrant colors in an almost overly rich way. The Marantz was softened by comparison, but very easy to watch--one viewer preferred it, another preferred the D2.

Next was chapter 19 from Gladiator. With the Bravo the colors practically popped off the screen and were more vivid and three dimensional. Still, there was something about the smoothness of the Marantz that made it more film-like. In many ways the D2 looked like digital video and the softer look of the analog component output of the Marantz reminded me more of film. I should note that there was an occasional, repeatable flickering that occured in this scene as the camera panned from right to left in the arena when there was a closeup of the statesmen. It only occured with the DVI output on the DLP set. It did not occur with the component output with the DLP, nor did occur on the plasma with the DVI. I can only surmise it was some strange anomaly having something to do with a strange interaction between the DLP and the D2.

As mentioned previously, I was not able to properly adjust the player to work with the plasma monitor. I didn't bother with any comparison and just viewed a few different scenes with the DVI output set to 1080i. The image looked good, but not really any better than the progressive component output. It may be that with a higher resolution panel the advantages would be more apparent.


Viewing and Listening--Mp3s and MPEG-4

I had an mp3 disc that I had burned a year or so ago. It played fine in the D2. The first screen that comes up when you put in what the player displays as an "ISO CD" lets you select Audio, Video, Photo Pictures, Playlist. The playlist seems to be the same as either the audio or video depending on what type of disc you put in. I didn't try the photo CD capability although I have no reason to think it wouldn't have worked perfectly well.

With the mp3 audio disc the list of songs showed up on the screen once I had selected audio and I was able to scroll down through them and select the song I wanted to play. There is a skip page up and down function that lets you go through 11 songs at once. This particular disc has over 350 songs and they all seemed to be listed. Below, the folder the songs are listed. The song information is not displayed in the display on the D2 itself. You will need to have a separate video display connected in order to see all the choices and select what you want to listen to. Another drawback relates to the number keypad which I was not able to get functioning with the audio discs (CD or mp3) either. It would have been nice to be able to punch in track 237. Maybe this will be available with a future update?

I downloaded some generic videos off the Internet--one was a music video and the other seemed to be an advertisement for a camera system. Both of these played fine and were selectable from the video menu and worked in the same manner as the audio menu. One strange thing however. I'm not really sure, but with my computer there is no problem outputting digital audio with MPEG-4 files. On the Bravo D2 though, there is only analog output.


Conclusion

The Bravo D2 is an interesting machine, but in many ways is still a work in progress. Although its price and feature list are very attractive, the problems and issues might scare some people away. Those who've made it this far through the review should be able to assess whether or not this player makes sense for you. If a standalone DVD product that plays MPEG-4 discs is important then look no further. And for those looking for a way to get a better DVD picture via a DVI output to a digital display for the least amount of money, this product should be at the top of your list. For everyone else under the impression that analog component video is dead, look again. Although there were differences in picture quality between the digital and analog video outputs, the "better" one was not always the preferred one. In any case, this machine offers both so you can compare and decide for yourself. [For those of us who may have thought home audio was complicated and confusing, welcome to home theater!..Ed.]

http://www.audaud.com/audaud/SEP04/component/comp1.html

 

[Giovanni Dimitropoulos]

Best Source Component Over $500:
Meridian G98DH DVD Transport

Meridian Audio Unveil G98 DVD-Audio Transport


Meridian have unveiled details about their G98 DVD-Audio Transport, the latest addition to the company’s G Series range of components. The following is information supplied by Meridian:

Virtually every piece of audio equipment has its own, characteristic sound. But at Meridian, our intention is to represent the original acoustic or studio event as accurately as possible. The characteristic sound of Meridian, therefore, is clear: it’s the real thing. We achieve this sound in many ways, including careful choice of the right components, the right signal processing, multi-layer PC boards, the shortest possible analogue chain, precision digital design and the lowest jitter. Then there are the little things, like using gold-plated connectors throughout.

The G98 DVD-Audio transport plays audio CDs, MP3 CDs, Video CDs, DVD-Video, and DVD-Audio discs. It can decode Dolby Digital, DTS, MPEG, MP3, and MLP data streams to PCM for stereo playback. And it can output Dolby Digital, DTS, and MPEG bitstreams for connection to a surround controller such as the G68, for which the G98 is an ideal companion.

Two versions of the G98 are available, the G98AH with analogue outputs, and the G98DH with digital interfacing, though both have basic digital outputs in addition. The G98AH and G98DH provide fixed-level multi-channel or two-channel audio outputs. They are designed for use with a surround controller with multi-channel analogue (G98AH) or digital (G98DH) inputs. Alternatively, either model can be connected to a pair of DSP loudspeakers to create a complete high-quality two-channel DVD system.

The G98AH and G98DH include a powerful video processor and scaler incorporating both Meridian and Faroudja DCDi® technology, which can simultaneously provide composite and S-video outputs, plus progressive component video and up to 1080i on an HDMI audio/video interface. They provide two composite video, one component video and three S-video inputs, all of which can be routed to any of the video outputs with appropriate scaling. At the heart of the G98 is a high-speed computer-style DVD-ROM drive – the best type of drive to use to ensure accurate data recovery from all types of disc, while providing a stable platform that can be updated in the future, if necessary, to keep pace with new requirements.

In addition to regular CDs (including MP3 CD-ROMS) and DVDs, the player can also play most hybrid varieties. The G98 can handle both DVD-Video and DVD-Audio discs, decoding Dolby Digital, DTS or MLP data streams and extracting or downmixing them to stereo if required.

The drive normally operates at standard speed; however it is capable of recovering data a great deal faster when required, enabling it to make successive attempts to recover accurate data from a problem disc. Because of this, the drive can perfectly recover the data from nearly all discs.

Unlike other players that use a mechanical approach to try to lower jitter by minimising drive vibration, the G98 employs a triple buffering system to minimise jitter, maximizing HF transparency and sound stage imaging precision and stability. The result of this sophisticated effort is that the players deliver ultra-low jitter, with sound and picture quality second only to Meridian’s 800 Reference DVD/CD Player.

The digital electronics as a whole are driven by a new design of high-stability clocking system which further reduces jitter and ensures that the highest level of detail is recovered from a disc. All digital data is accurately re-clocked. Multiple power supplies ensure that digital and analogue circuitry are kept separate.

The G98 DVD player includes a comprehensive front-panel user interface which allows access to all the features of the unit, including configuration. The player can be reset to a standard Type which configures all the required settings as appropriate for a particular application.

In addition, an on-screen display (OSD) allows you to configure specific settings individually.

The player employs Flash ROM memory for the operating system, so software updates can be downloaded from the Internet and installed via a PC connected to the serial port on the back panel. The serial port also allows full remote control and configuration of the unit.

The G98DH provides three principal S/PDIF coax outputs designated L/R, L/R Surround, and C/LFE. These typically connect to Meridian processors, or feed a stereo signal to a pair of DSP loudspeakers. If configured for MHR SmartLink they, or the adjacent combined 15-way D-type connector, carry high-sample rate encrypted data from DVD discs for the highest fidelity of decoding and reproduction. The SmartLink also informs a downstream Meridian processor of the signal source, so that it can switch processing modes automatically.

The G98AH provides six channels of analogue output. These feature true 24-bit DACs that operate at sample rates up to 192kHz for the maximum possible audio quality.

All models provide an additional S/PDIF digital output which delivers a stereo downmix or bitstream signal.

On the video side, advanced video circuit designs, matched phase video filters, and a broadcast-quality video encoder are employed to deliver low-noise images of outstanding colour depth and resolution. Separate ultra-low jitter master video and audio oscillators allow picture and sound to be independently optimized, ensuring that the G98 delivers breathtakingly clear pictures.

The G98’s unique high-resolution video processor/scaler can receive composite, S-video, and interlaced component, and convert between the formats, or to the high-density multimedia interface (HDMI) standard, to provide a single video output for all the video sources in the system. A bypass function allows progressive or high definition component video to be routed directly to the component output only.

The HDMI port supports a wide range of high quality digital video options including 480p, 576p, 720p, and 1080i. A unique feature of HDMI is that it is able to ‘handshake’ between the source and the display to find the highest quality format. Analogue component out is available at 480p and 576p.

The HDMI interface also carries high-resolution digital audio, either two channels of PCM at up to 96kHz or a 5.1 encoded bitstream.

Built-in broadcast-quality circuits deliver the most advanced, high-quality video available today.

The video processor includes picture controls, available via the MSR+ and front-panel display. For the internal DVD and external video inputs you can adjust the horizontal and vertical picture position. In addition, for the video inputs you can adjust the brightness, contrast, colour, and hue (NTSC inputs only).

The HDMI output can be connected to a DVI input if the device supports HDCP copy protection, using a suitable adaptor cable.

The G98DH DVD-Audio Transport will be priced at £3,350, while the G98AH DVD-Audio Player will retail for £3,625.


http://www.highfidelityreview.com/news/news.asp?newsnumber=10247282

 

[Giovanni Dimitropoulos]

Best Amplifier Over $3,000:
Lexicon CX-7 Amplifier

http://www.audioconnection.com.au/product.asp?id=362

The CX-7 is a high performance power amplifier based on the award-winning LX power amplifiers. It is designed to meet the highest standards of power and performance under even the most extreme operating conditions. Equipped with advanced thermal, current, DC, and speaker protection, the CX-7 delivers exceptional and reliable performance with most loudspeakers, including mismatched, reactive, and unusual loads. In addition, the CX-7 amplifier includes protection against short circuits, component failures, miswiring, and internal faults.

The CX-7 is designed for systems where the additional output of the LX amplifiers is not warranted. Each 140-Watt channel includes four custom-designed, hand-graded output transistors. All channels are capable of driving speaker impedances down to 2 ohms.

Complemented by gold-plated speaker output connectors, the rear panel includes selectable balanced or unbalanced audio input via XLR and RCA connectors respectively. A trigger input connector allows the CX-7 to be controlled by a preamp/processor such as the MC-12 or MC-8. In addition, a ground lift switch for each channel can be used to eliminate audible hum caused by multiple grounding paths.

The CX-7 includes advanced thermal, current, and DC protection for each channel. Thermal protection monitors the temperature of the chassis and heat sinks and automatically deactivates channels when they exceed their normal safe operating temperature. Current protection ensures that the output transistors are protected by limiting the current capability which is determined by the output voltage, while DC protection prevents DC and frequencies below 10Hz from reaching the speakers.

Dedicated channel status LEDs are located on the front panel to provide at-a-glance viewing of channel status at all times. With THX Ultra2 Certification, the CX-7 is certified to meet the highest THX standards. Advanced thermal, current, DC, and speaker protection further guarantee exceptional performance under even the most extreme operating conditions. Add to this incredible power and wide-ranging flexibility, and the CX-7 is at home in the most sophisticated and demanding home theatres.

- 140 Watts per channel
- Four custom designed, hand-graded output transistors per channel
- Oversized toroidal power transformer with extraordinarily low DC resistance and thermal protection
- High-power supply voltage for extra headroom at the outputs
- Stable with mismatched, reactive, or unusual loads
- Compatible with 2 speaker impedances
- THX Ultra2 Certified
- Thermal protection against overheating
- Speaker protection against DC and frequencies below 10Hz
- Protection against short circuits, device failures, miswiring, and internal faults
- Trigger input for power control from an external device
- RCA and XLR inputs
- Ground lift switch per channel
- Gold plated input and output connectors
- Rack-mount option available

 

[Giovanni Dimitropoulos]

Best Pre/Pro Under $3,000:
Adcom GTP-880 Pre/Pro

http://www.adcom.com/newproducts/gtp880.htm


GTP-880 7.1 Tuner-Preamp

Analog precision backed with digital horsepower.

Today our entertainment comes from the digital world. DVD, High definition television, and computer technology has made available to us an incredible universe of entertainment options. But for us to experience the new media we need the digital numbers converted into our analog sensory world of sound waves and light. ADCOM multi-channel preamplifiers are the key component to turn the potential of digital entertainment into a high-resolution experience that can touch the senses and move your emotions.

Be moved by high-resolution technology.

Adcom’s proprietary 7.1m2 algorithm
Pure class a bifet analog circuitry
Dolby surround ex and prologic ii decoding
Component video switching via bnc jacks
Built-in rds am/fm tuner
Room 2 output with variable level
Two external 5.1 inputs with analog bass management
Analog bypass mode for main inputs
RS232 and direct access ir control for custom install

Finish – black with silver

 

[Giovanni Dimitropoulos]

Best Pre/Pro Over $3,000:
TacT Audio TCS mkII Pre/Pro and Room-Correction System

http://www.tactlabs.com/Products/TCS/TCS_Frames.htm


7 stereo analog inputs
8 digital inputs
10 analog single ended & 3 balanced outputs
5 digital stereo outputs (1=L&R, 2=SL&SR, 3=LFE&CEN, 4=A1&A2, 5=A3&A4)
2 trigger outputs 12V / 15 mA
Room correction can be applied for each channel separately
Decoding for DTS ES, DTS neo:6, Dolby Digital EX, Pro Logic II and stereo
Totally modular design
Upgradable to any future audio format
Easy Room Correction setup via PC by RS-232 interface

 

[Giovanni Dimitropoulos]

Best Receiver Under $1,000:
Yamaha RX-V2400 A/V Receiver

The RX-V2400 is a high performance, technologically advanced receiver that will provide all the power and control necessary for any high quality home theater system. Major features include 7-channel discrete amplification (120W x 7), Yamahas Digital ToP-ART design concept, YPAO (Yamaha Parametric Room Acoustic Optimizer), Quad-Field CINEMA DSP, 29 surround programs, full movie sound format compatibility as well as THX Select processing, SILENT CINEMA, Night Listening Mode, 9-step subwoofer crossover selection and component video up conversion for optimum video quality. Features for convenient operation include extensive menus, front panel video Aux optical input terminal and a direct access remote control. This top-class receiver also provides a variety of features for setting up a multi-room custom installation.

 

[Giovanni Dimitropoulos]

Best Receiver Over $1,000:
Rotel RSX-1067 A/V Receiver

http://www.hometheaterhifi.com/volume_12_1/rotel-rsx-1067-receiver-1-2005.html


Introduction

In the world of surround receivers, Rotel has been a long time player. Receivers from Rotel are usually highly regarded and considered to be of excellent value. I personally never owned or had an experience with a Rotel receiver before, so I welcomed the opportunity to review one.

The RSX-1067 reviewed here is the top of the line of the current crop of Rotel receivers. Although it is not inexpensive, at an MSRP of $2200, it is still much less expensive than the top of the line receivers from other major manufacturers. The reason for this is not that the Rotel has less quality or much fewer features. Rotel just likes to give a big bang for the buck.

The Design

I was immediately impressed by the look of the receiver once I opened its box. The combination of silver and black front panel in a unique design is very eye-catching. Your taste might vary, but to me the RSX-1067’s appearance is elegant. It possesses the kind of look that gives you an increased appreciation of your home theater, and also is a nice eyeful for your friends and guests.

The design of the 1067 front panel is relatively clean. Its LCD display, knobs, and buttons are neatly arranged and attractively laid out. The largest is the volume knob, which is flanked by a myriad of buttons for selecting various functions. Although most of the receiver's functions can be accessed using these front-panel buttons, I would imagine that most consumers will just use the supplied remote control to operate the receiver.

No front audio/video inputs are provided, not even a headphone jack. To me, the lack of front panel connectors is not a big deal, since I rarely find the need for them, but some users might be put off by such an omission.

All the input and output connectors of the RSX-1067 are located on the rear panel. For audio, this receiver can accommodate 7 analog stereo (1 tape-loop), 5 digital (2 optical, 3 coaxial), and 7.1 channel analog inputs with outputs for speakers (7 channels), preamp (10 channels including 2 centers and 2 subwoofers), analog stereo (4, includes one tape output), second zone, and digital (1 Toslink optical and 1 coaxial).

Video switching is provided for 5 composite, 5 S-Video, and 3 component video inputs. Video outputs consist of 5 composite (includes outputs for monitor and second zone), 4 S-Video (includes monitor output), and 1 component video. The component video switching has sufficient bandwidth to accommodate progressive scan and HDTV signals.



On the rear panel, one can also find AM/FM antenna connectors, three 12 V triggers, infrared outputs, RS-232 serial connector, and the main power switch. The power cord of this receiver is detachable. Although it may sound like a lot of connectors, the rear panel of the RSX-1067 doesn’t look too crowded. The reason is the receiver has a relatively wide area to house these connectors. The layout and spacing of the speaker terminals are especially nice.



If the outside features as I described above sound excellent, the inside features are even more impressive. First of all, it packs seven channels of 100 W/channel amplification. The power output is specified with all channels driven. If you don’t need to use all seven channels in your main setup, you can redirect the front left and right amplifier channels to power second zone speakers.

In terms of surround processing, the RSX-1067 is capable of decoding most 5.1, 6.1, and 7.1 surround formats available today (DD, DTS, DD-EX, DTS-ES, DTS 96/24, DPL II, DPL IIx, DTS Neo:6, MPEG), and also includes some additional surround logics. It also features Rotel XS (eXtra Surround) processing for extended surround performance in a 6.1 or 7.1 system. Rotel XS can work at all times with all multi-channel digital signals and its advantage is to add extended surround effects to rear-surround speaker(s).

The receiver is not THX certified, but it does have processing similar to THX equalization called Cinema EQ, which can be used to tame overly bright soundtracks. Completing the RSX-1067 list of extensive features is an AM/FM tuner with Radio Data System (RDS) and HDCD decoding capability.

The RSX-1067 comes with a full-function learning remote control, the RR-1050, which can operate the receiver plus nine other audio/video components. This remote does not look special, and it is not the most convenient to grab, but I found it to be quite pleasant to use. I like Rotel’s idea of hiding the buttons that are not used often underneath the sliding cover, because it makes the remote look simple.

The button layout is quite nice, but could use some improvements. For example, one-handed operation of the remote could be easier if the volume and channel rockers, which are used often in many situations, were placed lower in the button-layout, perhaps near the sliding cover. This is because of the tendency to use our thumbs to operate these rockers. With the current layout, an index finger often has to be used for changing volume or channel, which is less convenient.

The learning functions and the custom-labeling features of the remote worked fine. The remote is equipped with a light sensor to activate the backlighting automatically in a dark or dim room. A button is also provided to activate the backlighting manually, but this manual activation only works in a dim or dark room and is disabled in a bright room.

Setup and Operation

The RSX-1067 can be quite warm during operation, so putting it in well-ventilated location is recommended. There are two fans on the bottom of its chassis (see picture) to help with the cooling, and hence it is wise not to put this receiver on top of another heat-generating component. The fans run relatively quiet, and I did not notice it during normal operation.

The setup procedure is explained in the manual very well. As always, the key to get the most out of a surround receiver is to go through the setup parameters and adjust them appropriately. The RSX-1067 does have enough customizable setup features to play around with to arrive with the sound that will suit one’s taste. Usually with such flexibility comes complexity. But, I found that setting up and customizing the RSX-1067 was relatively easy and quite intuitive. This is mainly a result of the receiver’s on-screen display menu system, which is arranged quite logically and relatively easy to navigate around. I was able to perform most of the setup and customization without the help of the manual, except maybe to understand what some of the features actually do.

The bass management of this receiver is quite flexible. Crossover between the satellite speakers and the subwoofer is adjustable from 40 Hz to 200 Hz in seven increments (40, 60, 80, 100, 120, 150, and 200 Hz). The front, center, and surround speakers can be configured with different crossover settings. If that isn’t enough, the large or small speaker configuration can also be set up differently for Dolby, DTS, stereo/MPEG, and Music modes. Rotel also recognizes that different modes might require different subwoofer level setting, and hence, a subwoofer level setting is provided for each of those modes to fine tune your setup.

Several setup features found in some high-end receivers today that the RSX-1067 lacks are Auto Calibration and Channel Equalization. For me, the lack of Auto Calibration is not a big deal, as calibration using an SPL meter is not difficult to do and needs to be performed only rarely (you pretty much don’t need to do it again once you get it right unless there is a change in your system). Channel Equalization is not totally absent in the RSX-1067, but it is simpler than what you found in some other receivers. What’s available in the RSX-1067 is Contour Setup to adjust the bass and treble response of each group of speakers in the system.

I didn’t use the tuner a lot during my evaluation, but in my opinion the tuner in the RSX-1067 is slightly better than average in reception. It could pull down some of the weak stations that some other receivers failed in my system.

To my eyes, the video switching in the RSX-1067 worked as advertised, with no artifacts and no easily-noticeable picture degradation. The receiver can also convert composite and S-Video signals to component video signals, a feature that I found to be very useful.

Once I had the RSX-1067 up and running, its everyday operation was a breeze. I didn’t find any glitches in the operation of the unit during my evaluation. The auto detection of digital signals worked flawlessly.

This receiver has a good responsiveness to the commands from its remote control. And, I liked the fact that I could adjust how rapidly (three settings: slow, mid, fast) the volume control responded to the input command.

The front-panel display has enough information about the operation status of the receiver, such as the volume level, surround mode, and other settings. The main part of the display has good-size lettering that is easy to read from across a medium-sized room. This display is not dimmable, but it can be turned off if you desire.

The auto-format (DD, DTS, etc.) detection feature of the RSX-1067 worked perfectly during my evaluation, and it locked up to the right format relatively quickly. If you have a 7.1 setup, the receiver will automatically add the XS processing to the 5.1 formats like the standard DD or DTS. The front panel display will read ‘DD+XS’ or ‘DTS+XS’ when the XS processing is activated.

Performance

For my evaluation, I used the RSX-1067 receiver in 7.1 channel configuration, driving a combination of Onix Rocket RS series speakers (RS-750, RSC-200, and RS-250) and JM Labs Cache 200 in-walls. Although several crossover settings were tried, most of the evaluation was done with an 80 Hz crossover all around between the satellites and the subwoofer. In stereo applications, I also ran the receiver in bypass mode, so that it drove the front speakers full range.

I’ll say it upfront that the sound performance of the RSX-1067 was surprisingly good. It was satisfying at all levels, whether use for music listening or for home theater.

Often times, the weakness of a surround receiver is in its stereo music reproduction. But with the RSX-1067, you don’t need to worry about it. Its stereo performance was very respectable. If you have full-range front speakers, running it in bypass mode will give you the last bit of clarity that it is capable of delivering. But running stereo through its DSP network should not be a concern either. In fact, it might give you a better result if you run a combination of bookshelf speakers with a subwoofer, because you can control the bass redirection better.

If I could fault anything, the RSX-1067’s tonal balance tipped slightly towards brightness. It was not bright per se; there was only a slight sparkle to its overall sound. Such tonal balance might actually bring life to the music played, but in case it doesn’t suit your taste, the RSX-1067 has enough controls to adjust the results to your liking. Human vocals might not be as lush as with the playback through my dedicated stereo preamp and amplifier, but nevertheless, it was quite natural. In any case, no hard edges in the sound.

Image and soundstage presentation of this receiver were sufficiently realistic. Overall image presentation was neutral to slightly forward towards the listener. The bass was well defined and had sufficient impact. The RSX-1067 possessed a musical quality that was quite satisfying for stereo applications.

For home theater, the RSX-1067 was just superb. Its capability to deliver a sense of impact and immediacy convincingly with whatever program materials thrown at it was nothing short of excellent. The surround envelopment and ambience sound conveyed were full and realistic. Dialog was also delivered with great clarity and was full bodied. The RSX-1067 surround steering seemed to be smooth and accurate. The amplifier section also seemed to have enough reserve power to handle demanding program materials. During my evaluation I didn’t notice distortion due to lack of power, even when it played at relatively loud level in my 16' by 24' by 8' room.

When I put this receiver in my rack for this evaluation, I had to disassemble my separate component setup, and I thought I would miss it (the kind of feeling that I believe every reviewer has to endure while reviewing products). But boy, I was totally wrong! I enjoyed the RSX-1067 as much as my separate-component setup. Not only did the Rotel RSX-1067 fill in my system nicely, it also got me to rethink about my stance of not using a receiver in my setup. It was true that I got a slightly better sound with my separates, but the receiver was easier to handle because it only needed one rack space (instead of at least two with separates) and had fewer cables to connect. Throw in the potential cost savings, and with sound performance as good as the RSX-1067 delivered, basically I had almost nothing to sacrifice.

Conclusions

The top of the line RSX-1067 receiver is a solid performer that lives up to Rotel's reputation. Not only does this receiver deliver a high level of performance, but it is also an excellent value. It doesn’t pack all the bells and whistles that most high-end receivers are equipped with today, but for the thing that matters most, which is producing high-quality surround sound for music and movies, this receiver passes with flying colors. For those of you who are still considering whether to go with a high-end receiver or a separate-component system, let me tell you this: the Rotel RSX-1067 is a receiver that can make you forget about separates. That’s how good it is. Highly recommended!

 

[Giovanni Dimitropoulos]

Best Rear-Projection Display:
JVC HD-61Z575 D-ILA HD Monitor

LCoS (Liquid Crystal on Silicon) has been one of the most eagerly-awaited big-screen TV display technologies. And one of the highest-performing LCoS designs is JVC's D-ILA (Direct-drive Image Light Amplifier). JVC has been building high-end D-ILA-based professional projectors for years, and their experience shows in every aspect of their ground-breaking big-screens.

The handsome 61" HD-61Z575 uses 1280 x 720-pixel D-ILA devices in a three-chip design. Unlike with conventional LCDs, light is reflected off, rather than passed through, the liquid crystal panels, which really improves brightness, contrast ratio and black level performance. Read more

Key Features:

» HDTV monitor (compatible with HDTV/SDTV formats — when connected to a separate HDTV tuner — and displays all signals at 720p)
» widescreen 16:9 aspect ratio
» JVC D-ILA 3-chip LCoS design (1280 x 720 pixels each)
» D.I.S.T. (upconverts all video signals to 720p)
» Natural Cinema 3-2 pulldown processing
» TheaterPro 6500K color temperature
» Four-Point Color Management System
» Motion Adaptive Dynamic Gamma Correction (DGC)
» HD Digital Super Detail (DSD)
» 181-channel NTSC tuner
» Picture-in-Picture (split-screen)
» built-in stereo speakers (10 watts x 2)
» illuminated multibrand remote control
» picture settings memory for each video input
» 5 A/V inputs, including:
• 4 composite video (3 rear, 1 side)
• 3 S-video (2 rear, 1 side)
• 2 rear-panel HD-compatible component video
(accepts 1080i/720p/480p/480i signals)
• 1 rear-panel HDMI digital audio/video input with HDCP copy protection
» RF input for antenna/cable signals
» Energy Star® compliant
» 57-1/4"W x 41"H x 18-3/8"D
» weight: 98 lbs.
» warranty: 1 year parts & labor

 

[Giovanni Dimitropoulos]

Best Home-Theater-in-a-Box System:
KEF KIT100 Instant Theatre

http://www.musicalapproach.co.uk/news/kef_kit100_instant_theatre.htm

KEF KIT100 Instant Theatre System

KEF Audio, rapidly being recognised as a world-innovator in contemporary loudspeaker technology and design, has announced the introduction of its new KEF instant theatre, (KIT) an all-new complete DVD-based system that gives the listener everything required to experience 5.1 digital surround sound from just two compact front speakers and a hide-away subwoofer – enjoying the same detailed 3D sound image anywhere in the room.



KEF instant theatre could not be easier or convenient to set-up and use. In less than 10 minutes most consumers will have it working, with no configuration or menus required. All that needs to be done is to just load a selected disc and press 'play’! It could not be simpler. And - best of all - it comes at a suggested retail price of around £1,200.

By combining KEF’s proven Uni-Q® ‘point source’ driver array from the award-winning KHT separates system with a unique new application of NXT® flat panel technology, KEF engineers have discovered a way to deliver all the subtleties and spatial depth encoded in today’s digital formats from just two small speakers and the subwoofer – doing away with the need for a multi-speaker set-up, so unacceptable to many consumers.

The concept is simple. The vertical NXT flat panels behind the main arrays create virtual rear effects speakers, while the Uni-Q drivers create a perfect ‘phantom’ centre speaker right in the middle of the screen. The acoustic illusion of all three virtual speakers, rear and centre is accentuated by the Uni-Q driver front-channel configuration, which spreads the sound image over a much larger area than the narrow ‘sweet spot’ of a conventional speaker. In addition to delivering hefty bass punch throughout the room from a 250 mm (10”) bass driver, the unobtrusive subwoofer contains the system’s five high-power amplifiers, allowing the DVD player to be exceptionally compact.

The rear effects signal is directed to NXT panels mounted vertically behind the main drivers. KEF’s innovation is to use freestanding (rather than wall-mounted) NXT panels, allowing the sound to reflect off the side walls to the back of the room. Like the dipole rear speakers of high end home cinema systems, this generates the wide, diffuse soundfield needed for convincing ambient effects.

The head unit is about the same size as the front speakers, and styled to match. Whatever is played - DVDs, CDs or MP3s, it automatically recognises what’s been loaded. The decoding circuits also give the full benefit of Dolby® Digital, Dolby Pro Logic® II and DTS surround sound from any other equipment played through the system. With clear VFD displays and intuitive controls, the unit also has an AM/FM radio with RDS, alarm and sleep functions. With built-in amplifiers for all channels alongside the 250 mm (10”) bass driver, the omni-directional subwoofer can be placed wherever it suits the user – behind the TV or next to a wall. KEF instant theatre recognises whatever type of disc is loaded and automatically configures the system accordingly. The new KEF instant theatre system comes complete with its own full-function remote control.

 

[Giovanni Dimitropoulos]

Best Convergence Product:
Creative Labs Sound Blaster Wireless Music System

http://www.creative.com/products/product.asp?prodid=9192

FEATURES


Sound Blaster® Wireless Music gives you the freedom to play all of the MP3 and WMA music on your PC in another room of your home over your existing 802.11b or 802.11g wireless network. The remote control features a large LCD screen that lets you view and choose songs and playlists without needing a TV like other systems. The wireless receiver connects to any audio system, so you can listen to your music in any room, on your Home Entertainment system or with any powered speakers. And Sound Blaster Wireless Music is designed to be easier to set up than other solutions, detecting your existing wireless network and either connecting automatically or with a simple USB setup.

Sound Blaster Wireless Music makes it easy to listen to your PC music collection in the living room, bedroom, or any other room where you want to enjoy music.

Wireless Music Anywhere
Listen to the MP3's on your PC in another room of your home over your 802.11b or 802.11g wireless network, up to 4 wireless receivers can be connected at once.

Your Music, Your Choice - no TV needed
View and choose songs and playlists from your entire MP3 collection on the remote control's built in LCD screen

Music that's heard, not seen
Place the music receiver anywhere since the remote uses RF transmission it doesn't require line of sight

Connects to any speakers
Works with home stereo and standalone speakers featuring digital optical (SPDIF) and standard RCA connectors

Simple Setup
Detects your network, connecting automatically or with a easy USB setup




* Some of the products or bundled products featured here may not be available in your region or country. Please check with your local region site for product specifications and availability.

 

[ΑΝΔΡΕΑΣ Κ.]

Γιαννη , εδωσες ρεστα!

 

[JohnnyWalker]

Μπράβο Γιάννη πολύ καλή δουλεία!

 

[Giovanni Dimitropoulos]

Ευχαριστώ παιδιά.....

Αν με χωρίσει η γυναίκα μου θα με φιλοξενίσετε?
Στις 6:45 το πρωί έκλεισα τον υπολογιστή!! :shock:
(και απόψε μάλλον μία από τα ίδια..... :roll: )