All Receivers Feeds

Pioneer VSX-1017

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This Pioneer AVR seems to have more to offer than many of its rivals.

It's big, the heavy, powerful and packs a great range of features. It's also boastS THX Select2 certification. Already the VSX-1017 is the odds on favourite.

Impressive conectivity

All key boxes are ticked, with two HDMI v1.3 inputs, 1080p switching, vanilla-flavoured Dolby and DTS decoding plus the ability to pass through multichannel PCM via HDMI; and if that's not enough, It has luxuries like an MCACC auto setup mic and 'Made for iPod' compatibility.

It also offerS a USB interface in the front panel, allowing you to access your stored JPEGs, MP3s and Windows Media files via the OSD.

A feature called 'Sound Retriever' is offered to make compressed MP3s sound rather more fullsome.

Sharp pictures

Operation is a bit more complicated than the competition. The auto setup takes care of the calibration, and then it's a case of wading through the onscreen menu system to assign your inputs using the hefty remote control.

The OSD will only travel down the s-video and composite cables, but all other sources can be converted (but not upscaled) to HDMI.

Picturewise, the Pioneer has no problem keeping 1080p images from a PlayStation 3 clean and sharp. The audio is handled with even greater care. The PS3 takes a Dolby True HD feed and outputs its as lossless PCM.

Choose the Dolby mix option on Spielberg's Close Encounters of the Third Kind (Blu-ray), and you'll hear a tweaked and uncompressed version that blows the DVD platter away. In Chapter Four, for instance, the Pioneer makes sure the UFO encounter resonates through every speaker.

Packs a punch

With over 100W per channel available, there are sizable reserves of power on tap to ensure the rumbling bass and surround effects are delivered effortlessly. If you are lucky enough to have a 7.1 THX speaker package you're in for a treat. Just crank the volume up to reference level and enjoy.

That reservoir of power and the ability to bi-wire the front pair of speakers comes in handy for playing CDs. The VSX-1017 can make even the most stubborn high-resistance hi-fi speakers sing in stereo. It sounds even better with DVD-Audio and Super Audio CD.

Although the GUI interface is perhaps overly complex, perseverance is rewarded many times over with this high-value AVR. Hunt one down for an audition.

Denon AVP-A1HD & POA-A1HD

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I've been in a personal lather about the Denon AVP-A1HD duo since I first saw them at the IFA exhibition last September.

Now they are here, in the flesh and hot under the casework.

I have played and I have listened, and can confirm that my initial desires have turned into a full scale love affair.

Amazingly powerful amplifier

Let me start backwards in the sound chain, at the outputs for all ten of the POA-A1HDs amplifier channels.

Not only do these offer 150W a piece - enough for two complete 5.1 systems in different rooms or some combination across four zones for multi-room - there are two sets of outputs per channel for bi-wiring (yes, that is 20 pairs of terminals on the back.).

However, to use these ten channels would be missing the POA's best feature; each adjacent pair is independently bridgeable, giving you over 300W for a five-channel system if desired.
If desired? If desired!

If you have a very serious speaker system then the bridged power mode is simply awesome. I don't just mean it will go a bit loud, it goes absolutely bonkers loud with such spectacular grip and dynamic impact it will take your breath away.

Stupendous audio

During a very high volume romp through Aeon Flux on HD DVD, the beast drove a huge £20,000 five-channel speaker system to the limits.

Bass notes on the soundtrack's score, and effects like gunfire, have a very physical impact, literally thumping into your chest and making your flares flap wildly in the aftershock.

The sheer involvement is stupendous and, assuming you haven't already got an ASBO for noise at this point, the grace and aural comfort even at high levels is close to (if not better than) the best commercial cinemas.

With the mad peak level meters on the frontpanel hitting the 0dB attenuation level, the POA was pumping some 600W per channel into the speakers' 4Ω load without a hint of distortion, grain or top-end glare.

This grace and effortless power is as addictive as Reese's Peanut Butter Cups and the way it can stop and start a big bass driver is just stunning. Never before have I heard my speakers' bass cones hit the end stops at 118dB - without a hint of distortion beforehand.

Denon's home cinema behemoth

And just look at the thing - it's the size of a garden shed, weighs over 60kg and is built to withstand a small nuclear blast. Once in position (on the floor ,as I couldn't find a table strong enough) it has a presence scarier than Freddy Krueger and its own gravitational field.

If it had dropped out of that tree rather than the apple, Newtonian physics would be entirely different (not least of which because Isaac would have looked like roadkill). It comes with handles to lift it, perhaps possible if your surname is Schwarzenegger.

It's a good job, though, that it has a range of connections including standard phono sockets, XLR balanced inputs and a selection of control ports and triggers so you hopefully won't have to move it out too often.

Even better/funnier, depending how the AV lunacy has taken you thus far, Denon recommends you use two POA-A1HDs in bridged mode to bi-amp all five channels. Would I, oh yes. Should you?

Well, if you have a spare £5K after you have bought the standard A1HD pair, why the hell not.

A perfect pre-amp

By contrast the AVP-A1HD processor pre-amp is slim, lithe and lightweight. In reality it is significantly bigger and almost as heavy as Yamaha's flagship DSP-Z11 amplifier.

The full features list (on Denon's website) reads like a pre-flight check for a space shuttle and leaves no AV stone unturned.

The highlights include very high-quality build with audiophile grade components throughout; 6-in and 2-simultaneous-output v1.3 HDMIs, Silicon Optix' Realta HQV two-way scaling and processing; full networking with built-in 802.11b/g wi-fi; and 9.3 channel processing.

The latter takes the form of standard 7.1 set-up, plus Denon's mid-position rear channels (ideal for 5.1 music and for a better spread of effects in 9.x modes), and two additional subwoofers.

The set-up positions these left and right of the screen and one on a side wall giving improved low-frequency dynamics - or lung-crushing bass depending how gratuitous you are with the gain control.

Inside the Denon AVP-A1HD

Internally this is a processor/firmware-based device so it's eminently upgradeable in the future, and is driven by three new 32bit floating point DSPs. An enormous high-current transformer powers individual supplies for audio, video and pre-amplifier duties.

It's iPod-ready with an optional dock (of course), and comes with the 3rd edition of Denon Link, which is going to be a huge boon to owners of Denon DVD players and, shortly, the matching Blu-ray player.

USB ports front and rear cater for just about any compressed audio format from 64k MP3 to 1080kbps FLAC. The graphic user interface has a function map more complex than the London Underground.

The GUI is positively huge, but so gloriously logical that the CD-Rom user manual can double up as a drinks coaster from day one. On something this complex that is a big plus point for day-to-day usability.

Dynamic duo

Day-to-day use is what the A1HD pair is built for, because the sound comprehensively sweeps away all that has gone before. From the opening of the 20th Century Fox clip-logo on Hitman (Blu-ray) the sound is just stunning.

It's so clean and crisp it makes lesser AV receivers sound congested and fuddled. Dynamic power is breathtaking.

The gratuitous and game-stylised shoot out scenes have an edge that lends a fabulous sense of realism. Each gunshot has explosive power and a detailed resonance.

In the deeper, moodier moments of the film, the A1HD is nothing short of sensational. It calves out a massive three-dimensional scene with consummate ease. Dialogue is as crisp and natural as the real thing.

No chestiness, no added sibilance, just finely-articulated voices full of emotion and detail.

The main character 'Agent 47' played by Timothy Olyphant (... have you considered a stage name Tim?) has a rolled accent that is neatly portrayed with just the right amount of depth and natural leading edge sibilance to make it both calm and menacing throughout.

Dramatic sound

Elsewhere, the classic opening to Ice Age on DVD gains a whole-new dimension.

When Scrat drives the acorn into the ice the thump is so deep it seems to be more of a feeling than a sound, and the subsequent cracking and splitting is by far the most dramatic and detailed rendition I have heard of this effect to date.

There's a real glass-like edge, but without any overt hissing or splashiness at the very high frequencies. You'll think a glacier has collapsed in two in your living room.

The characters' voices again impress with their tonal range and the overall effect simply elevates even children's animated movies to new heights.

A week of intensive use on and I'm yet to find fault with the sound, from the most complex DTS-HD Master Audio soundtrack to the stunning hi-fi sound with CD in Pure Direct mode.

The resolution, sparkling top-end detail and massive deep-down power with music is right up there with some very esoteric hi-fi brands, and makes for a stunning all-round hi-fi and home entertainment solution.

Add to this the mind-boggling flexibility, full Audyssey RoomEQ with auto-setup, great remote controls, simple plug-and- play networking and future-proof architecture - and you have an absolute 'must-have' winner of a product.

An intimidating asking price

So here's the beef; a five-figure price ticket sadly puts this combo out of reach for all but the most well-heeled of home cinema enthusiasts.

But, looking at it another way, there aren't too many multichannel processor and amplifier packages at the Denon's £10k asking price, and those that are (Krell, Lexicon etc) are way, way behind the A1HD combo in features, facilities and technology.

The only real mainstream competition is Yamaha's fabulous DSP-Z11 and the Denon shows that the door in sheer power and grunt alone. Of course, if your budget stretches to five grand then the Yammy AVR simply cannot be touched.

But if you have twice the cash to splash, and the room to fit it, then Denon's state-of-the-art AVP-A1HD & POA-A1HDA1HD pairing is the simply the best AV solution in the world

Denon AVR-1908

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Denon has receivers positioned at almost every price point; the 1908 falls at the meat and potatoes end of the scale.

Yet it still packs in features and benefits from trickle-down technologies - like its entirely separate audio and video signal paths.

The 1908 can't decode Dolby True HD and DTS HD Master Audio - but these two formats can be enjoyed if your HD player can decode them into lossless PCM. The HDMI v1.3 inputs can pass 1080p signals and uncompressed audio like water.

Speedy setup

The 1908 looks refined, with its elegantly sculpted brushed aluminium facia, or 'wave' design as Denon refers to it. Massive source-select and volume knobs flank the huge display, although ironically given the size, it's actually hard to read the miniscule labels for each button.

Denon makes much of the Audyssey auto setup and it certainly makes calibrating your amp a much faster process. Just connect the mic and press 'start'. After a series of bizarre noises, you're all set.

The interface here is Denon's old block-type OSD and not the wonderful new GUI that controls the top-end models, so ease-of-use suffers as a result.

The remote control has been quite radically re-designed with grouped buttons and luminous plastic, but, for some reason, the over-simplified layout actually makes it quite complicated to master.

Blu-ray audio

There's more to like about the audio performance. On my Sigur Ross jazz CD, there's real depth and clarity to the mix.

You can get the best results by using both the A and B speaker outputs to bi-wire your front pair. The balance errs toward the bright side of neutral, though, so it can begin to sound harsh with clinical speakers.

Switching over to the Resident Evil: Extinction Dolby True HD track from the Blu-ray release is a good measure of the Denon's dynamics. My PS3 delivered the soundtrack
as PCM via HDMI. There was no shortage of bass or treble and plenty of volume too, albeit capped at around 76W all channels driven.

Big cinema sound

This Denon is an attractive option that combines many of the basic features you really need, plus a few luxuries like auto-setup, and delivers a big cinema sound.

This is a tough category, though, and sonically, it's not the most accomplished receiver we've seen.

Panasonic SA-XR700EG

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Although its features and functionality are very similiar to its rivals, this Panasonic is a radically different design.

All seven channels use digital amplifier modules, which are smaller and lighter than their analogue counterparts. The model has been in Panasonic's range for over a year, only now it ships with some different point-of-sale dressing.

The Perspex fascia, designed to match the brand's original Blu-ray players, also looks a tad dated. But how does it measure up to today's analogue competition?

Digital amplifier benefits

The receiver can pass a 1080p video signal and switch uncompressed audio, and it offers decoding for standard Dolby and DTS soundtracks.

But there's no support for Dolby True HD and DTS HD Master Audio soundtracks; these must be decoded by the BD player you partner it with. There's not much point using a Panasonic DMP-BD30 for this, as it can only output those formats as bitstreams. This alone would seem to indicate that an update on the model is long overdue.

An effective auto-setup mic saves start-up time, but without an onscreen menu, the Panasonic will have you reaching for the manual at some stage.

Powerful receiver

In terms of amplification, the SA-XR700 can muster 100W for each channel, but also intelligently send more power from channels that aren't firing to the ones that are, so the front speakers could theoretically be getting more than 100W.

Such digital tomfoolery sits ill with our Tech Labs test routines, which could only measure the power output on this sample at 51W in two channel model. Personally, I thought the receiver seemed loud enough to cope with big transients.

The first contact moment in Close Encounters of the Third Kind has all seven channels delivering a snappy and detailed full-range sound as the UFO hovers overhead. This soundtrack can sound a bit jarring, especially with the metallic clashing of the mailboxes; the Panny tends to exacerbate the situation slightly with a bright tone all its own.

Bright sounds

It fares better with stereo music, especially when you bi-wire your front speakers. The unusual 'Triple Amp Drive' system automatically configures three amps to drive the front pair in two-channel mode.

For anyone with a Panasonic BD player or TV, this forward-thinking receiver must be tempting. But the truth is, the Panasonic SA-XR700EG doesn't sound as open and engaging as some of the competition.

Sony STR-DA5300ES

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The look, feel and build of the Sony STR-DA5300ES is everything I have come to expect from Sony, with nicely-weighted controls and two solid remote handsets.

The overall exterior design of this receiver hasn't changed a great deal from last year, although you do now get a '2CH Direct' switch on the fascia as well as the remote, and the rear panel now offers a Sony DMPORT and a class-leading six v1.3-spec HDMI inputs (even Yamaha's £5K DSP-Z11 only has five).

An audiophile's paradise

Uniquely, input number six is marked as a dedicated 'audiophile' connection, offering the absolute shortest signal path and greatest shielding from other components.

The STR-DA5300ES can handle a DSD signal (Super Audio CD) over HDMI and the 2CH analogue direct has been further improved, giving this receiver serious musical credentials.

On the downside there's only one HDMI output, which is beginning to irritate a bit here at HCC - as it will anyone looking to run both an HDTV and a projector.

There are also no generic networking connections (USB, Ethernet, etc) and none of the audio or video connections are gold-plated. Call me the bling-meister, but I think any AV kit with a four-figure price tag should get the gold connection treatment.

Inside Sony's latest receiver

Beneath the lid there are some far more serious additions to this Sony's predecessor, including all the new-fangled Dolby True HD and DTS HD Master Audio formats and a new horizontally-braced chassis construction.

A hefty beam runs from one side to the other, supporting the transformer to better physically isolate it from other sensitive components. The power output stages for each channel have been beefed up and made a full wide-bandwidth design, running pretty much flat out to over 150kHz.

This attention to fine engineering detail is about as obsessive as it gets - right down to the use of a new type of lead-free solder that Sony spent three years developing to perfect its sound quality!

One of the most powerful EQ Systems ever

Most exciting for me, though, is a new 32bit EQ system running from its own dedicated DSP chipset. It offers 32-band EQ with precise 1/3 octave adjustment for every channel.

In my opinion, this is one of the most powerful dedicated EQ systems to ever grace a consumer AV product; it also provides multi-seat balancing to stop 'hot seat syndrome, and is supported by a full auto setup system, used in conjunction with a supplied stereo microphone.

And, in great news for dog owners, the Sony's auto-set up routine uses mostly musical tones rather than the usual pops, howls and white noise that are guaranteed to send your canine pal apoplectic.

Straightforward user interface

The tuner is an FM/AM only affair - no DAB, although I'm getting used to this from Japanese brands - and there is multiroom functionality for those who are into that sort of thing.

The Graphic User Interface (GUI) is well up to snuff artistically, but is not as intuitive as its peers, so having the manual to hand is essential through the first week or two of use. The photo-real room graphics are rather nice and once you get the hang of the menu logic the 5300ES runs smoothly.

The video side is based on top-spec Faroudja and Silicon image chipsets, with neat features including picture-in-picture with multiple inputs.

There isn't the in-depth video tweakery of some of the other upscaling receivers around, and the Sony's EQ system is similarly light on fine manual controls, but this does make for great fire-and-forget home cinema fun.

A high-adrenaline experience

I ran the auto-set-up system a couple of times because the results have a distinct THX-like feel; the sub comes in a good +5dB hot and the EQ system creates a very open, clean and sparkling top end.

The result is seriously gung-ho excitement and a high-octane, high-adrenaline fast-paced thrill-a-minute ride - and that was just watching The Magic Roundabout DVD.

Think Reservoir Dogs with Zebedee as Samuel L. Jackson, Ermintrude as the vivacious love interest and Dougal leaping off the roundabout unloading two Colt 45s in slow motion...

Create a huge soundstage

A swift taming of the EQ and sub levels is easy enough, and I achieved a clean and up-front sound with excellent effects detailing.

For example, the Dolby Digital Plus soundtrack on Shrek the Third (HD DVD) is immaculately polished - even the most subtle facets of the mix were extracted and projected into the room. This gives the soundstage huge width and height. The scene of the lofty school hall filled with children sounded fantastically realistic.

Effects like rain are particularly impressive when Sony's own rear-back channel processing is engaged, making the 5.1 DD+ soundtrack into very effective 7.1.

Even with the Sony's EQ system disengaged the 5300ES' balance is very open and natural with clean and pronounced highs. I can see this stance sitting better with warmer-sounding loudspeakers, rather than those with a forward or bright balance, because you can definitely have too much of a good thing.

Using a speaker package with a virulent metal dome tweeter, the dialogue gets a bit more edge and bite than is ideal and natural sibilance is highlighted.

Switch your sound to turbo

The same light balance is true of the 5300ES' two-channel music reproduction - until you hit the 2CH Direct button. Blimey, talk about a turbo switch!

The sound immediately gains bags of warmth and fullness that counterpoints the natural top end perfectly, and the soundstage grows by 50 per cent in every direction. Bass is deep, tuneful and comes at you like a sharpened hammer.

The stance is still natural and crisp rather than warm and safe, but in terms of hi-fi sound and musical resolution the Sony is way out in front of its AV receiver competitors.

Home Cinema like no other

Switching back to movies, the sound is relatively more congested and harder, but kick back in the EQ system and it shines. The bass boost brings huge LFE scale to any movies and the space and detail is an exercise in special effects placement.

There is more background hiss in the rear channels than I would like and the tonal balance does not favour really high-volume listening. Give the volume control a large clockwise handful and as the power amps run out of puff the sounds gets quite glassy and bright.

Again this will be somewhat speaker-dependent but hit the right combo and the 5300ES absolutely shines.

Sony's wild-card receiver

With a fine features set, high-tech engineering, spacious movie surround sound and a penchant to be a two-channel hi-fi system in its spare time, the STR-DA5300ES is a contender.

The sound, which majors on detail resolution and clarity, is a real grower that seems to get better with every listen; the operation becomes very slick with familiarity; and the fit, finishand build is a joy to own.

But, while many of these features lead the class, in the £1,000+ AVR market (where the bar has been raised with space-shuttle-sized rocket boosters this year) this Sony doesn't pull-off the all-round appeal of its Denon or Yamaha rivals.

It's not, therefore, an obvious must-have product but well worth keeping on the audition list. The Sony STR-DA5300ES might just be the wild-card receiver choice that ticks all the right boxes in your system

Marantz SR5500

tech.co.uk staff — 1205851141

Marantz's SR5500 has been doing the rounds since late 2004, which equates to being long-in-the-tooth in AV receiver terms.

As such it doesn't boast any auto set-up system, has no truck with auto EQ and doesn't come supplied with a little microphone that you are going to use once and stick in the box for the rest of its life.

That's not to say that the SR5500 is frugally specified. It ties with the Pioneer VSX-1015 when it comes to muscle. Our lab tests clocked it at 95W into 8ohms when in 5.1 channel mode and a chunky 120w per channel when used in stereo.

It also has trendy 192kHz/24-bit DACs for all channels, a 32-bit DSP engine and upconverts all incoming video signals to component output, albeit without scaling. The full range of Dolby and DTS decoding formats are on tap right up to Pro-Logic IIx and the analogue input frequency response spans 10Hz - 100kHz for Super Audio CD and DVD-A fans.

Circle of sound

Interestingly, the SR5500 also sports SRS's Circle Surround II, which I believe is an arguably better stereo to multichannel algorithm than Pro-Logic II. CSII has generally improved rear channel steering, smoother front-to-rear effects panning, and, for lovers of older movies, offers superior mono to 5.1 sound that can give classic films a real lift.

If you fancy a little surround sound action without disturbing the rest of the household this receiver also packs Dolby Headphone processing. This can turn even the most mundane earcans into surround sound stars although don't expect seismic bass effects from your iPod in-ear buds.

Up front the SR5500 sports a fetching brushed aluminium fascia, solid feeling buttons and nicely weighted volume knob. The build quality oozes class and is the most robust feeling in this group by quite a margin. The display is informative and bright, even if the colour is a matter of personal taste, and every feature and function can be accessed by the front panel for when the bland remote control slips down the back of the sofa.

The rear panel is equally well appointed. Despite lacking such modern digital niceties as HDMI or DVI switching it does use the Marantz D-Bus and has a bi-directional RS232 port should you have an AMX or Crestron style control system. It has multi-room outputs for a second (stereo) zone with internal switching that allows independent audio source selection for both zones. Sadly there is no secondary video output meaning it's music-only in Zone 2.

The onscreen menus could not be any more basic but do lead you through the set-up with equally simplistic style. There is no danger of getting lost in the menus or not being able to find a function and the base-level set-up can be achieved in seconds. Features of note include lip sync delay should a videoprocessor or display device in the chain be a bit sluggish and a video off mode that turns the SR5500 into an audio-only amplifier for improved sound quality.

It might be an old timer (relatively) and lacks some of the widgets of its current peers but the SR5500 has got technology where it counts, features that are genuinely useful and a build quality that justifies every penny of its £450 tag.

The big easy

With such a simplistic set-up and menu structure, the Marantz goes from box to box office in a matter of minutes. It's delightfully simple to dip back in and out of the menus at any time to tweak and adjust settings and this alone makes the SR5500 the easiest to use receiver assembled here.

In fact, 'easy' is the Marantz's middle name. The 1930s' early backdrop of Scorsese's Aviator is sumptuously poured out into the room with a warm and enveloping ambience. The sound is smooth and full bodied and within minutes you get the urge to nip to the kitchen for a Margarita while doing the Charleston back to the living room. Bass lines are rich and fulsome even with the artificially 'lightened' score of The Aviator, which was engineered to give more of a feel for the era.

Dialogue follows the same pattern with a silky, mellifluous tone that strays into the warm side of neutral. Sibilance is kept to an absolute minimum and DiCaprio's voice is robust and rugged (as much as it can be) but female voices tend to adopt a rather lush 'come hither' character. It is by no means an offensive balance and has quite a kinship with THX-balanced cinemas (which employ a 10dB bass boost) but it's not exactly natural either.

Supersize my sonics

On more action-centric material the SR5500's easy-on-the-ear style simply begs you to go large with volume control. Despite one of the lowest power claims in this test the Marantz has absolutely no shortage of welly when the going gets tough. It rises comfortably above 100dB without breaking a sweat or hardening up. The balance stays exactly the same throughout the volume range with superb bass grip. The LFEs simply get bigger and weightier with every few degrees on the volume knob until DVDs are vibrating off of the shelves and the neighbours are calling the police.

However there are films and scenes that demand a raw, aggressive style and SR5500 can polish the edges off such effects. Tyres don't quite screech with convincing drama and gun shots are very much a percussive bass thump rather than a full spectrum crack. Even with the volume cranked up high the Marantz continues to play a safe hand, which never really gets your pulse racing or your bum on the edge of the seat.

Dip your ears into music and the SR5500 emerges from its shell. With the video circuits switched off the sound is no less smooth and full-bodied but finds a reserve of treble detail that adds real sparkle to vocals and high frequency notes. With the flick of a switch the SR5500 turns into a very competent hi-fi amplifier in both two channel and five channel modes. SACDs in particular are rendered with first-class honours as the SR5500 warms the cool balance of many high resolution recordings without sacrificing detail too much.

For those whose heart lies with music first and movies second the Marantz is the natural choice. It might lack the auto-set up and EQ features of its peers and it might not be an amp for all seasons but those looking for a big rich sound for a small frugal outlay will not be disappointed with the SR5500.

Yamaha RX-V2600

tech.co.uk staff — 1205486455

To get the V2600, take an RX-V4600, cut out the i.Link inputs to save a few shekels on the retail price, and add in a full-fat 1080i/720p video scaler. As both models are still current, the differentiator is one of price - and the RX-V2600 comes in £100 cheaper at £900. So, considering its heritage and features, this latest model has all the right credentials to be an absolute first-class bargain before it's even out of the box.

The V2600 comes with a shiny THX Select 2 badge, full-bandwidth HDMI switching and seven channels of 130W measured into 8O across the entire audio spectrum.

In addition to traditional 7.1 mode, you can configure the rear-back channel output as a powered Zone 2 option, leaving you 5.1 in the main room. If you just can't compromise on 7.1, you also get a line-level, independently switched Zone 3 output for serious multiroom flexibility. Yamaha's bonkers 'presence' channels - above and behind the main left/right speakers - are still included, although you will still need to sacrifice 7.1 channel amplification in favour of 5.1 plus presence channels to drive them. Similarly, I still don't recommend it.

The onscreen GUI is by far the nicest OSD to look at and use of the AV receiver genre to date. There is full auto setup and Room EQ, thanks to Yamaha's well-respected YPAO parametric equaliser and a dinky little mic supplied in the box. This simplifies the setup and installation routine, but if you are feeling brave enough to 'tweak', there is a mind-boggling array of frequency, gain and Q-Factor adjustments to seven equalizer bands across each of the main seven channels. Phew

Composite, S-video and component video signals entering the V2600 are up-converted to HDMI output with a combination of an Analogue Devices video encoder/decoder and a highperformance deinterlacer and scaler from Oplus. The upshot is that no matter what input, the RX-V2600 can convert it to 720p or 1080i and chuck it out as an HD signal through the HDMI output. One HDMI cable to your TV or projector is all you are ever going to need for HD resolution video from DVD, Sky, Freeview or even your old VCR.

Performance

The default setup routine is great, but it engages the YPAO room EQ automatically, meaning you have to manually turn it off.

With all the EQ shut down the V2600 is sonically indistinguishable from the V4600, with a big, boisterous and robust sound and enough drive to fill the very biggest home cinema room. With five channels driven, it delivers 105W apiece. It would be ideal for an action-movie fan with floorstanding speakers and a penchant for realistic sound pressure levels.

Engaging the YPAO is like throwing the RX-V2600 away and replacing it with a nimbler, faster and crystal-clear alternative more akin to a good processor/power amp combo.... Exactly what we said about the RX-V4600. There is a clarity and sparkle around effects that brings any movie to life, backed with rock-solid bass and a huge dynamic range. The soundstage gains several metres in every direction, even making your room feel perceptibly larger. The big open factory in Charlie and The Chocolate Factory is sonically crafted with a great sense of space and scale, while dialogue retains a fine sense of presence in the foreground.

Move up to a fast-paced action fest like Sin City and the RX-V2600 steps up to the challenge. The combination of tactile high-frequency effects and taught bass is an intoxicating mix that adds layers of enjoyment to the movie without detracting from the dialogue. All this emerges from a silent background blissfully free of hiss - making the RX-V2600 a firstclass home cinema entertainer.

Of course, its final trump card is the video scaler - and that is very, very good indeed. Using a variety of sources, it happily scales anything you throw at it with better clarity and less pixelation than the scalers native to the majority of HD Ready plasma and LCD TVs.

Fast-moving scenes cause it no problems at all; panning and scrolling are smooth and there is notable improvement in detail on standard broadcast and DVD inputs. If you have a TV with a good scaler (Philips Pixel Plus 2 for example) the benefits of the Yamaha's own scaling may be negated or diminished, but the simplicity of one-cable connection to your display is reason enough to give this feature a glowing recommendation.

Conclusion

I raved about the RX-V4600 and the only thing to disappoint was its lack of video scaling. So here we have the issue addressed and one of the best value sub-£1,000 receivers on the market. The remote controls still won't win style awards, the build could still use more aluminium and less plastic, and orange displays still fill me with angst - but these foibles don't detract from the RX-V2600's stunning audio and video abilities.

So an RX-V4600 with iLink connection or an RX-V2600 with HD scaling for all inputs and £100 in the bank? No contest, pass me an RX-V2600 please... Richard Stevenson

Pioneer VSX-LX60

tech.co.uk staff — 1205426004

Pioneer's high-contrast Kuro Plasma TVs, have been grabbing all the technology headlines of late, but while the PDP division has been discovering new shades of black, the less-celebrated audio team has developed a thumping new line-up of AV receivers.

The VSX-LX60 slots in toward the top of the range, packing in all of this generation's key HD features, but hovering below the crucial £1,000 price barrier. Like the rest of the new line-up, it's had a radical makeover, too, with a fashionable gloss black finish - designed to match the Kuro TV range - replacing the silver that is now sooo last year! But the real changes here aren't cosmetic, they're much more significant than that.

I know what you're thinking, with every new product cycle we are promised dazzling 'next-gen' features that we'd be crazy to pass up, but this year does mark something of a paradigm shift in home cinema as we make the transition to high-definition.

With HD media beginning to show signs of commercial life, a whole new level of functionality is required; and that receiver you bought a couple of years ago might not be able to hack it any more. Can it switch a 1080p signal or decode a Dolby True HD soundtrack?

If the answer is no, then sooner or later you're possibly going to need a 'Full HD friendly' model, like this one.

Third time's a charm

The most fundamental differences arrive with the third-generation HDMI connectivity. Version 1.3, implemented for the first time here, can channel a Full HD 1080p signal and all of the latest lossless audio formats from Dolby and DTS.

They can even accept a multi-channel DSD stream from a Super Audio CD player. Earlier HDMI incarnations would stop at 1080i and simply refuse uncompressed audio. And there's something else that last year's models couldn't manage - the VSX-LX60 has the ability to upscale any video source (analogue included) and output it as 1080p via HDMI.

So the LX60 is bang up-to-date in terms of new age techno-trickery, but how does it compare with the rest of the AV competition? Like most Pioneer amps, it's remarkably powerful, with seven discrete analogue amplifiers producing upwards of 175W apiece, and it meets the criteria for THX Select 2 certification. On the test bench, the LX60 is a powerhouse.

Overall muscle drops to around 100W (into 8O) with five channels driven - which is more than enough to earn the THX Select badge - but in two channel mode it is a beast. The fidelity firewall figure (a measure of usable power before distortion) is particularly good at 165W.

The LX60 also incorporates a few sound-enhancing features such as 'phase control', which compensates for mismatched speakers in the system and 'sound retriever', which restores some of the quality of compressed formats like MP3s from your iPod by intelligently 'rebuilding' the signal.

Terminal velocity

I suspect the new plastic fascia will divide opinion. The high-gloss is certainly in tune with the current trend for consumer electronics, but last year's brushed silver looked classy, while the plastic looks, well, a bit plasticky. Perhaps Pioneer should factor this into its next round of design meetings? This is a sturdy beast though, standing nearly 19cm tall and weighing in at 17kg.

This all leaves plenty of space for connections around the back, which looks like a BT switchboard. The HDMI inputs and output are the most noteworthy additions, but frustratingly, there are only three of these, which doesn't seem very generous.

I'd trade all of the composite video inputs for one more HDMI socket. And while I'm on the subject, why not have two HDMI outputs instead of one? That would be instantly useful for anyone with both TV and projector in their home cinema setup.

Included in the box are a universal remote control and a microphone. The remote looks baffling, with cramped buttons, many of which fulfil more than one function, but then this is quite a sophisticated piece of kit.

The onscreen menu is very utilitarian - though Pioneer has showed fast-track improvements in this area, in order to come up with a more friendly OSD - and it will take you a while to set up all of the inputs to suit your system. But then, I guess that's half the fun of owning a behemoth like this.

The onscreen menu is where you can assign inputs and set speaker levels, and this is where the supplied microphone comes into play too.

Plug it in and place it in the prime listening position and the MCACC (Multi-Channel Acoustic Calibration System) will take over and optimise the speaker levels and delay for you.

MCACC has generally enjoyed rather mixed reviews but I found it accurate. I calibrated the system for my 6.1 speaker configuration and derived a wholly coherent soundstage after about 10 minutes of listening to the amp record its own test signals.

Performance

With over 100W flowing to six speakers, this Pioneer can achieve a remarkably dynamic and punchy performance, especially from Blu-ray and HD DVD discs. Thanks to the v1.3 HDMI inputs, you no longer need make an analogue multi-channel connection to hear the high-resolution soundtracks.

On the Blu-ray release of Curse of the Golden Flower you can actually listen to the uncompressed Chinese 5.1 PCM soundtrack and hear the fully extended bass chant of the palace monks emanating from somewhere deep within your room. This contrasts well with the delicate clink of the empress's jade teacups.

Another good test is the 5.1 DTS HD Master Audio track on the Blu-ray release of Kingdom of Heaven. We haven't heard much of this audio codec so far, but the LX60 recognised the flag and flicked into DTS mode in a trice, displaying the mode and the number of speakers it employs on its front panel.

This high-res DTS soundtrack is very close to the studio master and it sounds fantastically open here, and will give your speakers a really good workout when you turn the volume dial up a few dB.

This is a seven-channel amp, which means you can choose either one or two surround back speakers for 'EX' extended 6.1 and 7.1 soundtracks and input your choice in the menu. Another hard button behind the drop-down fascia flap tells the amp to use it only when it sees a flag in the 'EX' soundtrack, or to enhance 5.1 soundtracks as well.

Sony's PlayStation 3 was way ahead of its time with HDMI v1.3 outputs on its launch last year, and only now is the rest of the industry catching up. Thankfully, I am able to play an SACD and hear the uncompressed multi-channel version through the Pioneer amp via a single cable.

Listening to the 5.1 mix of Groove Armada's Vertigo album shows just how musical the Pioneer can be too. The tone is clear and descriptive without being cold or brash. A bassier sound can be achieved by tweaking, if you prefer more fullness to your music, and this tends to improve things with classical and jazz music.

In two-channel mode, the Pioneer does a fine job of driving resolutely hi-fi speakers. Thanks to this amps flexibility, it is possible to re-assign the surround rear channels, if you are not using them, in order to bi-wire the front pair and harness an additional amp module.

This is perfect for getting the most out of difficult hi-fi enclosures. And well done if you spotted the 'air' logo on the front panel; this indicates that the Japanese designers of the LX60 travelled to the world-renowned Air studios, once owned by Sir George Martin, and used the facilities and expertise there to fine tune the audio character of the receiver.

Scaling

In this new world of Full HD, the ability to upscale standard-def sources to 1080p is often billed as a major selling point. In reality, the Faroudja scaler used here actually lacks some of the finesse evident from the best on the market, so you may well find yourself leaving the video processing switched off.

What is more important, certainly if you intend to use the LX60 as a video switching unit, is that it passes an unadulterated 1080p signal from source to screen without adding any noise or jitter. The Pioneer achieves this particularly well.

There is no doubt, in fact, that this receiver betters all Pioneer models that have gone before it on the strength of its contemporary connectivity and features. Rivalry from the ever-innovative Denon and the aggressively marketed Onkyo stables has made this competitive ground, though, and nearly all of these features are now available on competing mid-priced models. There's simply no room for weakness.

The Pioneer's lack of a DAB tuner is excusable. Only Denon, it seems, are capable of implementing this cost effectively, and media streaming from your PC is a high-end luxury that more traditional users can likely live without, as is an Ethernet port for receiving intenet radio channels. However, just three HDMI inputs at this price point may dictate the addition of a separate switching box into your stack at a later date.

Conclusion

There is no doubt that the LX60 is a powerful, advanced product. But where it particularly scores over the similarly specified, but cheaper, receivers, is in audio quality. Despite a wealth of muscle, it's as musical as it is exciting, but it fills a room with less effort in order to produce a more cohesive soundstage.

In short, this is a fine receiver, but if you want even more features, including another HDMI input, you could consider Pioneer's own step-up model, the VSX-LX70.

MSI D310 Portable DTV

tech.co.uk staff — 1205229920

A widescreen 4-inch LCD screen that fits in your pocket is the attraction of the MSI D310: a TV and media player that, on size alone, is the last word in portable.

On paper the MSI sounds great: it's got a built-in digital tuner, plays JPEGs and MP3s, built-in games and an electronic program guide (EPG). Unfortunately, the pictures don't cut the mustard.

We may be expecting too much from a tiny TV with basic connections, but the flip-up internal aerial is inadequate for our reception area (and that's London), meaning lousy pictures. Granted, things improve dramatically once we get the provided external aerial on the case, but it looks like Crystal Palace's antenna grafted onto a Lilliputian-size screen. And it would be inconvenient to lug around while travelling, defeating the object a bit.

Once you manage to get tuned in, pictures from digital broadcasts are only average. We tuned in, turned on and dug the vibes of The Doors bioflick, but its psychedelic colours were a little too much for the D310 and lacking in sharpness.

Blacks were grey, and motion smearing was on the rampage. At least you could see what was going on when the reception was good.

Sonically, the speakers are below par: use headphones for best results. We got the best results from listening to the digital radio, as its broadcasts were crisp and clear.

Shame that clarity doesn't extend itself to the pictures from the internal aerial. If your reception's good, you'll never miss a televisual trick again when you're out and about, but you'll probably need to live right next to a TV transmitter. What Plasma & LCD TV Staff

Onkyo TX-SR505E

tech.co.uk staff — 1204908534

The new Onkyo TX-SR505E AV receiver is a remarkably flexible home cinema model for the money. Its looks are eye-catching for all the wrong reasons, but the cheap and rather plasticky styling is the only sacrifice to keep pricing low.

Underneath the flimsy exterior, the TX-SR505E squeezes in the kind of facilities and performance usually associated with more upmarket AV receivers, and claims a potent 130W to each of its seven channels.

There's even provision for a second set of stereo speakers to be added for second zone listening - as long as you're happy to stick with a 5.1 surround setup in your main listening area.

Passing by

Auto installation, HDMI pass-through and video switching are all included and the impressive feature and specification sheet easily outclasses similarly priced rivals. There's no built-in DAB tuner, though, and an RDS FM/AM tuner is all that's incorporated for radio fans.

Audyssey 2EQ makes integrating the Onkyo receiver with your room and speakers child's play. It automatically adjusts settings for the optimum listening condition by taking acoustical measurements in three seating positions via the supplied microphone.

It's a quick and simple procedure that accurately tunes the system to your speakers and environment. Manual adjustments can easily be made via the setup menu.

With its HDMI connectivity (two in, one out), the Onkyo is able to act as a home cinema hub for high definition video sources as well as standard definition sources, synchronising video and audio switching.

Picture signals routed through the HDMI or component video sockets show no sign of degradation, and images are as good as the original. S-video and composite video signals exhibit their inherent weaknesses, and sadly there's no video upconversion.

The TX-SR505E can accommodate just about any speaker package that it's partnered with, driving full range floorstanding and sub/sat speaker packages with equal aplomb.

Movie soundtracks are expertly balanced with power and detail, and the Onkyo copes well with the energetic dance tunes inside the Japanese night club and the contrasting ambient sounds of the Moroccan desert while watching Babel on DVD. Surround effects are expertly placed around the room and ensure that you don't miss subtle details, while bass levels are well controlled.

Breath of fresh air

The Onkyo doubles well as a music amp too, and two-channel music sounds clean and punchy without becoming over strident with Air's Pocket Symphony. It's fully compatible with the optional RI (Remote Interactive) DS-A2 iPod dock too, costing £70, offering superb sound quality and onscreen control using the amp's handset.

The TX-SR505E offers stunning flexibility and performance, and the button festooned front panel and flimsy build quality shouldn't weigh too heavily against it when you consider the bargain price.