• The first HDMI 2.2 products are likely to arrive in 2027
• Massively increased bitrates with 4K 480Hz support, or 10K resolution
• Great for PC gaming, but won't make much difference to TV viewers

HDMI 2.2 is coming, and it could be a very big deal for gamers. That's because it delivers double the bandwidth of HDMI 2.1: up to 96Gbps.

That means HDMI 2.2 is capable of delivering uncompressed 4K at up to 240Hz (current HDMI can only do this using Display Stream Compression, aka DSC) or uncompressed 4K at 480Hz with 4:2:0 chroma subsampling, and it can also deliver uncompressed RGB 8K at 60Hz. And using DSC, it's capable of delivering 1440p at rates exceeding 1,000Hz.

There is an important qualifier, though: devices can be HDMI 2.2 certified without delivering the very fastest data speeds, so you'll need to study the spec sheets of any potential purchases.

As FlatpanelsHD reports, the HDMI organization expects the first HDMI 2.2 devices to go on sale in 2027; testing and certification are already taking place.

According to Rob Tobias, CEO and president of the HDMI Licensing Administrator, "We're hearing chip manufacturers will start to sample their FRL2 [Fixed Rate Link, the signalling technology used by HDMI] chips this year. And so we should start to see some 96 or up to 96 gigabit HDMI 2.2 products next year."

Will HDMI 2.2 be a big deal?

The specifications are impressive, though it'll be available in three flavors, all of which are faster than HDMI 2.1: 64Gbps, 80Gbps and 96Gbps.

The performance for gaming is particularly impressive, but we already have DisplayPort 2.1 at up to 80Gbps in many of the best gaming monitors so there isn't a hugely pressing need to upgrade. And HDMI requires licensing fees that are likely to be higher than for DisplayPort.

Chances are if you're into high-end gaming hardware you've already gone down the DisplayPort route, especially if you have a multi-monitor setup, but HDMI 2.2 should mean more choice among premium displays.

HDMI has more benefits in living rooms, thanks to features such as ARC (Audio Return Channel), CEC (Consumer Electronics Control) and ALLM (Auto Low-Latency Mode), so it's conceivable that the PlayStation 6 could embrace the higher bitrates of HDMI 2.2 — although games only rarely achieve the 4K 120Hz that's already achievable over HDMI 2.1, and we're not sure that's going to really change with the PS6.

But some 4K 240Hz games might be possible, and the best gaming TVs might offer the refresh rate to support it, so there may be some benefit for the most hardcore. For most living room uses, though, HDMI 2.1 is probably overkill — it's really best for PC connectivity when it comes to the pure data rate.

However, there's another benefit to HDMI 2.2: LIP, which stands for Latency Indication Protocol. LIP improves sound syncing on home theater setups, such as soundbars or AV receivers — this can be a pretty common problem with even the best soundbars, so we'll be keeping an eye on how well this works.

For most of us, I think HDMI 2.2 is generally something to keep an eye on rather than something to demand as soon as it debuts. HDMI 2.2 has been made with 10K resolution in mind, but the vast majority of commercial and streaming video tops out at 4K.

It's something to think about when buying new AV hardware in the future (there's good chance we'll need to wait for 2028's CES for widespread adoption in TVs), but initially at least, it'll be more about marketing than real-world benefits for most of us.

And bear in mind that HDMI adoption is really driven by the companies that provide the connection hardware.

Even today, not all high-end TVs have four HDMI 2.1 ports, because the most powerful processing chips used by many manufacturers don't support this. Some lower-tier TVs from the same makers do, because those chips have more up-to-date HDMI control elements — it's a bit of a mess. I suspect HDMI 2.2 will have the same kind of slightly chaotic support.

On PCs, we'll be relying on GPUs to support the tech, and new models aren't expected until late 2027 or after that — so there's a good chance of seeing HDMI 2.2 on them. But like HDMI 2.1, it'll probably launch on the highest-end models first.

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I recently visited the Japanese factory where Denon and Marantz make the hi-fi and home theater gear, and the best part of the seeing the facility was getting a demo of the reference home theater listening there, with its 9.4.6 channels of Dolby Atmos sound delivered via $250k of Bowers & Wilkins speaker.

While snooping around the room, the shelving in the corner that houses their disc library naturally caught my eye. Marantz's engineers had already told me that they consider Gravity to be one of the ultimate stress tests for AVRs (you can read why in the piece I linked above), but what else do they keep on hand for testing AV receivers and other gear?

I wanted to make a list to share with the many 4K Blu-ray and home theater enthusiasts out there, looking for fresh demo disc ideas — but given that we had limited time in the room and a major portion of the movies are in Japanese, I took a few photos of the shelves, and came back home to analyze them.

The list is below, and it's in two sections: movies, and concert discs. I excluded anything that isn't a Blu-ray or 4K Blu-ray — the shelves were obviously also full of CDs and SACDs (and a few DVDs).

It's not an exhaustive list: I used Google Gemini to help me translate Japanese titles that I couldn't discern myself anyway (I did not need help identifying which disc was Mad Max: Fury Road, naturally), and sometimes its translations were either vague or otherwise uncertain, so I didn't include those titles unless I could verify them another way. And also, I probably missed some because this whole exercise made me go a little stir-crazy.

So if you want to see the shelves and comb through yourself, here they are — but my written-out list is just below.

The list is inevitable in places — Blade Runner 2049 and 1917 are obvious inclusions, and two versions of Interstellar is the normal number of versions of Interstellar to own, in my opinion — but it was also really interesting and surprising in places.

I loved seeing Bridge of Spies in there; I didn't expect Hairspray (2007), but it makes a ton of sense; I'm very curious what makes Taxi 3 specifically a good disc to have; it absolutely rocks that they have RRR, and I can't recommend it enough for your own library; and in contrast to Interstellar, I really don't think anyone needs two copies of Pixels…

The music side includes a fun mix of jazz sets, classical music, movie music and huge stadium events — and with a very healthy dose of metal.

Movies

• 1917
• 2001: A Space Odyssey
• 28 Years Later
• 9 (Nine)
• A Clockwork Orange
• A Complete Unknown
• A Star is Born (2018)
• Akira
• Alien Romulus
• American Made
• American Sniper
• Apocalypse Now
• Apollo 13
• Aquaman and the Lost Kingdom
• Argo
• Avatar
• Back to the Future Trilogy
• Batman v Superman: Dawn of Justice
• Battleship
• Birdman
• Black Rain
• Blade Runner
• Blade Runner 2049
• Blue Giant
• Bohemian Rhapsody
• Breakfast at Tiffany's
• Bridge of Spies
• Burlesque
• Casino Royale
• Chicago
• Civil War
• Crimson Peak
• Deadpool & Wolverine
• Donnie Brasco
• Dr Strange and the Multiverse of Madness
• Dune (2021)
• Dune: Part Two
• E.T. the Extra-Terrestrial
• Fantastic Beasts: The Secrets of Dumbledore
• Ford v Ferrari
• Furiosa: A Mad Max Saga
• Get On Up
• Ghost in the Shell
• Ghostbusters (2016)
• Gladiator II
• Godzilla vs. Kong
• Gran Turismo
• Gravity
• Green Book
• Hairspray (2007)
• Harry Potter and the Deathly Hallows Part I
• Hidden Figures
• The Huntsman: Winter's War
• I, Frankenstein
• Inception
• Indiana Jones: The Complete Adventures [Doesn't include Dial of Destiny]
• Inside Llewyn Davis
• Interstellar
• It: Chapter One
• Jack Reacher: Never Go Back
• Jason Bourne
• John Wick
• Joker: Folie á Deux
• Jumanji: The Next Level
• Lucy
• Mad Max: Fury Road
• Man of Steel
• Mission: Impossible – The Final Reckoning
• Mission: Impossible – Dead Reckoning
• Mission: Impossible – Ghost Protocol
• Mission: Impossible – Rogue Nation
• Mission: Impossible – III
• Moana 2
• No Country for Old Men
• No Time to Die
• Nope
• Oblivion
• Oppenheimer
• Pacific Rim
• Pacific Rim: Uprising
• Paris, Texas
• Pixels
• Pokémon: The Movie
• Quantum of Solace
• Red Tails
• Rocketman
• Rogue One: A Star Wars Story
• RRR
• Rurouni Kenshin: The Legend Ends
• Seven (Se7en)
• Sherlock Holmes
• Sherlock Holmes: A Game of Shadows
• Sinners
• Sisu
• Skyfall
• Solo: A Star Wars Story
• Spectre
• Spider-Man: Across the Spider-Verse
• Spider-Man: Far From Home
• Spider-Man: Homecoming
• Star Trek Beyond
• Star Trek Into Darkness
• Star Wars: The Force Awakens
• Superman (2025)
• The Legend of Tarzan
• Taxi 3
• Teenage Mutant Ninja Turtles
• Tenet
• The Batman (2022)
• The Cell
• The Creator
• The Expendables 3
• The First Slam Dunk
• The Girl with the Dragon Tattoo
• The Greatest Showman
• The Hunger Games: Mockingjay – Part 1
• The Phantom of the Opera
• The Shallows
• The Sky Crawlers
• The Super Mario Bros. Movie
• Top Gun
• Top Gun: Maverick
• Transcendence
• Transformers: Age of Extinction
• Transformers: Rise of the Beasts
• Twisters
• Unbroken
• Venom: The Last Dance
• West Side Story (2021)
• Wonder Woman
• X-Men: First Class
• Yowamushi Pedal

Music and concerts

• Adele: Live at the Royal Albert Hall
• Ado Special Live
• Babymetal: Live at Tokyo Dome
• Beethoven Symphonies Nos. 5 & 7: Wiener Philharmoniker
• Berliner Philhamoniker: The Asia Tour
• Billy Joel Live at Shea Statdium
• Black Sabbath: The End
• Bob James Trio: Feel Like Making Live
• Bob Marley and the Walers Legend
• Bon Jovi Live at Madison Square Garden
• Chihiro Yamanaka: Somethin' Blue Quintet – Live at Blue Note Tokyo
• Chris Botti: Live in Boston
• David Gilmour: Live at Pompeii
• George Mccrae - Love
• Hans Zimmer: Live in Prague
• Harvie S Trio: Too Late Now
• Hit Man David Foster & Friends
• Joe Bonasmassa Live at the Greek Theatre
• John Mayer: Any Given Thursday
• John Mayer: Where the Light Is
• John Williams in Tokyo
• KISS Rocks Vegas
• Lady Gaga Presents The Monster Ball Tour
• Led Zeppelin: The Song Remains the Same
• Megadeth: Countdown to Extinction
• Metallica: Quebec Magnetic
• Michael Jackson: This Is It
• Misia: Soul Quest World Tour
• MR. BIG – The Big Finish Live
• MTV Unplugged ayaka
• Norah Jones: Live at Ronnie Scott's
• Pat Metheny Group: The Way Up - Live
• Pat Metheny: The Orchestrion Project
• Pink Floyd: Live at Pompeii
• Prince Sign o' the Times
• Queen: Rock Montreal & Live Aid
• Quincy Jones: The 75th Birthday Celebration
• Roger Waters: The Wall
• Rolling Stones: Shine a Light
• Scorpions: Live in 3D
• Shogo Hamada: On The Road 2015-2016
• Steve Vai: Live at the Astoria
• Sting: Live at the Olympia Paris
• Take Me to the River
• The Beatles: 1
• The Beatles: Get Back
• The Great Jazz Trio Hank Jones – The Legend of Jazz: Live at Blue Note Tokyo
• The Last Waltz
• The Rolling Stones: Hyde Park Live 1969
• Tony Bennett: An American Classic
• Toto: Live in Poland
• Vienna Philharmonic: New Year's Concerts – 2017, 2018, 2019, 2020, and 2021

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For the launch of Denon's new X3900H and X2900H AV receivers, I visited the company's headquarters in Japan to give the new models a try in the custom listening room developed for the company's Sound Masters to tune products to perfection — but I also visited Denon and Marantz's combined factory, where the two companies produce their hi-fi and AVR components.

This is in the city of Shirakawa, about an hour's ride on the Shinkansen bullet train from Tokyo, where the cherry blossoms still lingered even though Tokyo's parks had largely lost their annual spring decoration.

Seeing the production lines and testing for the various hi-fi models was interesting, but I've visited lots of AV manufacturing facilities in my time, and once you've seen four, you've largely seen them all.

But our tour included an extended session in the factory's home theater listening room, which is one of the most impressive setups I've experienced. The room was first established in 1983, so that the first Marantz AV receiver could be developed and tested in it before its launch in 1985.

There are subtle signs of the room's age — the vault-like door has a distinctly '70s infrastructure look and feel to it — but the Denon receiver at the center of our demo today is unquestionably modern.

The AVC A1H is the company's first model that can handle 9.4.6 speaker channels, with support for basically any spatial audio system you'd care to throw at it.

And 9.4.6 channels is exactly what the room's speaker system offers, in the imposing form of eight Bowers & Wilkins 801 D4 speakers with an HTM81 D4 center, plus four ASW Series subwoofers tucked away at the edges — and six speakers mounted in the ceiling. That's about $250k of speakers.

These were paired with a Sony VPL-VW535 4K projector for the visuals, powered by an Oppo UDP-205 4K Blu-ray player. Alas, it's a reminder that this model has arguably never been bettered despite being discontinued the better part of a decade ago.

I slid into the sweet spot seats in the middle, which Denon and Marantz engineers said is 12 feet from the center channel, and 10 feet from the two rears — not quite following the equilateral distance guidelines laid out by Dolby for Atmos, but I'm not going to quibble with the people who design the actual setup.

The first demo scene was A Star is Born (2018), when Ally comes out to play on stage at Jackson's concert for the first time. The first thing that struck me was the complete disconnection of the sound from the equipment, in the best way.

The sound is so expansive and expressive that it feels like there's no channel system at all — the platonic ideal of Dolby Atmos' spatial audio.

The sound is so amazingly cohesive from top to bottom, and always has a new gear to find when it needs to step up the resonant bass of an acoustic instrument, or when Gaga’s voice is given extra elevation out of the mix by the soundtrack, or to highlight each guitar string suddenly twanging — and whenever it needs to the extra step, it always feels like a seamless flow.

The system feels like it just has endless power, and yet it feels like it's not exerting itself hard at all — there's no sense of the forceful and forward sound that you're likely to get from soundbars or compact options. It's just naturally explosive.

Next up was the opening scene of Unbroken, which puts you in the middle of an aerial battle in World War II — in particular, locking you in and around the experience of one bomber.

There's excellent specificity in the position and scale of effects, such as propellers vibrating the air, or whirring gunner seats and small rattling brackets and fixtures. But these don't sound like they’re being especially highlighted and punched up; they’re just naturally specific in the mix.

Anti-aircraft fire and explosions are grippingly dynamic, popping out of nowhere and rattling the soundscape forward to back as the cockpit is peppered with shrapnel — it's not one crackly effect, but a clear wave of super-fast movement in 3D.

Machine guns fire audibly just above the screen, and cartridges rattle in a clear downward motion as they fall into our 'seating' area — you're able to understand more about the structure of the vehicle from the sound design, when everything is this precise.

Next on the list is Gravity, which the Denon and Marantz team described as their choice of movie for an “AVR stress test” — the scene where Ryan Stone re-enters the atmosphere really slams all channels at once, including bass, continuously for several minutes — they said it's basically the hardest-to-drive movie scene.

With that in mind, what jumped out to me is how, despite the cacophonous rumbling and rattling filling the space around me, I could also hear that the system was really delicately handling the singing in the score. It's soft and refined, and also brutal and bruising, all in the same moment.

The positional effects in this scene absolutely whip around you, alarms pierce with their own individual level of urgency, and exploding debris is somehow chaotically noisy and yet also moves precisely in the sound field.

It’s audio havoc, but it never clips or crushes the disparate elements, so you’re completely trapped in the tensest part of the movie while it happens — this is unimpeachable immersion.

To give us a gentle recovery, we finish up with A Complete Unknown. When Dylan and Joan Baez play their privately contentious set together at the folk festival, there's such a lovely recreation of the ambient sound, ironically perfectly recreating the audio signature of an imprecise speaker system.

The song showcases lovely, sharp guitar string plucks and total rhythmic control in the gentle track. The system can explode the crowd noise in the back, while maintaining the same gentle and faintly distorted vocals at the front, all in careful balance, without the denser sound overpowering anything more delicate.

My demo run in this listening room was the kind of experience that spoils you for lesser home theater setups, though I'll be saved from myself by not having the disposable income to spend a quarter of a million on speakers, before I even get to the supporting equipment — let alone building a suitably impressive room to house it all in.

But if you should find yourself coming into a large inheritance and you love movies, I can think of far worse ways to spend it.

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• Multiple Sony devices will lose access to streaming services and Google Cast
• AV receivers, Blu-ray players, soundbars, wireless speakers and more
• Effective November 17, 2026

Something we've learnt the hard way over the years is that pretty much any product with an online component will lose it eventually. Server shutdowns have affected everything from multiplayer games to the ill-fated PlaysForSure music platform, and now it's coming to Sony products.

Like Bose earlier this year, Sony is shutting down servers for some of its audiovisual products. But unlike Bose, which went to great pains to enable people to maintain as much functionality as possible, Sony's devices will lose many core features as a result.

The changes aren't immediate — they won't come into place until November 7th, 2026 — but they apply to a lot of models including AV receivers, Blu-ray disc players, speakers and soundbars. The full list of affected devices is available on Sony's website, but we've included it at the end of this article too.

What Bose did, and what Sony isn't doing

Earlier this year Bose discontinued online support for its SoundTouch speakers first introduced in 2013. However, the speakers themselves remained fully functional and while Bose's own SoundTouch streaming was switched off, AirPlay and Spotify Connect would continue to work.

Sony's changes are more severe. From November, the following services will be unavailable on affected devices:

• Amazon Prime Video
• Google Cast
• Netflix
• Pandora
• Slacker Radio
• Spotify
• Vudu

As Sony explains, from November "access to supported network services will no longer be available on affected models [and] any downloaded network services may no longer be accessible on affected models… we apologize for any inconvenience and appreciate your understanding."

While most of the affected models are elderly, there's a lot of them: nine soundbars, 16 AVRs, 17 Blu-Ray players, multiple Blu-Ray home theater systems and five sets of wireless speakers. That means the service shutdown is likely to affect quite a lot of people.

Which Sony products are affected by the 2026 shutdown?

Audio and Micro Component Systems

• CMT-MX700NI
• HAP-S1
• HAP-Z1ES
• MAP-S1
• NAC-SV10

AV Receivers

• STR-DA1800
• STR-DA2800ES
• STR-DA3700ES
• STR-DA5700ES
• STR-DA5800ES
• STR-DN1020
• STR-DN1030
• STR-DN1040
• STR-DN1050
• STR-DN1060
• STR-DN1070
• STR-DN1080
• STR-DN840
• STR-DN850
• STR-DN860
• STR-ZA810ES

Blu-ray Disc Players

• BDP-BX18
• BDP-BX37
• BDP-BX38
• BDP-BX57
• BDP-N460
• BDP-S185
• BDP-S270
• BDP-S280
• BDP-S370
• BDP-S380
• BDP-S390
• BDP-S470
• BDP-S480
• BDP-S570
• BDP-S580
• BDP-S770
• BDP-S780

Blu-ray Disc Home Theater Systems

• BDV-E280
• BDV-E370
• BDV-E470
• BDV-E570
• BDV-E580
• BDV-E770W
• BDV-E780W
• BDV-E870
• BDV-E880
• BDV-F7
• BDV-HZ970
• BDV-IZ1000W
• BDV-L600
• BDV-T28
• BDV-T57
• BDV-T58

Media Players

• FMP-X10
• SMP-N100
• SMP-N200

Soundbars

• HT-CT790
• HT-CT800
• HT-NT3
• HT-NT5
• HT-RT5
• HT-ST5000
• HT-ST9
• HT-XT2
• HT-XT3

Wireless speakers

• SA-NS310
• SA-NS410
• SA-NS500
• SA-NS510
• SRS-X7

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• Denon unveils new X2900H and X3900H AV receivers
• Both have new audio architecture for Dolby Atmos and DTS:X sound
• X2900H is 7.2 channels; X3900H is 9.4 channels

Denon has unveiled two new AV receivers, including an update to one of the most popular bang-for-buck models around — and it's a pretty strong upgrade based on my early impressions from a demo session.

The new models are the Denon AVR-X2900H and the AVR-X3900H, and they're similar in a lot of ways, with the X3900H promising more "scalability" and "flexibility" over its little sibling.

They replace the X2800H and X3800H respectively, and Denon says they've been updated internally to improve the sound, including sharing a new 32-bit DAC system designed to deliver "improved imaging, clearer high-frequency detail and more confident low-frequency energy across every channel."

Both receivers support Dolby Atmos and DTS:X, and include Dirac Live and Audyssey support for sound correction. They both have six HDMI inputs and multiple HDMI outputs, with support for 4K 120Hz passthrough with Dolby Vision HDR (and 8K video at 60Hz). New this year is support for 1440p and AMD FreeSync passthrough, which is nice for PC gamers.

They also have Denon's HEOS wireless platform on board for music streaming over Wi-Fi, with support for major streaming platforms to play in hi-res — plus Bluetooth connectivity.

The differences come in just how elaborately all this is implemented. The X2900H supports 7.2 channels of sound at up to 95W (at 8 ohms) per channel, while the X3900H supports 9.4 channels at up to 105W (at 8 ohms) per channel.

The pricier X300H includes Auro 3D and IMAX Enhanced support as well as the two standard spatial formats, and offers more Dirac tools as optional extras. The X2900H offers two HDMI outs (one of which is eARC), while the X3900H has three HDMI outs (again one eARC).

The extra channels of the X3900H obviously require a load more speaker connections on the back, but the X3900H also includes more RCA inputs, including an MM phono input, and more pre-amp outputs.

Both models launch today, May 14. The Denon AVR-X2900H costs $1,349 / £899 (about AU$1,680), while the Denon AVR-X3900H costs $1,849 / £1,299 (about AU$2,430).

So, you've got the run-down on what they can do — but how do they sound? Happily, I got to hear them before their launch.

What are the Denon X2900H and X3900H like in action?

Denon's listening room at its Kawasaki office — used by its current Sound Master, Shinichi Yamauchi, to refine and provide feedback on the performance of its products — provided the setting for an all-too-brief demo of the new AVR models.

They were connected to the room's array of Bowers & Wilkins 801 speakers, which are probably a little more hardcore (at $55k / £34k per pair) than most people will connect to these amps, but at least I could be sure that the speakers weren't going to impose any kind of limitation on what I was hearing.

First, Denon gave me a demo comparing the existing X2800H AVR with the new X2900H that replaces it, showing a scene from Dune in the ornithopter (a word I'm now able to spell first time consistently, thanks to how frequently scenes featuring it in appear home theater demos).

This was a 5.2.2-channel demo in Dolby Atmos, maxing out the X2900H's 7.2-channel capacity with the five surround channels plus the two height channels, and then two subwoofers.

The key theme here is that small changes add up to a clear improvement. The dialogue clarity is a little stronger, standing out slightly more prominently from the beating wings of the ornithopter while still feeling natural.

The spatial effect of the surround channels is a little stronger as well, feeling like there's a touch more dynamic range and expansiveness to envelop you in what's around you.

The bass transients and low-end power also feel — say it with me — a little stronger. There's an extra step of liveliness and control to bass impacts that make them feel more tactile

Adding together multiple elements that are a little stronger, though, creates a whole that feels bigger, meatier and more complete. The upgrade from the X2800H to the X2900H isn't game-changing, but it's weighty.

After that, we got a comparison of the new step-up X3900H against the X2900H. The demo was Hans Zimmer & Friends: Diamond in the Desert, which is a movie score concert film (but sounds like an animated movie where Hans and his team solve a Scooby-Doo-like mystery).

The X2900H played through the same speaker setup as above, but when we switched to the X3900H we added a couple of extra surround channels, taking us to 7.2.2 channels, in Dolby Atmos.

Interestingly, though, in the section of the Inception medley that Denon demoed for us, I couldn't hear as much difference between these two AVRs as I could between the X2800H and the X2900H, even though in this case two extra speakers were being added.

It may have been partly to do with the arrangement of the song just not taking that much advantage of the extra channels, but in general I'd say I didn't feel much of a difference in the expression and clarity of the instruments.

It's obviously very possible that further reviewing with more scenes will reveal more nuance, so I'll have to reserve full judgment on the X3900H — but obviously, at the very least, even if its performance turns out to be very similar to the X2900H, it still provides more channels and higher power output for speakers that really benefit from it, so may be worth the upgrade anyway.

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• Marantz expands its premium AV line-up with a new preamp and amp
• Dolby Atmos, DTS:X, AURO-3D and 8K
• $4,000 / £3,500 (about AU$7,020) each

If you thought last year's Marantz AV 20 and AMP 20 were desirable, wait until you see (and hear) what the legendary audio brand decided to make next. The new Marantz AV 30 and AMP 30 are even more sophisticated – and they're more affordable too.

"Affordable" is relative here – you're still looking at $4K / £3.5K for each – but that's significantly less than the AV 20 and AMP 20, which launched at $6,000 / £4,750 (about AU$9,880) apiece.

Marantz AV 30 and AMP 30: key features

The AV 30 features the most powerful Analog Devices SHARC dual-core DSP chipset, which is coupled to high-quality 32-bit DACs. It supports Hi-Res Audio, Dolby Atmos, IMAX Enhanced, DTS:X and AURO-3D, and it features Audyssey MultEQ XT32 room calibration and optimization. There's optional Dirac Live, Dirac Bass Control and Dirac Active Room Treatment too, with support for up to four fully independent subwoofers.

All seven of the AV 30's HDMI inputs support up to 8K/60Hz or 4K/120Hz, and there are multiple analog and digital inputs. The HDAM SA-2 preamplifier stage can deliver up to 11.4 channels via RCA or XLR, and it runs Marantz's HEOS system with Roon Ready, Spotify Connect, TIDAL Connect, Qobuz Connect, AirPlay 2 and Bluetooth.

The AMP 30 is a six-channel, cool-running power amp with 200W per channel into 8 ohms, and it supports reconfiguring 200W amp channel pairs into bridged-tied-load configurations with up to three channels of 400W. It also supports bi-amping up to three speakers, and it can be used to upgrade an existing AV 10 or AV 20-based system for large-scale home theater setups.

The Marantz AV 30 has a recommended price of $4,000 / £3,500 (about AU$7,020) and the Marantz Amp 30 is also $4,000 / £3,500 (about AU$7,020).

• The AV20 and AMP20 deliver 200W per channel, or 400W per channel to six channels
• Designed to work together but also compatible with other Marantz models
• $1,000 cheaper when bought together

As much as I love a good soundbar, my idea of home theater heaven features a high-end AV receiver – and Marantz's new AV20 and AMP20 could be the soundtrack for the home setup of my dreams.

The AV20 and AMP20 are reference-quality home theater separates, and as you've probably deduced from the names, the AMP20 takes care of the amplification. And it's a lot of amplification: 200W per channel over 12 channels, or 400W per channel to six.

Marantz AV20 and AMP20: key features and pricing

The AV20 and AMP20 can deliver a 13.4 channel surround system – so you're probably talking about 9.4.4 channels in practice as the maximum Dolby Atmos configuration. While they've been made to work together, they can also be used separately – so for example, you can invest in the more powerful AMP10 and team it with the AV20.

They're as good to look at as they are to hear: they have Marantz's premium industrial design with its distinctive porthole display and I think they look spectacular.

The AV20 has Audyssey MultEQ XT32 room calibration and Dirac Live (that one's an optional extra) with Dolby Atmos, DTS:X Pro, Auro-3D and IMAX Enhanced. There are seven HDMI 2.1 inputs and three HDMI outputs with 4K 120Hz and 8K 60Hz support.

Naturally it works with Marantz's HEOS system for multi-room, and it also has AirPlay 2, Spotify Connect, Tidal Connect and plain old Bluetooth.

The Marantz AV20 and AMP20 are priced identically at $6,000 / £4,750 (about AU$9,880) each. But if you buy both together you'll get a big discount: together they're $11,000 / £9,500 (about AU$19,849).

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Behind every good home cinema setup, there is an HDMI cable – or so the saying goes (sort of). While HDMI cables might not be the most exciting things in an AV system, it's hard to overstate how essential they are to its proper operation. 

Besides iPhone chargers, HDMI, which was introduced in 2002, may well be the most common cable that the world owns, transferring up to 8K video and multichannel audio to the best TVs of any size or type. 

Today, we're taking a look at two innovations in the HDMI cable connection standard: HDMI ARC and HDMI eARC. 

ARC stands for Audio Return Channel, and eARC stands for Enhanced Audio Return Channel. ARC was introduced as part of the HDMI 1.4b Specification, and allows for the two-way travel of audio data over an HDMI cable to and from a TV. A standard, pre-ARC HDMI port, in contrast, only supports video and audio transmitted from a source device directly to a TV or another type of display. 

The biggest practical application of ARC is to have just one cable that connects a smart TV and one of the best soundbars or another external sound system, which would have previously required multiple cables. In 2024, the best TVs across all price ranges will come with HDMI ARC or eARC ports. 

How HDMI ARC and eARC differ from regular HDMI ports

As just discussed, HDMI ARC – or Audio Return Channel – offers one huge benefit: as well as receiving audio and video like normal, your TV can send audio back over the same HDMI cable. That means audio from the TV’s built-in streaming apps like Netflix, as well as source devices connected to the TV via its other HDMI ports such as a gaming console or one of the best 4K Blu-ray players, can be routed to an external speaker system like a soundbar or AV receiver. 

The result: fewer cables (or even just one cable connecting the TV and a soundbar) in your home theatre setup.  

The difference between HDMI ARC and HDMI eARC

So, what's the new thing that the "e" in eARC introduces? What does "enhanced" mean for an HDMI connection? 

The answer is that eARC, introduced as part of the HDMI 2.1 standard, brings several important improvements, most notably in the quality and type of audio formats it can handle. 

While HDMI ARC is limited to compressed audio formats like Dolby Digital, Dolby Digital Plus, and DTS, HDMI eARC is a significantly higher-bandwidth connection that allows for the transmission of lossless, high-quality audio, including Dolby Atmos and DTS:X, providing a richer and more immersive listening experience.

Briefly, Dolby Atmos – a technology you might have seen more and more about in recent years – adds a 3D element to surround sound by producing sounds above the listener, as well as sounds that come from front and behind in a traditional 5.1 or 7.1 setup. 

Given that you're reading this article, we imagine you care about these somewhat small details, so eARC is definitely a benefit if you want to harness the full power of your home theatre rig. 

TV and cable requirements

Let's get into the nuts and bolts. In terms of TVs, HDMI ARC is supported on most modern models, but only one HDMI port is typically designated as ARC-compatible. If you're using a soundbar or AV receiver, you'll need to make a connection from its ARC port to the ARC port on your TV. For eARC, you’ll need a TV with an HDMI 2.1 port, which is found on newer models. 

For making ARC connections, a high-speed HDMI cable is recommended. For eARC, both a standard HDMI Cable with Ethernet and a high-speed HDMI Cable with Ethernet will work, according to HDMI Licensing. 

Even though many existing high-speed HDMI cables will work fine with both connection types, ultra-high-speed HDMI cables offer more robust performance for higher bandwidth needs, such as 8K and 4K 120Hz video and uncompressed Dolby Atmos audio.

So do I need HDMI ARC or eARC? 

Good question! 

The answer is most probably yes, given the upsides of two-way audio transfers, better audio quality, and generally keeping up with technological trends. 

Of course, if your current AV setup is working, and you're happy with it, ripping everything apart to fit in a new ultra-high speed HDMIcable probably doesn't make sense. But for your next TV purchase, definitely keep these standards in mind. 

The convenience of only having to run a single cable from your smart TV to your soundbar makes the dream of a "cable-less" setup from a viewer's perspective much easier than it was before. 

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In the world of high-end home theater, there are two brands that tend to dominate the AV receiver market – Denon and Marantz – so when either one launches a new flagship product, home theater enthusiasts tend to stand up and listen.

This week, it's Marantz with the new Cinema 30, which is packed to the brim with all the latest capabilities that you'd expect to power an elite home cinema, such as support for 8K video, surround sound formats like Dolby Atmos and Wi-Fi for watching the best streaming services.     

The news comes hot on the heels of Denon's new 8K AV receiver with Dolby Atmos launching, which is another seriously impressive model that we at the time thought was the pinnacle of elite home theater gear. But now that the Cinema 30 has arrived, we may have to reconsider.

How does the Marantz Cinema 30 compare to Denon's AVC-X6800H? 

Marantz and Denon are both owned by the same conglomerate called Masimo (the companies had merged in 2002 before being sold off), but have long established histories before that.   

While their respective lineups of AV receivers may appear on first glance to be very similar, when put side-by-side there are some very subtle design features that make them slightly different. The biggest being the iconic Marantz porthole, which is further emphasized by the fold down panel that conceals a display and controls. 

On the connectivity front, the Cinema 30 is just as impressive on paper as the AVC-X6800H though, with 8K support for seven HDMI inputs, three HDMI outputs and 11 channels of amplification that Marantz says can extend to 13.4 channels in pre-amp mode if you want to add an external amplifier. There's also HEOS, Spotify Connect, AirPlay 2 and Bluetooth built-in. 

The Cinema 30 is also well-equipped to handle all the latest spatial audio formats, including Dolby Atmos, IMAX Enhanced, DTS:X Pro and Auro 3D, with 140 watts per channel. It runs on a Sharc Dual DSP chipset with a 32-bit ESS Sabre DAC, which means it can decode anything you throw at it.

Out of the brand's 2024 flagship models, it's too early to say which has the edge over the other but as far as specs go, they're both vying to outdo one another. Denon currently dominates our best AV receivers guide, but that might not be for much longer.

The Marantz Cinema 30 is available to buy now (January 30) for the premium price tag of $4,500 in the US and £3,900 in the UK.

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UPDATED: We have added in new information about the US availability and pricing of the Denon AVC-X6800H to the bottom of this article.      

Denon was the first brand to release an 8K AV receiver, and its latest 8K model is the most impressive we've heard of yet in terms of power and connectivity. The Denon AVC-X6800H has seven HDMI inputs, two HDMI outs and 11.4 channels of immersive spatial audio plus every conceivable kind of connectivity and configuration.

As you can see from the photo it's a good-looking thing (and it's just as good-looking in black), but what's really exciting here is the specification. We already rank Denon as the best AV receiver maker for most people, but the AVC-X6800H appears to tick every single amplifier box we can think of – and while its priced at a fairly premium £3,000, it's hard to imagine you ever needing to upgrade. 

Denon AVC-X6800H: key specifications

The Denon AVC-X6800H has 11.4 channels of amplification and 13.4 in pre-amp mode, which disconnects the internal amplification to deliver a clean connection to other home cinema hardware. There's support for spatial audio and 8K video, with 205 watts per channel of amplification for suitably earth-shattering soundtracks. The supported sound formats are Dolby Atmos, DTS:X, IMAX Enhanced and Auro 3D. There's also upmixing via Dolby Surround, DTS Neural:X and Auro-Matic to breathe new life into older content. And as it's a Denon it also has the firm's HEOS interoperability built-in.

All seven HDMI inputs and both HDMI outputs are 8K-ready, and there's HLG, HDR, Dolby Vision, HDR10+ and Dynamic HDR pass-through. There's Audyssey room correction included, and for a fee you can upgrade to Dirac Live digital room correction.

The Denon supports hi-res audio with its front USB port enabling playback at up to 24-bit/192kHz, and it supports MP3, WMA, WAV, MPEG-4/AAC, FLAC and ALAC. And there's good news for gamers too. The receiver supports VRR, Quick Frame Transport and ALLM for your consoles or computer.

It's an exceptionally powerful and flexible receiver – just listing the connections on the back would take up most of my day – but as we know from other Denon hardware the included Denon Setup Assistant makes everything user-friendly for those buyers who don't want to tinker with every conceivable configuration option. Although naturally, that's all there for people who do.

The new Denon AVC-X6800H is available through authorised Denon retailers for £3,000 in the UK and €3,500 in Europe. In the US, Denon has tweaked the name of the model to be AVR instead of AVC and has also added a built-in FM/AM Tuner to be more in line with AV receivers in the region. It retails for $3,499 but is not currently available. 

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Marantz has been in the luxury audio business for 70 years, and its latest stereo receiver wouldn't look out of place in a 70s sound system. But behind that classic design there's some cutting-edge tech that Marantz says delivers "the most musical sound" from an amp that punches way above its size. And with excellent timing, they've chosen our Home Theater week to announce it.

The new Marantz STEREO 70s is serious about its sound, with hyper-dynamic amplifier models that Marantz says dramatically outperform traditional chip-based op-amps and that deliver the full power and quality of a full-size amps. It's just 11cm tall, making it much smaller than the best AV receivers we've tested and enabling it to fit in spaces conventionally sized components can't.

Marantz STEREO 70S: key features

There are six HDMI inputs here, three of which are 8K compatible, and an HDMI out with ARC. There's support built-in for key audio services including Spotify Connect, Amazon Music HD, Airplay, Bluetooth, Tidal and Tunein, and the receiver supports 192kHz 24-bit digital audio and DSD files. It also has a DAB/FM tuner, AirPlay 2 support and HEOS tech for connecting to and streaming from other HEOS devices.

Round the back you'll see every conceivable kind of connector including phono, digital and multiform as well as four speaker terminals with speaker A/B and twin subwoofer outputs. The two-channel class A/B amp puts out 75W and you can control it with the supplied remote, via the accompanying app or via the web.

It's a beautiful looking thing and it'll no doubt sound beautiful too. The STEREO 70S is available now for £900 / €1,000 in a choice of either black or silver gold. 

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Pioneer has announced a new flagship Elite 11.2.4-channel AV receiver, the VSX-LX805 ($2,999 / around  £2,500 / AU$4,500). This is the first flagship model to arrive from Pioneer since rights to its AV brand were acquired by the Premium Audio Company, a subsidiary of VOXX International that also holds the Klipsch, Jamo, and Integra brands under its corporate umbrella, and it’s nothing if not feature-packed.

Like all the best AV receivers, the VSX-LX805 provides processing support for both Dolby Atmos and DTS:X and it's also IMAX Enhanced certified. A firmware update scheduled for June will add Auro-3D processing, making the new Pioneer Elite model a fully stocked option for immersive audio.

The VSX-LX805’s 11 class-AB amplifier channels are each rated to deliver 150 watts output, and it can be used to power up to three zones. It has 15 RCA preamp outputs for future amplifier upgrades along with stereo XLR input and output connections.

A total of seven HDMI 2.1 inputs are provided and there are three HDMI outputs including one with eARC. Of these, inputs 1-6 support 8K pass-through, along with 4K 120Hz signals from PS5 and Xbox Series X gaming consoles, and there’s also support for VRR, ALLM, and Quick Media Transport (QMS), which lets the receiver switch between video output at different frame rates such as 24fps and 60fps without any glitches.

Streaming also gets comprehensive support on Pioneer’s new receiver, with Chromecast, AirPlay 2, DTS Play-Fi, and Bluetooth aptX HD all accommodated. Chromecast and DTS Play-Fi provide high-res audio streaming, and DTS Play-Fi recently added gapless playback as a feature, so either will be a great way to listen to music on the VSX-LX805. Otherwise, it has built-in support for Tidal, Spotify, and Amazon Music Unlimited, allowing you to directly access those music streaming services when using Pioneer’s control app.

Dirac Live and Dirac Live Bass Control 

One of the more interesting features found on the VSX-LX805 is Dirac Live. This is an advanced form of room correction processing to optimize the sound of multi-channel speaker systems, and the built-in full-bandwidth version Pioneer provides lets you correct for audio frequencies above 500Hz, as opposed to the more limited bass-only version supported by some products.

You can also upgrade the VSX-LX805 for Dirac Live Bass Control for systems with single or multiple subwoofers (the cost is $349 for a single sub and $399 for two subs).

In the company’s own words, “Dirac Live Bass Control leverages all-pass filters, plus machine learning and artificial intelligence, to calculate gains, delays, and all-pass filters for each subwoofer. In this way, the Dirac solution ensures that low frequencies add up so that not only the average is controlled, but most importantly, seat-to-seat variation is minimized as we can now achieve a level of control in multiple locations at once.”

Analysis: Pioneer AV receivers are back, and they’ve returned in style 

Often when a major audio brand is acquired, the new version ends up being a pale shadow of its former self. There are countless examples of this to draw from over the decades, and some of us who cover the AV space had pretty much given up on Pioneer Elite, which had disappeared from view a few years back.

But with the new Elite VSX-LX805 AV receiver, the brand is back, and it’s looking as strong as ever. Same as with the recent Sony AV receiver launch, Pioneer’s flagship is outfitted with all the latest connection options, with support for 8K and 4K 120Hz on multiple HDMI ports. This makes the VSX-LX805 essentially future-proof, and anyone buying one now can rest easy knowing that the latest-gen HDMI version is supported and that any video signals they route through it will pass through without issue.

The VSX-LX805’s streaming options are wide-ranging, even one-upping the new Sony AVR offerings on that front. And its hefty power specifications mean that it should be able to drive all manner of speakers without breaking a sweat. Spatial audio support is equally impressive, with Auro-3D supplementing the usual Dolby Atmos and DTS:X options.

But even with all those amenities, the features that really put the new Pioneer over the top are its built-in Dirac Live and the Dirac Live Bass Control option. Having used Dirac Live extensively in the past, I’m aware of the dramatic improvements it can bring to the sound of speakers situated in less-than-perfect rooms (which basically means most rooms). And the Dirac Live MacOS or PC application lets you also fine-tune the correction curves to taste, which takes it a step beyond the auto room EQ processing built into many other receivers.

The Pioneer Elite VSX-LX805 will be available this spring. 

I recently had the opportunity to get an in-person and in-depth overview of Sony’s new ES AV receiver lineup at an event that happened in an atypically frozen-over Austin, Texas. Fortunately, the power remained on long enough – icy rains had knocked it out for 120,000 Austin customers during my stay – to get a thorough demo of these impressive models, the first new receivers to emerge from Sony in five years. 

There are five new models in total: four ES receivers aimed at the professional custom installation channel, and one consumer model. All receivers share many of the same features, including Dolby Atmos and DTS:X decoding and multiple HDMI 2.1 ports with 8K, 4K 120Hz, Dolby Vision HDR, and IMAX Enhanced support. 

They also support Variable Refresh Rate (VRR) and Auto Low Latency Mode (ALLM), making them a future-proof option for gamers. Sony TV and PlayStation 5-specific perks include pass-through of Auto HDR Tone Mapping and Auto Genre Picture Mode, features meant to optimize picture quality for specific PS5 games on compatible Sony Bravia TVs like the new X90L series.

The ES models are designed to fully integrate with many of the key whole-house control systems on the market such as Crestron, Savant, and Control4. Furthermore, they are Works with Sonos certified, which lets them connect up to a multiroom wireless Sonos system.

• STR-AZ7000ES: 13.2 channel ($3,299.99)
• STR-AZ5000ES: 11.2 channel ($2,099.99)
• STR-AZ3000ES: 9.2 channel ($1,699.99)
• STR-AZ1000ES: 7.2 channel ($1,099.99)
• STR-AN1000: 7.2 channel ($899.99)

All receivers are available now for presale and come with a 5-year warranty.

ES series power output specs range from 100 watts-per-channel on the 7.2 model to 150 watts-per-channel on the 13.2 flagship. The 7.2-channel STR-AN1000 consumer model is rated at 165 watts. Sony’s new receivers all sport a range of design changes meant to improve both sound quality and reliability, with new 32-bit DACs, large capacitor power transformers, and a frame buffer board chassis. The ES offerings have also been beefed up with a 200% thicker bottom panel and 120% thicker side walls than previous models.

A new processing feature for Sony’s 2023 receiver lineup is 360 Spatial Sound Mapping. Previously used in the company’s HT-A9 wireless speaker system this can work to fill in sonic “gaps” in a typical 5.1.2 or 7.1.2 Dolby Atmos speaker configuration. 360 Spatial Sound Mapping is enabled via the company’s new Digital Cinema Calibration IX, a feature that uses a stereo microphone to do variable height measurements of distance, angle, and sound pressure of each speaker and create a 3D sound map of the room. Once that’s done, you press the 360SSM button on Sony’s remote control and 360 Spatial Sound Mapping generates phantom speakers between the system's actual speakers to deliver an enhanced sense of immersion.

Along with phantom speakers, Sony’s new receivers also support wireless ones. The company’s SA-RS5 and SA-RS3S wireless models can optionally be added for use as rear-channel speakers, and the same option applies to its SA-SW5 and SA-SW3 wireless subwoofers.

New audio options 

Streaming music to Sony’s receivers is made easy with ChromeCast, AirPlay 2, and Spotify Connect support. Works with Sonos also means you can integrate the receiver with your home’s wireless multiroom system and control music playback using the Sonos S2 app when a device like that company’s Port is connected.

The new receivers are also Sony’s first models to support 360 Reality Audio. Music encoded using Sony’s proprietary Spatial Audio mixing format can be found on services like Tidal and Amazon Music Unlimited, and you can stream it to the receiver via Chromecast or play it from apps on a connected Amazon Fire TV Stick 4K or Apple TV 4K.

Analysis: A/V receivers are finally ready for the future 

It’s been a minute since we’ve heard about a new Sony AV receiver, but these latest models appear well worth the wait. That delay might actually have been strategic on the company’s part, since HDMI 2.1 hardware supporting the full range of HDMI 2.1 features like 8K and 4K 120Hz pass-through wasn’t readily available to manufacturers, some of whom pushed through half-baked products with a promise of enabling more features in a “future firmware update.”

The best AV receivers now ship with comprehensive HDMI 2.1 support, making them perfect home theater companions for next-gen PlayStation 5 and Xbox Series X | S consoles. Sony’s latest models fit exactly into this category, and they offer a whole range of tech-forward expansion options on top, including Works with Sonos and other whole-home integration features.

At Sony’s Austin event I had the opportunity to listen to music encoded in 360 Reality Audio (Come Through, by H.E.R. and Chris Brown), and the adventurous object-based mix made generous use of 360 degree space. Two-channel music can also be upmixed to 360 Reality Audio, so it’s a feature that can be applied to legacy sources as well. 

The home theater demo room where I watched movie clips and listened to music was powered by Sony’s new STR-AZ7000ES flagship, and the 9.6.4 presentation – using KEF speakers and subwoofers, no less – was powerfully immersive. There were so many speakers on tap that the receiver’s 360 Spatial Sound Mapping wasn’t needed!

I’m sure that 360SSM will improve the performance of my own 5.1.2-channel system, and since Sony sent me an STR-AN1000 to test, I’ll soon be able to report back on that.

Denon is now shipping the AVR-X4800H AV receiver it first announced back in September 2022. That’s great news for home theater fans looking to step up their cinema sound game over what’s delivered by the best dolby Atmos soundbars, and it should also be of interest to gamers seeking a receiver that’s fully compatible with PlayStation 5 and Xbox Series X | S consoles.

A notable feature of the AVR-X4800H, and one that would rank it among the best AV receivers, is its support for 8K 60Hz and 4K 120Hz video pass-through on multiple HDMI 2.1 ports. Some earlier models from Denon and other AV receiver makers provided either a single full-featured HDMI 2.1 input, or even none at all, while promising a full suite of HDMI 2.1 capabilities would be added via a “future firmware update.”

The AVR-X4800H provides 8K and 4K 120Hz compatibility out of the box, and its other gaming features include support for Variable Refresh Rate (VRR), Quick Frame Transport (QFT), and Auto Low Latency Mode (ALLM). There’s also pass-through support for all key high dynamic range formats: Dolby Vision, HDR10+, Dynamic HDR, and HLG.

Denon’s latest receiver is similarly stacked on the audio side, offering up Dolby Atmos, DTS:X, IMAX Enhanced, and Auro 3D sound processing. Built-in Audyssey MultEQ XT32 room correction lets you fine-tune the interaction between your speakers and listening environment for the best sound, and a firmware update that will enable an upgrade to Dirac Live room correction (at extra cost) is promised for the future. Having used Dirac Live and experienced its sound quality benefits, we find that last feature especially compelling.

That’s not all there is to be said about the AVR-X4800H. With 9 onboard 125-watt amplifier channels, it supports Dolby Atmos configurations that use up to four overhead “height effects” speakers. It also has four subwoofer outputs that can be independently controlled. Denon’s wireless HEOS platform is used for streaming, allowing for high-res audio to be conveyed to the receiver over a Wi-Fi connection.

Analysis: Receivers with up-to-date HDMI 2.1 features have arrived (finally)

One irony concerning A/V receivers that have been released over the past few years is that many lacked HDMI 2.1 ports with comprehensive features to support the latest generation of gaming consoles, while numerous soundbars offer such support. 

Models like Denon’s AVR-X4800H correct that situation by letting you connect both a PS5 and an Xbox series X with full pass-through of 4K 120Hz video along with VRR and ALLM support. Oh yes, it also has both 8K video pass-through and upscaling of 4K video to 8K resolution to ensure compatibility with your future 8K TV.

AV receivers like the AVR-X4800H are pricey ($2,499 / £2,000 / AU$3,600) audio components that you’ll want to hang on to for many years – decades, even – so it’s comforting to know that they are available now with a fully up-to-date feature set. Anyone buying Denon’s new receiver will be able to use it well into the future, or at least until virtual reality replaces all other forms of entertainment.

With four independent subwoofer outputs and both Audyssey MultEQ XT32 and Dirac Live support (forthcoming), the AVR-X4800H can be used as the centerpiece of a perfectionist home theater, one with deep, perfectly tuned bass output. Those features are the ones that really make this receiver interesting and different from other options on the market, and we hope to get an opportunity to test it out in the near future.

For many film fans, a Dolby Atmos soundbar will provide everything they need to experience the latest movies on TV with a level of audio realism that their set’s built-in speakers could never deliver. But what if you also want to listen to music? The best soundbars excel at movie sound, but some listeners may end up disappointed when it comes time to play music on the same ‘bar.

The reasons for this are many, but it mostly comes down to a soundbar needing to pack the speakers used to convey left, right, and center channel information – and, in some cases, surround and height channels as well – into a slim, compact, all-in-one unit. The better designs make an effort to reproduce stereo music with a high degree of clarity, but the main job for most soundbars is generally to deliver maximum impact with movie soundtracks.

Fortunately for music fans, a new wave of TV-friendly fully powered stereo speakers has been making gains of late. We’ve seen such models emerge from traditional speaker companies like KEF, Dynaudio, and SVS, and can now add Elac to that list.

While the KEF and Dynaudio offerings are pricey models with built-in Wi-Fi for wirelessly streaming lossless audio from Tidal, Apple Music, and other services, Elac’s new Debut ConneX powered speakers ($600 / £600 / AU$900) depend upon aptX Bluetooth for wireless music streaming. But Bluetooth is only part of the Debut ConneX story. Like the other models I’ve mentioned, Elac’s latest speakers feature an HDMI ARC input, which lets you link them to your TV to get much improved movie sound – though without Dolby Atmos height effects.

Coming from a regular speaker company, the Debut ConneX is designed the same as the best stereo speakers. It uses a 0.75-inch soft dome tweeter and 4.5-inch polypropylene woofer, both of which are powered by a built-in 2 x 50-watts amplifier. Rear-firing ports are used to increase low-end output, and they are aided here by an XBass proprietary bass enhancement circuit.

Not surprisingly for a speaker with ConneX in its name, there are plentiful connection options beyond HDMI ARC and aptX Bluetooth. There’s a USB PC port that supports up to 24-bit/96kHz signals along with an optical digital audio jack and a phono preamp input for a direct turntable connection. A subwoofer output is provided to hook up an external sub for extended bass, and rear-panel speaker terminals on the primary Debut ConneX (the one containing the amplifiers and input connections) is used to link it with the satellite unit via included wire.

The Debut ConneX is available now in three finish options: black, walnut, and royal blue.

Analysis: Powered speakers with HDMI are the new soundbars

Fully loaded Dolby Atmos speaker systems powered by one of the best AV receivers provide a fast ticket to top-shelf home theater sound, but not everyone has the space for that option, or the money to pursue it. With their compact size and generally impressive handling of movie soundtracks, soundbars are a solid and affordable alternative that makes for an easy recommendation.

But as good as soundbars can sound, you really need to use one of the top-performing models to get decent results for stereo music playback. Not surprisingly, that’s an area where traditional hi-fi speakers can work magic, conveying music with clear separation between channels, uncompressed dynamics, and a sense of transparency that tricks you into believing the musicians are right there in the room with you.

For those seeking the above qualities when listening to music but also want to watch movies and TV on the same system, powered speakers with HDMI are another easy recommendation. Yes, they are not a replacement for a full Dolby Atmos home theater setup, nor are they designed to be one. But with prices starting at $600 / £600 / AU$900 for Elac’s Debut ConneX, they are a flexible and sensible option, and one that can give you the best of both music and movie worlds.

Late is better than never, right? Yamaha’s latest Aventage and RX-V series AV receiver lines were launched back in 2021 with multiple HDMI 2.1 ports listed on their spec sheets – great news for gamers who were looking for to connect their next-gen PS5 or Xbox Series X consoles to both a speaker-based surround sound system and one the best 4K TVs with features like 4K/120 Hz display.

And while Yamaha’s spec sheets were packed with details about what a gamer could expect from the new receivers when it came to HDMI 2.1-specific features – along with 4K/120 Hz and 8K/60 video pass-through, Auto Low Latency Mode (ALLM) and Variable Refresh Rate (VRR)  were on the list – there was an asterisk next to each one stating “available via a future firmware update."

Cutting-edge features promised to arrive in a future firmware update for AV products that you buy now have become commonplace, however, and Yamaha rolled out one that added 4K/120 Hz and 8K/60 video pass-through earlier in 2022. Now, a new firmware update is available that brings the promised ALLM and VRR support, both of which are essential features for playing on a PS5 or Xbox Series X connected to one of the best gaming TVs.

Just to recap, VRR on a 120 Hz-capable TV allows for the set’s display to accurately sync up with the variable frame rate delivered by next-gen gaming consoles (or a graphics card on a gaming PC). This effectively eliminates “screen tearing” artifacts, resulting in a more smooth and solid-looking graphics.

ALLM, meanwhile, is a feature that lets the TV automatically switch into a low-latency mode for gaming when it detects a compatible input, and then switch back for regular TV or movie viewing. With both VRR and ALLM, the source, TV, and AV receiver’s HDMI ports all need to support these basic HDMI 2.1 features, and with this update Yamaha has now mostly fulfilled its promised specs for the latest receivers, with QMS (Quick Media Switching) and QFT (Quick Frame Transport) still to come in a later firmware update.

Yamaha’s firmware update needs to be installed using its MusicCast app and pertains to the following models:

• RX-A2A, RX-A4A, RX-A6A, RX-A8A
• RX-V4A, RX-V6A

Analysis: What does an A/V receiver bring to gaming?

While it’s easy enough to connect a gaming console directly to a TV, audio is also a big component of gaming, and Xbox Series X (along with One X and One S) consoles even support Dolby Atmos sound. (The PlayStation 5 uses its own proprietary surround format for games, though a Dolby Atmos bitstream output can be enabled for Blu-ray disc playback on the PS5.)

An easy enough TV audio upgrade for gaming is to use one of the best soundbars. In that case, the TV’s HDMI eARC port is connected to a soundbar, which routes the audio from the set for both gaming and streaming. Another option is to use a soundbar with multiple HDMI ports that let you connect the console and other video sources directly to the ‘bar for audio, with the video switched and routed out to the TV.

AV receivers provide a more advanced option, and by letting you connect to a separate, passive speaker package, they can provide better performance than Dolby Atmos soundbars. Easy switching of multiple HDMI sources is one advantage to receivers, but there is also more immersive sound than what a typical soundbar system can deliver, along with improved dialogue clarity and bass extension.

Of course, we’re talking mainly about gaming here, and all of the advantages that AV receivers bring to movies can also be applied to game soundtracks. But to meet the needs of both next-gen consoles and the latest TVs, receivers need to be outfitted with a full suite of HDMI 2.1 features, and with this latest update for its Adventage and RX-V series models, Yamaha has stepped up its game to the level of its best A/V receiver competition. 

The best Soundbars offer a distinct advantage over the built-in speakers of most TVs in that they can actually deliver bass. Perhaps most important, this capability makes voices and music in TV shows sound more natural and clear, and it can add excitement to movies, where soundtracks typically get an extra kick through something called low frequency effects (LFE). 

A soundbar's bass capability is baked in – once you buy one, there's really not much you'll be able to do to improve upon performance. That's why it's crucial to choose the right model  for your situation, and to understand what each soundbar type can achieve in terms of bass extension.

To make that decision, it helps to understand a bit about bass. First off, what are the differences between bass and LFE, and how does your soundbar handle each?

When we’re talking about audio frequencies (e.g., the 20 Hz to 20,000 Hz range that the human ear is capaple of hearing), bass is categorized as the range extending from 250 Hz down to 60 Hz. Frequencies below that point are called sub-bass, and, to be properly reproduced, they require a specific type of speaker called a subwoofer.

Bass in movies can be heard in the music, effects, and dialogue (the fundamental frequency range of an average adult male extends from around 180 Hz down to 80 Hz). LFE, on the other hand, is a separate channel in the soundtrack – yes, that “.1” in 5.1 – and it contains only bass and sub-bass content, sometimes extending down as low as 3 Hz.

How does your soundbar handle both the bass and LFE in soundtracks? A built-in Dolby Atmos or DTS processor mixes the LFE together with the bass, and that combined content is reproduced by the soundbar to the best of its ability. Many soundbars aren’t capable of conveying much in the way of sub-bass, however, so the better ones will use digital signal processing to “manage” the bass and sub-bass output, letting the bar’s built-in speakers reproduce as much of it as they can handle without adding distortion.

The subwoofer advantage 

Soundbar systems that come with a separate subwoofer stand a better chance of dealing with deep, sub-bass content in movie soundtracks since they come with a speaker dedicated to that task. But it’s usually hard to tell just how low the system’s included subwoofer will go because soundbar makers often don’t publish frequency response specifications. (Such was the case with the LG S80QY that TechRadar recently reviewed.)

While a bigger subwoofer is generally better when it comes to getting deep, sub-bass, soundbar makers are often just as interested in using it to handle sounds higher up the frequency range. This lets them design slim and compact soundbars that don’t take up too much space and visually dominate the room – the Samsung HW-S800B that TechRadar reviewed, for example.

Integrated soundbars 

A separate subwoofer will always provide the deepest and loudest bass, but some listeners prefer the convenience and elegance that an integrated, single-unit soundbar provides. Makers of the best soundbars invest considerable effort into designing models capable of better-than-average bass, though that design effort inevitably gets reflected in their higher-than-average prices.

Good examples of such soundbars include the Devialet Dione, Sennheiser Ambeo, and Sonos Arc. Both the Dione and Arc appear designed for maximum bass in the most compact possible package, with both models incorporating 8 ovoid woofers. The Ambeo, meanwhile, features six 4-inch cone woofers and is spec’d to deliver bass down to 30 Hz (Devialet claims its soundbar can hit frequencies as low as 24 Hz).

What do you sacrifice when buying such a bass-capable soundbar? Both the Dione and Ambeo are undeniably chunky. For this reason, they’ll require thought about placement, and they definitely aren’t the best options for a wall-mounted installation.

The Arc, in contrast, is a slimmer design, though it’s not known to deliver the same high-octane bass impact as the other two models. Fortunately, Sonos soundbars like the Arc can be paired with that company’s capable, yet pricey Sub wireless subwoofer, which should give most listeners all the low-frequency extension they’ll need. (Both the Dione and Ambeo are true all-in-one options that aren’t designed to be used with a separate subwoofer.)

The AV receiver advantage 

While the subwoofers that come with soundbar systems are intended to be setup-and-forget designs, the purpose-built subs used with surround sound speaker packages provide a wide range of features for adjusting their output and sound quality. Such subs also fully convey the LFE in movie soundtracks, taking the strain of that task off of the system’s main speakers.

Connections and controls to make all that happen are housed within an AV receiver, an all-in-one component containing the processing and audio and video switching, plus the amplifiers to power the system’s main speakers. Extensive setup options provided by the receiver let you set the specific frequency that each speaker cuts off at in a surround sound system, with the bass frequencies below that point then getting routed directly to the subwoofer.

The advantages to this setup over a soundbar? By tailoring bass handling specifically for each speaker and letting the subwoofer do the heavy bass work, movie soundtracks (and music) will have higher dynamic range, and dialogue coming from the center speaker will have increased clarity. It’s more complicated, and it requires a lot more work than simply dropping a soundbar beneath a TV’s screen. But for more critical listeners a separate speakers plus subwoofer system powered by an AV receiver can yield audio magic.

Let’s hear it for soundbars: they offer a cheap and easy way to upgrade the built in audio of the best 4K TVs, and the better ones add features like Dolby Atmos processing, a separate wireless subwoofer and surround sound speakers, plus up-firing speakers to convey overhead effects in Atmos soundtracks – something they do by bouncing the sound off the ceiling. 

A few soundbar systems like LG’s S95QR, big brother to the S80QY that TechRadar reviewed, pack all the features listed above, delivering a whopping 9.1.5 channels of audio. But the S95QR costs $1,800, and at that price level you really should be considering a separate speaker system instead.

What do you need to get up and running with a Dolby Atmos speaker system? First, you’ll need the speakers, which are typically sold in configurations listed as 5.1.2, 5.1.4, or 7.1.4. Those numbers refer to the number of speakers and their function, with the 5 (or 7) representing the main left, right, center, and surround speakers; the 1 representing the subwoofer; and the 2 (or 4) representing the Atmos overhead effects speakers.

Next, you’ll need an AV receiver, an all-in-one component with Dolby Atmos and other types of surround sound processing, multiple amplification channels to power all the speakers, and HDMI input ports to connect source devices like an Apple TV 4K and 4K Blu-ray player, plus HDMI output ports to link to a 4K TV or projector.

Last, you’ll need speaker cables to connect the A/V receiver with the various speakers in the system, an inelegant and sometimes complicated process – one that causes many people to instead opt for a soundbar in the first place.

If you do choose to go the separate speakers and AV receiver route, which in some cases can be done for the same price or even less than high-end soundbar systems like the LG S95QR mentioned above or Samsung’s HW-Q990B, you’ll find that it provides multiple advantages. Here are just 5 examples of what speakers do better than soundbars, listed in no particular order:

Deliver clear dialogue 

Unlike in a soundbar, where the system’s many speaker drivers are packed together within the same cabinet, the center channel in a regular surround sound system gets its own dedicated speaker. This is typically placed on a stand just beneath the TV, where it can be “locked” to the screen so that dialogue appears to be coming from the actors’ mouths.

Because the center channel speaker is physically separated from other ones in the system, it can convey voices in a clearer manner than what you’ll experience with soundbars. And since dedicated center channel speakers have a more extended frequency range with better bass than the ones used to carry dialogue in a soundbar, voices will sound more natural.

Create proper surround sound

Although pricier soundbar systems do come with dedicated surround sound speakers, most people choose to make do with just the front channels delivered by more basic soundbar options, or the “virtual” surround sound they deliver. And that’s a shame because surround effects are one element in movie soundtracks that really bring action to life by placing you in the center of it.

Like separate center channel speakers, surround speakers typically have an extended frequency range that helps make surround effects sound more realistic and have greater impact. Most systems use just a pair for the left and right rear channels, but you can add a second pair as side surround speakers to better convey the full range of surround effects in both 7.1-channel and Dolby Atmos soundtracks.

Optimize Atmos height effects

As mentioned above, the better soundbars provide up-firing speakers to convey overhead effects in Atmos soundtracks. Even so, the spread of the overhead sound is more limited than it would be with dedicated Atmos height speakers due to all the speakers being packed together in a single, compact enclosure.

Dedicated Atmos height speaker modules typically sit on top of your left and right front and surround speakers. (Some speakers come with these already built-in to their top surface.) Another variation is in-ceiling Atmos height speakers, although those usually require professional installation. Whichever version you use, separate speakers can spread overhead effects over a wider listening area than soundbars, which will make the immersive effect of Dolby Atmos soundtracks even more dramatic and powerful.

Reproduce low frequency effects (LFE)

Soundbar systems that come with a separate wireless subwoofer are preferable to all-in-one soundbars because they deliver deeper and louder bass effects in movie soundtracks. But the subwoofers that come with most soundbars typically have limited bass extension compared to the subwoofers used for separate speaker systems. 

Because soundbars are compact designs that use small – in some cases, tiny – speakers, the system’s subwoofer is designed to carry all of the bass and even some of the vocal-range frequencies, and for that reason need to be situated close up  to the soundbar for best performance.

The standalone subwoofers used in regular speaker systems are purpose-built designs that can deliver much deeper bass effects in movie soundtracks than soundbars, and do it at a much louder level. And because AV receivers provide more flexible setup features to route the bass to individual speakers in a regular speaker system, you can position the subwoofer anywhere in the room that you’d like.

Render a real stereo image

Music presentation can suffer in soundbars as compared with more traditional separate speaker systems. That’s because, same as with dialogue and overhead effects in Dolby Atmos soundtracks, the compact, all-in-one design of a soundbar, which bunches individual speakers together, compromises its ability to deliver separation of the left and right channels – a necessary condition for creating a proper stereo image.

This won’t be a problem for most people since they bought their soundbar mainly to enhance TV sound. But if you’re equally interested in listening to music as in watching TV shows and movies, you will absolutely get better performance by upgrading to a separate AV receiver and speakers over a soundbar system.

McIntosh Labs has just unveiled its newest flagship AV receiver that is… well, the definition of overkill. Not only does it support 15.1 or 9.1.6 surround sound as well as seven(!) HDMI 2.1 ports for 8K/60 and 4K/120, it’s also equipped to support five types of HDR. 

The receiver in question is called the McIntosh MX180 and for cinephiles and audiophiles, it’s basically the Rolls-Royce of receivers.

And to be honest, that comparison makes a lot more sense when you know the price: It's expected to cost £21,995 (around $30,000 / AU$42,000) when it becomes available through authorized retailers later this month. 

Why so much? Considering that there aren't too many devices out there that even use HDMI 2.1, yet, and most folks' home theater systems top out at 7.1, it's easy to see how much more headroom you're getting with this system. 

Also, in addition to all the specs listed above, the MX180 supports Auto Low Latency Mode (ALLM), Quick Frame Transport (QFT), Quick Media Switching (QMS), and Variable Refresh Rate (VRR) picture technologies as well as all the leading 3D surround sound formats including Dolby Atmos, DTS:X Pro, and Auro-3D. 

The sound can be customized to fit your space using McIntosh’s RoomPerfect calibration technology - handy for everyone out there who has a true home cinema room in their house - and digital inputs made up of 4 optical, 3 coaxial, and 1 USB that each accept up to 24-bit/192kHz signals.

Analysis: A nice pairing for your new MicroLED TV and superyacht 

OK, so most of us will never be able to get our hands on a McIntosh MX180… or a Samsung MicroLED TV that starts at $80,000 (around £59,500 or AU$113,500)... or Jeff Bezos’ superyacht that’s estimated to cost $450 million. 

But it’s fun to dream right? 

The silver lining is that you actually don’t need to mortgage your house for a great receiver - even if you want ones with similar specs to the MX180. A number of AV receiver makers have started to roll out 8K/60 and 4K/120 receivers, starting last year, like the Denon AVR-S960H, Onkyo TX-NR696, or Marantz SR5015. 

No, none of those receivers are going to come with 7(!) HDMI 2.1 ports or support for 9.1.6 surround sound, but all of them support Dolby Atmos audio and 4K upscaling/passthrough for at or around $1,000. 

They're no Rolls-Royce, but they don't require a second mortgage or a car loan, either. 

• Looking for more options? Check out our guide to the best AV receiver

One of the Xbox Series X's most hyped features is its HDMI 2.1 support, allowing for vast quantities of data to pass through to 4K TVs, 8K TVs, and compatible AV receivers – and it looks like of the biggest bugbears in this ecosystem is now on the cusp of being fixed.

Sound United, the parent company of Denon and Marantz, has proposed a hardware solution to HDMI 2.1 connection issues arising when connecting the Xbox Series X to an affected AV receiver, which had previously "prevented the passthrough of 4K/120 and 8K/60 HDR video" from Microsoft's flagship games console (via 8K Association).

This has meant players have been unable to utilize some of the console's most impressive specifications for a growing number of Xbox Series X games that can be played in 4K resolution at 120fps.

The issue only occurs when linking up the console through the AV receiver, rather than directly to a television – except in Japan, where Sharp 8K TVs are said to replicate the issue – but has been causing problems for those that rely on an AV receiver in their home theater system. Affected models include Denon's X-Series range, Marantz's SR range, and Yamaha's RX-V4A and RX-V6A (via What Hi-Fi?).

• Xbox deals: latest offers on consoles, games and accessories
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• Best AV receivers to buy today

What's the solution?

The solution proposed by Sound United involves a dedicated HDMI adapter – a "new box" that mediates the signal between the Xbox Series X and AV receiver, and "corrects the 4K/120 or 8K/60 HDR signal so users do not see a blank screen when the AVR is then connected to an 8K or 4K TV."

If you're worried about having to fork out for yet another piece of hardware, fear not: the 8K Association states that the HDMI adapter (SPK618) is "free for affected AVR owners", whether you own a Denon or Marantz AV receiver.

Yamaha AV receivers are also said to be affected by the issue, though the company appears to have been left out of the above announcement. Yamaha does, however, advise affected users to plug their Xbox Series X console directly into their TV, and use an eARC connection to loop the audio signal back into the receiver.

It's not just Microsoft that's faced obstacles around HDMI 2.1 support, of course. The Sony PS5 struggled at launch to output HDR as well as 4K/120fps play on new Samsung TVs, though a firmware update in March 2021 managed to fix the issue.

There are a host of new input and format standards on the latest games consoles, and it's no surprise to see some teething issues this early in the generation. By the time supply issues for the Xbox Series X and PS5 are over, though – which might take until 2022 at this rate – we expect there'll be very little to complain about.

• HDMI on Xbox Series X: what you need to know

You might also want to check out the capabilities of HDMI on PS5.

Yamaha has unveiled two new 8K AV receivers that are set to offer gamers a raft of cool features – and they could be the perfect stablemates for the upcoming PS5 and the Xbox Series X. 

According to Yamaha, the RX-V4A and RX-V6A will provide "faster, smoother, and uninterrupted entertainment and gameplay with auto low latency mode (ALLM), variable refresh rates (VRR), quick frame transport (QFT) and quick media switching (QMS)." 

• The best AV receivers of 2020
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The company says that this will ensure compatibility with "ultra HD TVs and emerging 8K setups", as well as "the latest gaming platforms" arriving later this year.

The PS5 is expected to launch between October and December this year, while the Xbox Series X is confirmed to be released in November 2020. 

However, there's a catch – according to What Hi-Fi?, these gamer-friendly features, as well as support for your 8K TV, won't be available at launch. Instead, they'll come via a firmware update that's "tentatively scheduled for December". 

All the inputs

So, what features will be available at launch? Both AV receivers will come with support for Yamaha's MusicCast technology, so if you already have some Yamaha kit at home, you should be able to hook them up seamlessly for multi-room audio. 

Automatic room calibration means that the RX-V4A and RX-V6A should sound great in any room, while support for wireless rear speakers gives you the option of creating a cable-free surround sound system.

Both devices also offer voice control via Alexa, Google Assistant, and Siri (via AirPlay) and a range of connection options. 

While both AV receivers are competitively priced, the more expensive of the two comes with a few extra features. 

The 100-watt RX-V6A, which costs $599.95 / £649 (about AU$840), boasts a 7.2 channel setup and seven inputs, including HDMI 2.1 with HDCP 2.3 and eARC. 

The RX-V6A is also getting Dolby Atmos, DTS:X and Dolby Atmos Height Virtualization, for immersive cinematic sound – though these features are coming via  another firmware update in the first few months of 2021. 

If you're not bothered about Dolby Atmos support, you may prefer the cheaper RX-V4A. Costing $439.95 / £449 (about AU$615), this 5.1-channel 80-watt receiver has only four inputs, but will still come with 8K support and all those nifty gaming features (once that crucial update lands). 

• Dolby Atmos: the ins and outs of the immersive audio technology

Is your home cinema setup ready for an 8K TV? Even if you're planning to buy an 8K TV in the very near future, but one of Denon's new AVRs (Audio/Video Receiver) could be a great purchase if you want to future-proof your home cinema system. 

The new models – which are the world's first 8K-ready AV receivers – come with a range of configurations and prices, and they aren't as expensive as you may expect.

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• What is 8K resolution?

The cheapest of the new 8K AVRs is the Denon AVR-X2700H, which costs $849 / £599 (about AU$1,220) – though you could spend up to $2,499 / £2,299 for the flagship model, the AVR-X6700H. Pricing is still to be confirmed in Australia, and we'll be sure to update this article as soon as we have it.

$850 / £600 is a lot of money to part with in any situation, but for the industry's first AVR capable of 8K upscaling? We're pleasantly surprised by that price, and judging by the specs, you get an awful lot for your money, including multi-room support, voice assistant compatibility, and support for 3D sound formats like Dolby Atmos.

Gaming-ready

Denon says that "8K is an exciting update and the new X-Series AVRs offer a suite of new features that home theatre enthusiasts, music lovers and gamers can implement straight away".

To prepare for the adoption of 8K TVs in the home, all of the new Denon AVRs come with a dedicated 8K HDMI input, HDR10+ and Dynamic HDR support, and a new HDMI feature called Quick Media Switching, which "allows a source to instantly switch the resolution or frame rate to eliminate screen blackout". 

There's also support for HDR10, HLG (Hybrid Log Gamma) and Dolby Vision, and the AVRs can also "upscale existing HD and 4K content to 8K so more people can experience the power of 8K resolution". 

Gamers haven't been forgotten, either. Denon says that 4K/120Hz pass through and Variable Refresh Rate can "reduce frame tearing and improve overall precision", while an Auto Low Latency Mode reduces lag. 

What about the sound?

It's not just about the picture, of course. eArc support means that the X-Series AVRs can deliver "uncompressed and object-based audio from the TV to the receiver via a single HDMI cable". That means if you have Dolby Atmos speakers or a DTS:X-enabled soundbar, you'll be able to experience these 3D sound formats for immersive audio.

You shouldn't have to tinker around with the settings too much to achieve this. Denon says that "TVs play video directly from TV apps at best available picture quality – either 4K or 8K – while the receiver identifies the best available surround format for decoding". 

If you already have HEOS-compatible speakers at home, like the Denon Home 150, you'll be able to stream music in multi-room groups. There's support for a range of streaming platforms, including Spotify, Amazon Music HD, and TIDAL, while the inclusion of both Bluetooth and Apple AirPlay 2 means you can stream Apple Music, too.

If that's not enough for you, the new Denon AVRs also work with Amazon Alexa, Google Assistant, and Siri, for hands-free control. Denon says that you can use Amazon Alexa "for a variety of commands, including switching inputs for different media players", while the Google Assistant and Siri functionality is limited to adjusting the volume and music playback controls.

So, even if you're not quite ready to deck out your home with an 8K TV, there are plenty of compelling features that could make one of the new Denon AVRs a great addition to your home cinema – here's hoping Denon can deliver on all of its promises.

If it can, the entry-level Denon AVR-X2700H could easily earn a top spot on our list of the best AV receivers of 2020.

• How to create the Hi-Fi system of your dreams

AV receivers may be getting less common with the rise of the soundbars and improved built in speakers - but, if you’re an audiophile, you know that it’s still impossible to beat a good receiver and good set of speakers for home audio. 

Receivers are getting better and better, too. Gone are the days when they only really connected to your speakers and nothing else - these days, not only can they traffic audio from any source to any speakers, but they can also connect to wireless audio systems, work with your smart home and more all while boasting a top-tier sound-quality thanks to standards like Dolby Atmos. 

One of the latest of these high-quality receivers is the new Yamaha RX-A880, which comes at $899 (£899, AU$1,799) and boasts Yamaha’s MusicCast, 7.2-channel Dolby Atmos support, seven HDMI inputs, and more.

Design and setup

Overall, the Yamaha RX-A880 isn't a bad-looking receiver ... but it’s also not all that unique. The fact is that the vast majority of AV receivers these days look like basic black boxes on your TV stand, and this one is no exception to that rule. That doesn’t mean it’s ugly. In fact, in the contrary it looks perfectly fine.

The receiver comes in at 17.2-inches wide, 15-inches deep, and 6.7-inches tall. On the front, you’ll find a pretty standard setup: an input knob on the left, volume knob on the right, and a row of buttons at the top to select between features like the AM and FM radio, change presets, and so on. There’s also a hatch on the bottom that opens up to reveal a headphone jack, USB port, aux port, and a few other features. 

We like that those ports and features are a little hidden as it makes for a sleeker look at the front when you may not be using those features much anyway.

Perhaps more important than the front, however, is what you’ll find on the back. As mentioned, the RX-A880 boasts a whopping seven input HDMI ports, meaning that no matter how many sources you have, you should be able to connect them. All of the HDMI ports support HDCP 2.2 as well - which solves one of the biggest issues with the receiver’s predecessor, the Yamaha RX-A860, and there are also a few other analog input ports, so even older sources should work. 

When it comes to outputs, you’ll find two HDMI-outs, and enough speaker outputs for a 7.2-channel surround setup plus a pair of speaker outputs for a second zone. 

That’s a lot of connectivity. 

The remote is pretty high-tech, too. While it may be a little complicated for those that haven’t used a receiver before, you will get used to it ... even if you only regularly use a few of the controls. 

On the top, you’ll get a switch to select between the main speakers or the second zone, along with power controls. Under that, you’ll get scene selectors, allowing you to quickly switch between preset scenes. Then, there are input controls, a directional pad and menu buttons, volume and program controls and playback controls. We found that the remote was well-built and buttons felt nice and clicky, which is always helpful. 

Like Yamaha’s other new receivers, this one is compatible with the Yamaha MusicCast system, which can be set up through the MusicCast app. We found that it was pretty easy to set the receiver up within the MusicCast app by following the on-screen instructions and, after setting it up, you’ll be able to do things like control settings, stream music to the receiver from your phone, and more.

Performance

Of course, the best thing about the receiver is how good it sounds, helped along by some high-tech features like Yamaha’s YPAO room calibration system. 

Without getting too technical, YPAO basically ensures that EQ is tuned to your room - so if bass frequencies tend to resonate more in your room, for example, it’ll cut them back a bit to compensate. It’s a smart system, and one that we found was worth setting up.

The receiver is capable of outputting audio at 110W per channel at 8Ω which is plenty of volume for those that want a powerful and loud overall sound. Even in larger rooms, this receiver should have no trouble filling the room with powerful audio, as long as you have a decent set of speakers too.

Plus, don't forget the RX-A880 supports Dolby Atmos. If you have enough speakers to set up the full system, you’ll find that you’re intensely immersed in whatever you’re watching thanks to the Dolby features. But, even when we had just a 5.1-channel setup, we felt like we never needed to go to a cinema again.

Frequency response was full and detailed with plenty of clarity to make even avid audiophiles happy - though if you’re buying a receiver this expensive, your speakers will probably have a bigger impact on frequency response than anything else. 

Using the Yamaha RX-A880 isn’t overly difficult, but it’s not the easiest thing to do either. Once everything is properly set up, the reality is that you probably won’t need to access all the features and settings. That’s to say, while the remote might be intimidating for some, simply get used to the controls that you do need to use, and you should be just fine.

Using the MusicCast app is thankfully pretty easy too. From the app, you can do things like turn the receiver on and off, and connect your preferred music streaming service. There are a few streaming services unfortunately missing from the ones you can connect, including Google Play Music and Apple Music.

That said, however, you may not need to connect your streaming service if you don’t want to. That’s because the receiver includes built-in support for things like Apple’s AirPlay and Bluetooth - so you can simply stream music from your preferred app on your phone. We would have liked to see AirPlay 2 support ... but that's always something Yamaha can add further in the future. 

Perhaps the biggest downside to using the receiver is the on-screen user interface: The interface simply looks old and tired, and the fact that it looks pixelated doesn’t help. We found that it was fine to navigate most of the time, but those looking to do a deep dive into the settings may find that it’s not quite as simple as it should be.

Verdict

The Yamaha RX-A880 is an excellent choice for anyone looking for a powerful, affordable receiver. Not only does it sound great, but it boasts a ton of ports, support for a range of wireless standards, and works with MusicCast, too. 

If you’re looking for a receiver that boasts Dolby Atmos support and can be calibrated to your room, and have the money to spend, then the Yamaha RX-A880 is the way to go. If, however, you’d prefer to save some cash but still want support for 7.1 channels, then we recommend the Onkyo TX-NR676. 

• Don't miss our guide to the best AV receivers in 2018

The AV receiver is nothing new, but what is new is the fact that A/V receivers are now getting smart features, better connectivity, and more features for the money. 

That’s great news for consumers, who might want receivers with support for surround sound and wireless standards like AirPlay, without having to shell out the cash that would have been required a few years ago.

The latest company to give its lower-cost receivers an upgrade is Yamaha, which recently took the wraps off of Yamaha RX-V 85 series of receivers. 

At the top, you’ve got the Yamaha RX-V2085, which offers support for 9.2 channels of audio, dual ESS Sabre DACs, and so on. More interesting, however, are the lower-end models, like the Yamaha RX-V485, which brings features you would normally expect in far more expensive receivers to a price of under $400 (around £300, AU$550).

But with all those features, is the Yamaha RX-V485 ultimately worth buying? We put it to the test to find out.

Design

A/V receivers are normally somewhat bulky black boxes, and the Yamaha RX-V485 is no exception to that rule ... but, as far as bulky black boxes go, it certainly doesn’t look bad. The unit comes in at around 17-inches wide, almost 7-inches tall, and 13-inches deep. That’s a pretty standard size for A/V receivers like this, though it does seem to be a little shorter than some others, which is a nice touch.

On the front of the unit, you’ll get pretty much everything you’ll expect. There’s a power button on the left, which sits a few inches above a headphone jack. Towards the center is where you’ll get the bulk of the front-mounted controls, including the ability to tweak the radio settings, change the “scene,” switch inputs, programming, and so on, as well as an aux port and a USB port. On the right, you’ll find a large volume knob.

The back, of course, is where you get all your connectivity: There’s one HDMI output which will be perfectly fine for the majority of people who use the device the way it’s designed, and route all their sources through the receiver. To that end, there’s four HDMI inputs, which should be fine. For sources that don’t use HDMI, you’ve got a few other video inputs, and even a video output in case your TV doesn’t support HDMI. You’ll also get enough connectivity for a 5.1 surround sound system, which will be plenty of connectivity for most buying a receiver in this price range.

The remote is relatively well-designed too, helping ensure that it’s pretty easy to use. You’ve got power controls at the top, along with a scene selector, quick tuning buttons, volume controls, input controls, and so on. Like most remotes, once you’ve set up your receiver you’ll probably only use a few of the buttons, but the remote serves power-users who like to be able to tweak settings perfectly well, too.

Features

While the design of this receiver is perfectly fine, it’s what’s under the hood that really sells the Yamaha RX-V485. 

Let’s start with the wireless features, of which there are quite a few: The device supports Wi-Fi, Bluetooth, and Apple’s AirPlay, which is very helpful in particular for streaming music, though doesn’t seem as though you’re able to stream video directly to the receiver through AirPlay. Unfortunately, though, the Yamaha RX-V485 doesn’t seem to support Google Cast – which we see as a pretty major omission considering the AirPlay support.

Still, for those that don’t use Apple devices, Bluetooth is still there for everyone else, and while it may not be as good at integrating with other smart home features, it still worked perfectly fine for streaming audio in our tests.

One major feature that Yamaha is touting for this series of receivers is support for its MusicCast speakers, which essentially allow you to set up the receiver to use MusicCast speakers as wireless surround speakers. You can’t use MusicCast speakers as the main speakers in your setup, but it’s still a very nice feature, and means that you don’t have to run cables around your living room for decent surround sound. We’ll review the quality of the speakers themselves separately.

Setting up the MusicCast speakers to work as surround speakers was a little tricky. First, you’ll have to set up the receiver and the speakers in the Yamaha MusicCast app, then link the receiver to the speakers. Then, you’ll have to open the receiver settings from the receiver itself, and set your system to a surround system, in case you had it set up as a standard stereo system.

When you link your MusicCast speakers and receiver, only the receiver will show up in AirPlay, which could be good, or bad, depending on how you look at it. It’s good, for example, because it means the audio will play through all of your living room speakers easily. It’s bad, however, because it means you can’t only send audio to one speaker, if for some reason you want to.

Another nice addition to the receiver is that it supports Amazon’s Alexa. With it, you can use your voice to do things like change the volume. It’s a nice touch, and one that worked fine, but we didn’t find ourselves using it much. 

Other features are less smart-home related and more traditional receiver-related, but still very helpful. The receiver supports 4K HDR, Dolby Audio, and Dolby Vision, all of which should help ensure that the video and audio quality is high. 

Next up is the fact that the receiver supports two zones – meaning instead of having one 5.1-channel system, you can have one main 3-channel setup in zone one, and a 2-channel setup in zone 2. With this setup, you can play the same source to two zones at the same time and control their volume separately, which is a nice touch.

Performance

All the features on offer are helpful, but they’re limited if the receiver doesn’t perform. Thankfully, however, it performs perfectly well: the receiver sounds great at all volumes and there’s little distortion, even at higher volumes. 

If your ears are very well tuned, you might start to hear why the receiver is cheaper than some others, thanks to the slightly restrained detail in the upper frequencies, but ultimately the receiver sounds great for the untuned ear, and good for those who know what to look for.

When it comes to specs, the receiver offers 80W of power when two channels are in use, and a total harmonic distortion of 0.09%, which is inaudible. 

All that said, you’ll likely get a little more detail and clarity from some of the more expensive receivers in the range, which replace the standard Yamaha DACs with ESS Sabre DACs.

Final verdict

The Yamaha RX-V485 offers a ton of features at an excellent price and it’s easy to recommend buying it, especially for those that like the idea of using Yamaha’s MusicCast speakers for surround sound. For those that don’t, however, there may be some other options. 

We recently reviewed the Onkyo TX-NR676, for example, which offers many of the same smart features at a similar price, plus it supports a 7.1-channel setup plus another two-channels for a second zone – so, if you plan on going beyond the 5.1-channel setup, it may be the way to go. The Onkyo unit also supports Google Cast, so if you use Android or Google Chrome, it could be a little more handy.

Still, despite the lack of some of those features, the Yamaha RX-V485 is easy-to-use, relatively full-featured, and sounds great. If you plan on using 5.1-channels or less, and won’t miss the lack of Google Cast, then it’s an excellent option to go for.

• Don't miss our guide to the best AV receiver

Gone are the days when buying a surround-sound-supporting receiver with multiple HDMI ports meant spending an arm and a leg. These days, you can get a great receiver with support for a surround sound setup at well under $500/£600. Like, for example, the Onkyo TX-NR676.

It's not the only receiver in its price range with a great set of features features or a plethora of inputs, but there are few comprehensive packages that are as easy to assemble, set up and use as Onkyo's. 

Design and features

While some receivers can be a pain to set up – especially in large living rooms – setting up the Onkyo TX-NR676 was a breeze: Take it out of the box,
connect all your inputs and outputs, then turn on the receiver for the first time.

The receiver is able to handle all except the most beastly home theater setups: You’ll get a hefty five HDMI inputs with labels for things like gaming consoles, DVD players, computers, and so on – though of course you don’t have to stick with those labels if you don’t want to. You’ll also get two HDMI outputs – one main output, and one secondary output. If you’re only using one of those, you’ll probably want to stick with the main one, as it supports ARC. There’s also two component inputs.

Then there are the audio outputs, and there are lots of them, too. Using the connections on this receiver, you can setup stereo, 5.1 surround, or even 7.1 surround sound systems, which is a very pleasant surprise on a receiver in this price range. There’s even a set of stereo outputs for a second zone of speakers. When it comes to audio inputs, you’ve got two optical inputs and a hefty seven RCA inputs for various different devices.

Other bits and pieces on the back include an Ethernet port, USB port, and antenna inputs for AM and FM radio.

Spin it around to the front of the unit and you'll notice a display to show you what you’re doing, as well as a nice large volume knob, a row of input buttons, and even a few more inputs, including an audio aux port, and an extra HDMI port. That’s perfect for those that sometimes need to plug their computer into the HDMI port but don’t want to have to disassemble their home theater system to get to a HDMI port. 

Once everything is plugged in, you’ll be faced with the software setup process, which is also really very easy. Onkyo actually shows you an initial setup screen the first time you turn on the receiver, so all you really need to do is follow the on-screen instructions and you should be good to go. 

Perhaps one of the best things about the receiver is the support it has for smart features. It can connect to Wi-Fi, after which it can stream directly from the likes of Spotify, Deezer, Pandora, and so on. If your streaming service isn’t supported, like Google Play Music for example, the receiver supports both Google Cast and AirPlay as well. 

In terms of design and setup configurations, the Onkyo TX-NR676 is an extremely versatile receiver. It’s got plenty of physical inputs and outputs, plus the wireless support helps bring it well into the 21st century. Sure, more streaming services, like Google Play and Apple Music, would be nice – but the Cast, AirPlay, and Bluetooth support at least partially makes up for that.

Performance

Once the receiver is set up, it’s relatively simple to navigate – even for folks who might not have had a receiver in their house before. 

For starters, the remote is pretty well-designed and quite easy to use: It’s got input selections at the top, basic directional controls under that, then volume controls, and some playback controls. It’s not bloated with dozens and dozens of buttons, but it’s functional enough to make the already-initiated happy.

That ease of use extends to the unit itself, too. As mentioned, there are a nice selection of controls on the front. You can toggle between the types of audio outputs from one of the smaller knobs on the bottom right, and tune your sound a little with the knob next to that.

In terms of expected sound performance, Onkyo has long offered a great sound-quality, and this receiver is no different. The receiver supports DTS:X and Dolby Atmos, which helps give sound a much more immersive feel to it. 

We found that the receiver was generally great-sounding at all volumes. At low volumes, there was still plenty of clarity and detail, while higher volumes produced little distortion, which was nice to hear. Extremely tuned ears might miss a little detail in the high end at louder volumes, though the receiver still shoots well above its price range when it comes to sound quality. 

Of course, sound quality has a lot more to do with your speakers than your receiver, but rest assured that the Onkyo TX-NR676 won’t be the point of fault in your sound system. 

Verdict

The Onkyo TX-NR676 is an excellent option even for those that don’t have a surround sound system. Not only does it future-proof your home theater in case you upgrade later, but it also offers plenty of modern options for streaming and music playback. There are similar options in this price range, like the Sony STR-DH770, but it doesn’t offer as many inputs, doesn’t have front-mounted inputs for ease-of-access, and more. 

That being said, if you’re looking for a great A/V receiver and have a maximum budget of $400/£600, the Onkyo TX-NR676 is the way to go.

• Expect to see the TX-NR676 on our list of the best AV Receivers

Marantz and Denon, two of the most distinguished brands in the home cinema receiver space, have announced that they’ll be the first to market with support for Apple’s AirPlay 2 audio standard.

Both companies (linked under the Sound United umbrella company) will be giving their latest networked receivers an update this August that will let them take advantage of Apple’s latest audio casting technology. As well as the update coming to brand new receivers, 2017 and 2018’s existing line of networked receivers from Denon and Marantz will also make the jump to AirPlay 2 thanks to an over the air update.

AirPlay 2 lets users quickly cast music from their iOS and Mac devices to wireless connected speakers around the home, control them with Siri voice commands as well as grouping selections of devices together for multi-room audio.

The line-up to come

The announcement was made at Sound United’s annual European Dealers Conference in Alicante, Spain, where the 2018/2019 AirPlay 2 line-up for both Marantz and Denon’s receivers were revealed. Denon will also be bringing AirPlay 2 to its 800 series hi-fi stereos, its HomeCinema HS2 soundbar and the CEOL 10 networked mini stereo system.

The full Denon line-up getting AirPlay 2 support is as follows: AVR-X1500H, AVR-X2500H, AVR-X3500H, AVR-X4500H, AVC-X6500H, AVC-X8500H, DNP-800NE, DCD-800NE, PMA-800NE, CEOL N10 and the HEOS HomeCinema HS2. 

Marantz will be offering AirPlay 2 on the NR1609, SR5013, SR6013, SR7013, SR8012, AV7705 ,AV8805 and NA6006.

For those not interested in making use of Apple’s audio option, both companies’ receivers also offer Bluetooth support and networked streaming thanks to HEOS streaming.

• AirPlay 2 speakers: every one we know so far

In an era of soundbars and built-in speakers, AV receivers seem to be getting less common. But that doesn’t mean they’re without use – allowing you to control multiple sources from one single remote, and control different sets of speakers for different uses.

That doesn’t mean, however, that they shouldn’t be refreshed every now and then. After all, in 2018 CDs are well and truly on their way out, as streaming services and wireless features become standard. Yamaha has tried to combine the classic AV receiver with modern functionality – and the result is the Yamaha R-N303. At $249/£299 it could be a pretty great deal, especially if it delivers on its modern features. Does it? We put the Yamaha R-N303 to the test to find out.

Design and setup

The Yamaha R-N303 is actually a very easy receiver to set up. Once you pull it out of the box, you’ll simply plug in cables connected to your speakers and sources. The receiver supports CD players or any other line input, as well as two sets of stereo speakers here. If you want surround sound, though, you’ll probably need to shell out a bit more cash for a receiver that can connect to all your speakers. The receiver also has an optical input, which is good news for those that want to connect their TV directly to the unit. You’ll want to make sure you have all the appropriate cables, but for speakers the unit supports both banana plugs and wire cables. And if you plan on using the unit for listening to the radio, you’ll want to connect the included antennas.

Once all your physical connections are set up, you can connect the device to your Wi-Fi network. This, unfortunately, is a step that we had a lot of trouble with. The first time we tried to set up the device, it got stuck trying to connect and wouldn't link to the app. After a chat with a Yamaha rep, we were able to reset the device and connect it to an iPhone – but still had trouble with an Android device. (We were told this is a rare occurrence.)

Either way, the system was thankfully still able to connect through Bluetooth – so even if you can’t get the MusicCast app up and running, you’ll still be able to play music from your phone.

In use

Using the Yamaha R-N303 isn’t too difficult, but it’s not the easiest affair either. Once you get used to how the remote works, you’ll be able to make your way around the interface pretty easily – and once everything is set up you’ll get into a routine of using the receiver.

The remote may look intimidating but, again, you probably won’t use all of the buttons. It’s broken down into a few different sections. Near the top you’ll control power and sleep mode, below which you’ll have input selectors – allowing you to choose where your audio is coming from. A bit further down you’ll have radio controls, a directional pad and selection buttons, menu buttons, and so on. It’s really not difficult to get used to, but it may take a few minutes to get your head around.

Last but not least is the MusicCast app, and if you can get it to connect it’s really quite nice. From the app you can turn the receiver on and off, and play music from some of the better-known music streaming services, or directly from your phone. As a Google Play Music user, it was pretty disappointing to find that some services weren’t supported, including Google Play Music and Apple Music, among others.

Connecting through Bluetooth and using the receiver as a Bluetooth device is pretty straightforward. You connect the same way you would any other Bluetooth device, after which you can play music from your phone, and use the remote to control playback.

Sound

Of course, perhaps the most important thing about the receiver is how it sounds, and we found it perfectly capable. As mentioned, the receiver supports stereo speakers – and really that’s all it supports. Not only can you not connect stereo speakers, but there’s also no support for a subwoofer – though that’s not entirely unusual for this price bracket.

The receiver offers two stereo 100W outputs with support for 96kHz 24-bit playback, and it sounds great. For true audiophiles, it may be worth investing in a slightly higher-power unit that supports both surround sound and a subwoofer. We found the unit delivered decent low-end through the speakers we were using, but the bass could certainly be boosted a little. 

Verdict

For the price, the Yamaha R-N303 receiver is a very solid option. While there are some downsides, like the lack of surround sound and the buggy wireless setup, in general the receiver is pretty easy to use and sounds great. Perhaps the best thing about it, however, is how inexpensive it is – at $249/£299, you’d be hard-pressed to find another receiver that supports this many features.

• Best AV receiver: which should you buy?

In the world of audiovisual tech, the receiver sits at the head of the proverbial table. Yes, we need TVs, speakers, streaming devices and game consoles, but without a powerful AV receiver to hook everything together, our audiovisual experience would be half of what we’d expect.

Knowing this, Onkyo has loaded up its 2018 flagship receiver, the TX-NR787, with some truly mind-blowing tech, including Dolby Atmos and DTS:X support, Dolby Surround and DTS Neural:X up-mixing, HLG (Hybrid Log-Gamma), HDR10, and Dolby Vision support and three zones of audio.

According to its specs, its base configuration is a 9.2-channel receiver but supports a 5.1.4  Atmos configuration with a massive 220-watts per channel. It sports seven HDMI ports at 4K/60, plus passthrough for HDR10, HLG, Dolby Vision, BT.2020 and HDCP 2.2. It comes with Chromecast built-in, but out of the box supports DTS Play-Fi, AirPlay, Amazon Music, Spotify, TIDAL, Deezer, Pandora and TuneIn, plus 32-bit DSP.

New for this year is AccuEQ Advance, a new premium multi-point room-acoustic calibration system that eliminates standing waves that uses three locations in the room to balance sound. 

Considering everything Onkyo packed inside of it, its price is surprising: it’s just $799 (around £589, AU$1,059).

AVR and speakers vs soundbars 

One of the biggest strikes against AVRs in the last decade has been the popularization of the soundbar, which offers a quick and easy way to enhance audio quality without dealing with speaker wires or separate audio cabinets.

And, for a certain audience, that’s absolutely fine. 

But if you’re in the market for bigger sound, multiple HDMI support and upscaling, you’re going to need an AV Receiver. (Though, admittedly, maybe not one as fully loaded as the TX-NR787 when you're just starting out.)

• Keen on AVRs? These are the best AV receivers in 2018

If you want to hear Daenerys Targaryen’s dragons fly realistically overhead, expertly track unseen Bokoblin in Hyrule or enjoy trouser-flapping road racing with Vin Diesel’s Furious crew, then you need a full-blown home cinema system. 

Soundbars are all well and good, but when it comes to indulging in genuinely immersive audio then a multichannel home theatre receiver is the real deal.

To be honest, AV receivers (AVRs) have an onerous reputation for complexity, a consequence of their do-everything nature and decades of design complacency. Thankfully they’re now a lot easier to live with, courtesy of graphical interfaces actually designed for humans (take a bow Denon) and inclusive usability. 

Virtually all AV receivers support integrated music services (Spotify, Tidal, Deezer etc), either directly or via an app. Wi-Fi and Bluetooth have become common features, while integrated Apple Airplay and Chromecast, as found on the Onkyo TX-NR676E  and the Pioneer VSX-LS302, simplify streaming even further. 

If you’re looking to upgrade a long serving AV amplifier, or jump into the glitzy world of home cinema for the first time, here’s everything you need to know…

Incredibly not just Hulks 

Let’s state the obvious. AV receivers aren’t pretty. As a breed, they’re large and imposing. 

But size doesn’t have to be a pre-requisite. You can now buy slimline models which slot sensibly into regular AV furniture racks. These tend to be just as well-specified as their larger stablemates, but lack a certain amount of muscle. 

Marantz has the half-height line, currently led by the NR1607. It may only be 100mm tall, but the specification is far from thin. This 7.2 channel Dolby Atmos and DTS:X (more on which later) receiver supports Hi-Res Audio sources and has a power output rated at 50W per channel (into 8 Ohms).

Pioneer offers the even slimmer VSX-S520D. This 5.1 channel cutie is just 70mm tall, offers 4K compatibility and has a DAB tuner. It’s rated at 6x80W RMS into 4 Ohms.

Volume isn't just about loudness

If you want to prioritize clout over cosmetics, opt for a full-height AV receiver, and you’ll (at least) double your output power. Volume isn’t just about loudness. The easier it is for an AV receiver to reach a comfortable cinematic listening level, the less fatiguing it will sound. 

The most powerful AVRs handle fast, dynamic transients (those literally explosive moments that define action movies) with ease; Quiet-Quiet-Bang horror movies will have you leaping from your seat in fright.

Room tuning explained

All receivers offer some form of room equalization during the set-up process, and while they work the same way, using a plug-in microphone, results can vary dramatically.  

Yamaha uses YPAO room calibration software which can measure up to eight listening positions, although it’s unlikely you’ll need to do more than four to cover your main seating area.

Denon and Marantz employ Audyssey. Versions vary according to model, but the high spec MultEQ XT32 iteration also allows you to measure up to eight listening positions, adding SubEQ to tighten up paired subwoofers.

Pioneer has various flavours of its own MCACC, while Arcam licenses DIRAC Live, the most sophisticated and effective of all room calibration systems. 

Don’t be a slave to the set-up though. If you room sounds better without calibration, go au naturale. Alternatively, apply calibration to the surrounds but not the main stereo pair. Experiment. Every room sounds different.  

What version of Dolby Atmos do I need?

Dolby Atmos audio decoding is a pre-requisite for any modern AV receiver. Our best advice is don’t buy one without it. Best known of all the 3D audio codecs, it’s found on Blu-ray discs and increasingly alongside 4K video pay TV services – currently BT Sport, but soon Sky too.

Lower cost Atmos-equipped AVRs are usually seven channel designs. This translates to a 5.1.2 Dolby Atmos configuration – that’s to say 5.1 surround with two Atmos height channels. 

5.1.2 systems work well in smaller rooms, where Atmos-enabled upfiring loudspeakers (or in-ceiling speakers, if you have them) are within 1.5m of the listening position. 

Larger rooms will benefit from a beefier nine channel receiver, giving the option of Dolby Atmos in 5.1.4 or 7.1.2. Some users may like a flatbed of seven channels, with side and rear speakers, plus a height component, others might prefer four height channels and two rears. 

Higher-end AV receivers can offer eleven channels of amplification, aka 7.1.4, for the ultimate immersive audio experience, or give you the option of expanding a seven channels to nine using additional amplification. The Denon AVR-X4300H is one such, a ferociously powerful 200w (into 6 Ohms) p/c nine-channel Atmos AVR with a full 11.2 pre-amp output.

Of course, filling your home with multiple loudspeakers is always going to present a challenge, so manufacturers are devising ways of using DSP to simulate extra channels. 

Sony’s STR-DN1080 receiver is a 5.1.2 channel design, but employs Phantom Surround virtual speakers to create a listening experience akin to 7.1.2. Meanwhile, the Pioneer VSX-832 has just 5.1 channels of real amplification, but uses newly developed Dolby Atmos virtualization techniques to create an immersive soundstage. 

Dolby Atmos isn’t the only 3D audio game in town. Most Dolby Atmos receivers also offer support for DTS:X, a rival immersive sound format. Denon and Marantz even allow you to purchase an upgrade for Auro 3D, the most esoteric of all 3D audio formats.

From cinema to multiroom

AV receivers are no longer just for theatres and Hi-Fi listening rooms. Increasingly you can use them as part of a whole home multiroom audio system. Chromecast audio, Onkyo FireConnect, Denon Heos and Yamaha MusicCast are examples of multiroom ecosystems which can be built around AV receivers. 

Yamaha’s Aventage AVR range can stream connected sources to any other MusicCast speaker on a home network. This means, you can listen to the audio from a TV set top box plugged into the AVR, via a wireless MusicCast speaker in the kitchen.

Most AVRs also allow you to run physical cables to a second location, either audio only or both sound and vision, for simple multiroom playback.

Make sure you’re 4K ready – HDMI versions explained

It’s important that any home cinema receiver be as future-proof as possible. So try and buy one with as many 4K-ready HDMI inputs as possible. Some cheaper receivers mix 4K ready inputs with HD-only ones. As you might expect with HDMI, there’s plenty of devil in the detail. 

While any HDMI v2.0 input will be compatible with 4K sources, you’ll need inputs that support HDMI v2.0a to ensure that HDR metadata makes it through to an HDR-capable display. The key attribute to both HDMI v2.0 iteration is support for HDCP 2.2 copy protection, which is used by all commercially available 4K sources, including UHD Blu-ray, 4K set top boxes like Sky Q and Virgin Media V6, and 4K media streamers.

Finally, look out for how many HDMI outputs your chosen home cinema receiver has. Cheaper models offer just one, but step-up models have two (or even three), allowing you to feed a TV and a home cinema projector simultaneously.

Right. That’s your Next Gen home cinema receiver sorted. Let’s get the popcorn in... 

• If you want a more compact solution, consider investing in on of our best soundbars.

Yamaha has announced its 2016 lineup of AV receivers, one of which combines inputs for a turntable with Yamaha's MusicCast technology, allowing you to stream your vinyl records throughout your home.

They also either meet or exceed the specifications needed for Ultra HD Premium certification, so you can invest without having to worry about compatibility later on down the line.

The bad news is that since Yamaha isn't a member of the UHD Alliance (which defined the UHD Premium spec) it can't carry the specification's badge, which covers requirements surrounding HDR support and 10-bit color depth.

• Read everything you need to know about UHD Premium in our full guide to 4K

The receivers also feature a full range of connectivity options including AM/FM/DAB radio, supporting for streaming services, bluetooth and Airplay. It also supports Yamaha's own MusicCast multi-room streaming system, which allows content to be shared across multiple compatible devices in the home.

Sounds good

Another first is the inclusion of phono inputs on the range's higher end models (the RX-V681/RX-A760 above) which allows you to connect a turntable to your system. When paired with Yamaha's MusicCast functionality this allows the turntable's output to be shared across multiple rooms.

MusicCast converts your audio to a digital signal in order to broadcast it around your home so you won't get the analogue purity of vinyl in every room in your house, but the solution will still extend the use of your vinyl without going through a time-consuming conversion process.

Yamaha's receivers also support both Dolby Atmos and DTS:X 3-D surround sound. These feature on all of the 7 and 9 channel versions, and work to enhance the sense of sound positioning and motion delivered by the receivers.

• We recently investigated whether Dolby Atmos is the future of cinema sound

Yamaha is expecting the new receivers to launch before IFA this year, but is currently remaining tight-lipped on price. It has said that it expects the receivers to retail at a similar price to last year's models which they're replacing, although with the RX-A660 being a new model there isn't much indication of its price available.

Two, four, six, eight how many speakers do we appreciate? The days when people would be awestruck to hear a PC make tiny cheeping sounds from its internal speaker are long gone.

Today we're used to better-than-CD quality sound from every application we use, not in just one or two channels but in up to eight channels.

In many ways it was the advent of the CD drive that started the big push for PC audio quality. It also introduced some of the issues we still find today, particularly in how PCs have to juggle the many different sources, codecs, DRM issues and new digital destinations for audio.

When new technology promises multichannel, mega-bit audio streams, people rightly want to exploit and experience this. But when that very same technology becomes a barrier to enjoying these supposed delights, due to incompatibilities and complexities of how it works, it can feel more trouble than it's worth. You don't see people having issues using the latest car, they just put the petrol in and go.

So why does the technology industry feel it's in the right to put artificial barrier between you and your entertainment? It is an ongoing struggle, ever since the first PC sound card there have been issues trying to entice beautiful music from the contraptions.

Today hardware in many ways is far better behaved, largely as it's integrated on an industrial scale to the despair of poor Creative.

This is backed up with far less complexity within Windows itself. The issues that many people face are ensuring they get the best experience from their existing set up, while making the PC or laptop play nice with external entertainment devices.

This can be tracked back to when the first CD drive was connected to the PC. Someone had the bright idea to use a cable even though it was perfectly possible to redirect the sound digitally, and would lead to people without CD audio.

The same went for DVD and Blu-ray now brings its own issues of digital audio with DRM. So PC Format is here to cut through all the connectors, cables, standards and settings so you can get the best sound – surround or not – from your PC for ear-pleasing games, music and films.

Sound and vision

We all take sound for granted. Hearing's the neglected sense, constantly running second place to vision. But without sound Michael Bay films would be an unintelligible kaleidoscope of fire and posing pseudo-teen actors. Next time you're playing a game or watching a film, switch off the sound and see how long you last.

With games, audio adds vital subtle clues as to your enemy's whereabouts and actions that visuals just can't do. While for films a mixture of atmospheric soundtrack and a range of effects builds tension and emotions. So if sound is the carrot stick in a salad buffet – unappreciated and ignored – it's time to scoop that carrot into some delicious taramasalata and let the deliciousness slop over your taste buds/metaphorical ears.

Before we start unravelling the yards of wires involved with surround speakers, let's quickly cover the sound systems Windows uses in Vista and 7. Either right-click on the Notification Speaker icon and select Playback devices, or select Control Panel > Hardware and Sound > Manage audio devices.

This lists what Windows considers to be all of your audio output devices, it's useful as it enables separate configurations for your main speakers, headphones and digital output for films to an amp or HDTV.

If you select 'Speakers' this will highlight the 'Configure' and 'Properties' buttons. You should click and run through 'Configure' at least once, it tells Windows how many and how the speakers are set up. It's unlikely you have full-range speakers, these are capable of producing reasonable base response and are not satellite speakers.

If you're running a 2.1, 3.1 or another odd configuration, selecting '5.1 Surround' will provide a further option to remove unused speakers from the configuration.

Once Windows knows how many speakers you're running click 'Properties'. This enables you to adjust just how Windows treats the audio, what connections it thinks are available and how they are configured.

Click the 'Enhancements' tab and this provides a number of genuinely useful real-time effects. Bass Management, Virtual Surround and Loudness Equalization all provide adjustments to the audio to suite your tastes. Bass Management is useful for satellites as you can specify the 'cross-over' point for bass effects handled by the sub-woofer. The standard is 80Hz; raising this to 100Hz or even 120Hz provides a smoother transition from the satellites to the sub.

Room Correction is especially useful; it's an auto-configuration for your surround system. Using a microphone it will tweak the delay for each surround speaker to enhance the surround effect for the room and speaker positions. This means that you won't have to worry about precise placement of the satellite speakers.

The most common integrated sound manager is from Realtek and it's the orange speaker Notification area icon that you have probably seen. Double-click this and, while the interface is somewhat more complex, it offers the same base settings as Windows does, from Room Correction to speaker selection. It does provide jack selection, so you can switch the function of jacks around, which saves a level of demeaning crawling around the back of your PC.

Sounds great

A major inspiration for writing this feature has been the amount of emails we get from readers regarding problems they have encountered with HDMI audio.

It sounds like such a simple idea: a single cable that carries both the audio and video signal. But the depth of the complexity is only matched by the despair of trying to get audio and video to where you want it.

Please consider, our fair audience, the reasonable task of wanting to take video from a PC to an HDMI display, and audio from the same said PC to an AV Receiver. To begin, HDMI is a digital connection and it's designed to carry audio, video and control signals over the same data channels and wires. Technically, the audio and any control data is transmitted in the horizontal and vertical blank periods of the video signal.

For us PC users we know that graphics cards can generate the video but how does the audio get into the video signal? We're glad you asked. Ever since the GeForce 3xx and Radeon HD 2xxx series sported integrated sound cards the audio has to be 'injected' into the signal by the graphics card. Prior to this an internal S/PDIF or HDA pass-through cable was required to move the digital audio from the PC's integrated audio to the graphics card and then to your display.

Of course this isn't always that simple, some cards use two-pin while others use three-pin connectors, though both are compatible you'd have to jerry-rig the cable yourself; identify the ground (GND, usually black) and 5v signal line (S/PDIF, usually red or white); and plug them in. You may need to dig out your motherboard manual for a complete pin-out. It's similar to the situation with CD and DVD drives that used to require a similar device-to-motherboard audio cable.

Another cause for confusion is when it comes to DVI, technically DVI isn't designed to carry audio, however it is pin-compatible with HDMI and if those wires transmit the correct digital audio and video data, no-one and no-device would be the wiser with it all working seamlessly. Simply put your HDTV will produce sound and vision even if an HDMI to DVI adaptor is used, and the graphics card internally redirects the digital audio over the DVI port.

Outside help

As long as Windows has correctly selected the right audio source – double-check this via the Playback devices dialogue we covered earlier under the Speaker Notification icon – any external HDMI device should be able to pick up the PC audio.

There's a small chance either a laptop or even an older HDTV may not be correctly wired for audio. Similarly some older units don't correctly support the DRM HDCP protocol, and that will also disable the audio and video when it kicks in with protected content.

The question is if you don't have a suitable HDMI device or you want to use an HDMI display but use an external AV Receiver for the audio, how do you split this combined digital signal?

There are obvious and easy analogue solutions but we're going to leave those for a moment and stick with true digital options. To begin your HDTV may provide a S/PDIF out, unfortunately it's likely this only carries its internal TV tuner audio, which is rubbish. This is potentially useful as Freeview/DVB-T2 is capable of broadcasting Dolby audio.

Ideally and if you're serious about home entertainment, an AV receiver with HDMI in/out would be the ideal solution. Using this it's possible to take the HDMI signal from the PC, to the amp then direct it to the HDTV while you enjoy the vastly enhanced surround sound.

The big issue is what if you don't own an HDMI-equipped amplifier? Well, it depends on what you want and where you want the audio. Even on an HDMI-equipped laptop there will be the option to use the 3.5mm mini-jack to siphon off the audio with a suitably long-enough cable, if you have access to an AV amp Dolby Pro Logic virtual surround will do a fine job of up-mixing even stereo audio.

With a desktop PC then many amps provide a 'matrix' input mode via a bank of three or four stereo RCAs. Using one-pair per set of front, side and rear satellite speakers, plus one more for the centre and the sub channels, it can connect the standard back-panel 3.5mm mini-jacks to the 'matrix' with all the surround decoding done on the PC side.

For a true digital solution the next best option is that either the PC or laptop has a built-in optical or coaxial digital S/PDIF output. It's uncommon, and not unheard of to find these on laptops, but many desktops offer at least one, or two, on the backpanel. If you're starting to panic as none of these apply, most motherboards also provide an S/PDIF header and it's easy enough to buy and add a dual coaxial/S/PDIF bracket for around £10 on eBay.

If all of these have so far failed you then, as a final solution, plump for a new sound card that's either internal or USB. We've seen basic models of both types offering eight-channel output with S/PDIF for around £10.

A final and crazy option is to pick a HDMI splitter that provides a separate digital audio output, they are not the most common of things but a couple of models do exist such as the CASP100 for around £65. At this point that's just about every viable option of getting audio off your PC onto another device either digitally or analogue that we can think of covered.

No standards

A final area to be aware of is how the audio is decoded and piped off the PC, with music, gaming and films being handled in subtly different ways.

Music is the most simple as it's typically a decoded and encoded stereo audio stream to a selected sound device. Windows at that point takes over and will up-mix if you've enabled virtual surround, otherwise that can be left to your external amp.

Gaming is equally as simple; the game will be using either the DirectX Audio API or a third-party option, such as OpenAL to generate its multi-directional audio. Windows will then assign the audio to the most suitable audio channel. The original Nvidia nForce boards provided encoded Dolby Digital gaming sound, but the feature was dropped from later boards much to the dismay of many people.

Films is where it gets a little more complex largely due to the various and evolving container formats, such as MKV and additional digital audio standards such as Dolby TrueHD. Add in the number of media players, decoders and codec packs with the fact you typically want external amplifiers to do the decoding and it can get very confusing.

Blu-ray and HDMI are designed to carry a number of standard multi-channel sound formats, we'll list them in order of increasing bit-rate: Dolby Digital + Plus (AC3), DTS, Dolby Digital TrueHD, DTS HD Master and LPCM (Wave/AIFF).

Sounding good

If you're enjoying a film that uses one of these soundtracks and are using an external amplifier then you'll want it to pass through the audio, so it can be decoded externally. We usually recommend using the CCCP codec pack that uses the FFDShow stream switcher.

Open the Audio Decoder, select 'Output' and make sure you tick all the Dolby and DTS formats under 'Pass-through'. Be aware that S/PDIF can only handle compressed audio, i.e. standard Dolby Digital and DTS, there are options to down-sample Blu-ray HD audio formats as otherwise you'll only get stereo PCM going over the S/PDIF.

Throughout this feature we've stuck with integrated sound and for a good reason; PC Format a good while back did a blind test of integrated vs add-in sound cards. Frankly, your man-in-the-street couldn't really tell the difference.

But with integrated sound offering eight-channel audio, digital optical and coaxial on top of HDMI audio and HD input at 24-bits at up to 192KHz – what more do you need?

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First published in PC Format Issue 260

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NAD is not a brand to follow the masses. In fact, while the AVR herd are grazing on features and connecting to the milking machine of network integration, NAD receivers are more 'free range'. The T757 goes a step further and is truly feral.

What we have here is a significantly wallet-wrenching AV receiver that has thrown off what are considered basic features on even budget models costing one-fifth of the price. Instead, this chunky beast concentrates on sonic performance, delivering your speakers an ultra-clean analogue signal designed to make your ears love you.

I would even go so far as to say that its dark grey exterior and clean lines make it the best-looking NAD receiver yet, too.

Not as EQ as others

So let's look at what the T757 doesn't do. There is no Room EQ as NAD believes in the more purist 'hi-fi ' approach to sound. There is no fancy GUI, no App-based remote control and no networking functionality.

While the relatively frugal 4-in/1-out HDMI connectivity has 3D/deep colour switching compatibility the T757 has no upscaling or Audio Return Channel functionality. If you have an old DVD player or standard definition broadcast TV the NAD will convert analogue inputs to HDMI, but only at native resolution. Given that anyone in the market for a £1,500 AVR probably already has an upscaling Blu-ray player or upconverting TV anyway, maybe this isn't such a great loss after all.

Connectivity is pretty comprehensive, but the lack of USB input is a pain for those with a penchant for digital music devices, or who regularly use their notebook PC as a source.

The T757 does offer some iPod integration, but only by using the optional IPD-2 dock, which will cost you another hundred quid.

Fully-powered zone 2 audio output can be achieved using channels 6 & 7 and NAD supplies a credit-card style second zone remote for this application. Alternatively you use those amplifiers to run 5.1 and bi-amp the front channels, which works a treat with the T757.

NAD has significantly upgraded its user interface and onscreen menus for the T757. Its simple text menus are speedy to navigate and presented at 1080p over HDMI. An onscreen mini-menu is also available that shows base-line info (volume adjustments etc) for a few seconds overlaid over the on screen content.

The menu methodology is straight forward enough, albeit after getting used to a quirk of the remote control; when you have highlighted a feature in the menu, you have to press the right arrow to select it rather than the more usual 'enter' key. Surreal.

And then there is the specification sheet. While supremely low distortion and excellent signal-to-noise figures are indeed impressive, 60W per channel is not. Looking at the beefy power supplies and solid internal build of the T757, I can only conclude that some of the smaller components, such as the transistors, have been chosen for their sonic abilities rather than their power output.

That said, if it can actually produce a genuine 60W for all seven channels when the going gets tough, it will then perform on par with most AVRs that like to claim power well over 100W on paper.

From an installer's point of view, the T757 is also well up to spec with RS232 control and plenty of 12v triggers and iR repeaters.

One of this NAD's most appealing features is its Modular Design Construction. Claimed to enable users to embrace the ever-changing world of AV technology without having to ditch their original investment, MDC means that most sections of the T757 can be swapped out and upgraded as and when they are available.

Theoretically, when we are all loving 4k x 2k video the NAD's HDMI board can be swapped out for one capable of handling this super high-definition format. The MDC concept has won NAD a prestigious Reddot Design Award.

Teething problems

The built-in Audyssey auto setup is a trimmed down system with only single point measurement and relatively coarse adjustment of dB levels and speaker distance. It also had quite an epic hiccup indicating that my monster Tannoy Dimension TD12 loudspeakers were 'small' and the Velodyne DD18 subwoofer was out of phase, irrespective of whether it was set at 0˚ or 180˚ phase.

Several re-runs with the microphone in different places failed to get any different result, so I resorted to manual setup. So, thus far we have an AVR that is rather expensive, bereft of features, low powered, hampered by a quirky remote control and utterly beleaguered with set-up issues in my room. As receiver reviews go, they don't start much worse than that.

However, in a come-back that The Who would be proud of, the T757 pulls magic out of the bag with its unfettered audio muscle and a soundstage richer than a tray of Belgian chocolates.

It sounds warm and robust with an engaging atmosphere that actually makes it difficult to concentrate on how it sounds, without falling into the plot of the movie. Such is its enveloping nature the speakers seem to disappear, leaving you cosseted by the smooth and inviting soundstage.

Packing a punch

Big action blockbusters have palpable clout too. Those 60W per channel seem to punch well above their weight, although the subwoofer channel is relied on heavily to build the real sub-sonic presence that underpins the movie.

In fact, I wonder if the penchant of the auto-set-up to set speakers to small is not actually engineered to off-load more current hungry low frequency output to the subwoofer. It's an interesting conspiracy theory, but play Fast & Furious 5 and it really doesn't matter. The cars howl, the gunshots pound the room and the girls look fabulous.

I realise that this has little to do with the AVR, but it is of note that the T757 does nothing to get in the way of one's appreciation. The more esoteric Paul on Blu-ray is a feast of effects from the opening sound of the huge door shutting to the crowd scenes at the San Diego geek convention. The soundtrack moves along at a pace, while dialogue is bold and solid.

The lack of EQ allows my room's 60Hz boost to get a little noticeable, but it never gets overbearing. The upshot is the size of the soundstage and the positioning of effects in it is not quite as crisp and precise as some of the NAD's peers, but the sheer presence more than makes up for it.

TechRadar Labs

Power consumption: Watts

Idling: 48 Watts

As with all AVRs, you might want to switch it off when you're not using it.

Powered: 85 Watts

In five-channel mode and at a comfortable listening level, real world consumption averaged 85W.

Power ratings: Watts (8Ω , 0.5% THD)

2-channel 8Ω: 80 Watts

80W-per-channel is above NAD's own specification...

5-channel 8Ω: 77 Watts

...as is this five-channel measurement. We recorded 77W with seven channels driven, too.

Untainted: Watts

NAD T 757: 68 Watts
Anthem MRX700: 130 Watts
Yamaha RX-1067: 120 Watts
Pioneer VSX-920X: 60 Watts

Fidelity firewall: A measurement of power untainted by distortion (0.02THD, 8Ω, 1kHz).

Signal/noise: dB

20Hz: 48dB
1kHz: 70dB
20kHz: 69dB

S/N tests: Low-frequency test not as impressive as the rest.

Musical talents

While I don't usually mention too much about stereo music reproduction, the T757 rather demands it. With the front channels in bi-amp mode, there is plenty of power and no hint of the top-end grain that can afflict some AVRs when listening to a high quality two-channel source. It laps up a range of musical styles, eking out the detail in complex classical music, while rocking the sofa with more up-tempo material.

After living with the T757 for a week, it feels more like a good hi-fi amplifier with the added benefit of providing stellar AV surround sound service as well. And I might even be able to live without those missing features yet.

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Whether through luck or design, Marantz has created something rather special with the NR1602.

Driven by a desire to innovate within the often stultifying constraints of hardcore AV, the company has taken the traditional hefty AVR form factor and chopped it in half. The result is a component with a good deal more va-va-voom than its peers.

But there's more to the NR1602 than downsizing. The brand has also rebalanced feature priorities. Network streaming, internet radio and AirPlay are as important to this AVR as multichannel audio. If you were to reboot the home theatre market tomorrow, the NR1602 would be the benchmark.

Signature livery

The machine has a distinctive, Marantz-flavoured fascia: all curved edges and fussy buttonry. It's also available in both black and 'silvergold', the latter harking back to an era of champagne-coloured separates, and I must say I approve.

Standing 105mm tall, this receiver is not much larger than a Blu-ray player. However, the NR1602 is a 7.1 model boasting solid connectivity and every key audio codec (Dolby TrueHD, DTS-HD Master Audio, DD Plus, DTS HD, plus DSX height/ width processing).

It has four 3D-compatible HDMI inputs (all with support for Audio Return Channel compatible gear), two component and three phono AV inputs, digital optical and coaxial audio inputs, plus Ethernet. There's also an accessory Marantz-eXtension Port for an optional Bluetooth receiver, enabling you to wirelessly stream from your Windows or Android mobile.

All speakers benefit from decent binding posts. Connectivity extends to the front with a USB input that doubles as both a digital iPod/iPhone connection and media reader.

The NR1602 is just as comfortable browsing external hard drives as large USB sticks. It certainly wasn't fazed by a full 160GB drive.

Hero GUI

The set-up routine is polished and painless. An easy-to-follow wizard guides you through the system configuration, speaker connections and room calibration.

The user interface on this AVR is terrific. It's high-res, fast and intuitive. Assigning inputs is particularly simple, thanks to a neat tabular layout. Why doesn't everyone do it this way? There's also a video overlay for volume and channel selection, still something of a rarity on HDMI kit.

The NR1602 comes with Audyssey's MultiEQ auto-calibration system. A supplied microphone plugs into the front of the AVR and, when prompted, issues a series of squawks to assess distance and level. It can take measurements from multiple seating positions (the 2EQ Full Calibration mode), or just one (Quick Start).

However, as I've found with previous Audyssey calibration systems, accuracy can be a little suspect; in this instance the unit miscalculated the relative distances of my rear speakers and subwoofer. Still, this is a simple fix. You can always forego auto-calibration entirely, manually setting distance and levels for yourself.

Audyssey's MultiEQ system comes saddled with Audyssey Dynamic EQ and Dynamic Volume technologies, neither of which I much care for. Dynamic Volume should be switched off immediately. Designed to smooth out the dynamic peaks in source material, it's of use only to those who don't like loud bangs. Like kittens.

Once on your LAN, this DLNA-savvy receiver quickly sniffs out other like-minded devices. It found my assorted uPnP and DLNA NAS devices instantly. The receiver also rocks a very nice internet radio implementation, and includes support for Last.FM, Napster and even Flickr, the photo-sharing site.

While there's an AM/FM receiver onboard, I can't see it getting much use when there are so many net music options. Not only is there a bigger universe of choice online, but quality is generally better, too.

As it happens, having Flickr on an AVR alongside 'net radio proves to be a wizard wheeze. While the NR1602 does have a screensaver to prevent image retention, letting it slideshow Flickr images is a great way to fill the visual void.

Streaming audio file compatibility is solid across LAN and from USB. The NR1602 has no problem with MP3, Ogg, WMA, WAV, FLAC and AAC files. It also correctly read artist and album metadata.

Of course, the centre of attraction for iTunes and iOS users will be the provision of AirPlay. It takes no time at all to set up, and you'll soon be streaming from either PC or Mac, or iOS device. As a user experience, AirPlay verges on the transformational. It's a very cool way to explore a music collection, especially via an iPad.

The balance of power

One inevitable consequence of the smaller form factor is that the NR1602 can't compete with the heavy power reserves of larger muscle amps. Its paper specification is 7 x 50W. Is this a deal breaker? My guess is that this is not going to prove problematic in the average living room.

Given that even in dedicated home theatres you're unlikely to run amplification at more than -15dB, this shortfall in welly is not difficult to live with. Indeed, I ran both music and movies in multichannel mode and never felt short-changed.

Surprisingly, the little NR1602 does a splendid job driving large speaker loads. I used it with sizeable Definitive Technology Reference boxes. Laced up to a more sensible speaker package (maybe something smaller from sister brand Boston Acoustics) and it'll rock the house.

Multichannel Super Audio CD on the NR1602 is a treat. Hooked up to Marantz' UD7006 Universal Blu-ray player, this AVR sounds relaxed and open. Emi Fujita's MOR crooning (Camomile Best Audio, Japanese import), not only exhibits terrific width, but also has tangible depth. It's like 3D for the ears.

The NR1602 also handles fast transients with snappy ease and exhibits more than enough energy to cope with the sonic excitement of the Tron: Legacy bike duel. Tron's 7.1 Blu-ray soundtrack remains one of the best of the year, and this little box does a thumpingly good job with it. Not only is the directionality of its steering effortlessly sharp, there's a roundness to the dialogue and a depth to the LFE, which makes for surprisingly rich listening.

It's worth stretching to a full 7-channel speaker complement if you can. The smattering of 7.1 Blu-ray audio mixes is worth the indulgence. And while the best you'll get from broadcasters at the moment is Dolby Digital 5.1, the NR1602 can evenly distribute this using Dolby EX to all channels. This post-processing mode works well and I'd recommend using it if you're running with an expanded setup.

If you don't plan on running rear back speakers, you can assign the spare channels as a stereo feed to another room.

TechRadar Labs

Power consumption: Watts

Idling: 35 Watts

Lower than much of the full-fat AVR competition, but still quite high.

Powered: 75 Watts

An average consumption figure with movie footage at a sensible listening level.

Power ratings: Watts (8Ω , 0.5% THD)

2-channel 8Ω: 55 Watts

We measured 55W per channel in stereo mode, a smidgeon over Marantz's spec.

5-channel 8Ω: 30 Watts

The usual drop off in multichannel mode, but 30W should be fine for many setups.

Untainted: Watts

Marantz NR1602: 35 Watts
Yamaha RX-V367: 79 Watts
Pioneer VSX-920-X: 60 Watts
Onkyo TX-SR308: 40 Watts

Fidelity firewall: A measurement of power untainted by distortion (0.02THD, 8Ω, 1kHz).

Signal/noise: dB

20Hz: 78 dB
1kHz: 78dB
20kHz: 78dB

S/N tests: Consistent measurements across the frequency range.

Winter warmer

While most users will naturally rely on HDMI for sound and vision, the NR1602's analogue inputs offer toasty warmth. Compact Discs played on the aforementioned UD7006 and routed in via the stereo analogue inputs with Pure Direct selected, are as smooth as a cauldron of Swiss chocolate.

Mozart's Violin Concerto in D Major (from 2L) offers no sense of no digital harshness – it's just delicious. While the NR1602 may not throw quite the same long shadow as traditional home cinema receivers, it doesn't lack in audacity.

In the maelstrom of mass market AV receivers, it's a slimline oasis of style and substance. Indeed, when it comes to networked theatre, it has few peers at the price.

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The Vu+ Solo is a single-tuner DVB-S2-compatible digital TV receiever and so HDTV-ready. Like many Linux-based receivers, this one runs a variant of the Enigma firmware – we used the recommended VIX image.

Its basic design is understated, with an uncluttered front panel finished in matt black. There's no front-panel display, which makes the relevant setup menu in VIX fairly redundant. Instead, a couple of LEDs indicate basic receiver status.

Sadly, there's no loopthrough output, nor can you fit an internal HDD; for PVR use, an external storage device is essential.

Onscreen displays extended beyond what is defined as the 'safe area', obscuring text and making the receiver a bit awkward to drive. Happily, a compensatory menu item fixed this anomaly after a reboot.

Enigma-issue installation wizards cover language, display calibration and networking. The tuner is configured to the outdoor kit you're using – different types of LNB and DiSEqC satellite-selection hardware can be accommodated at this stage.

Searching can then proceed on a satellite or transponder basis. As is the case with all receivers running Enigma2, there's no blind search, and PID selection is not incorporated. Searches can accommodate all channels, or just the free ones.

An embedded Broadcom 333MHz processor, aided by 384MB of RAM and 128MB of non-volatile flash memory, beats at the heart of this receiver. Searches are, alas, rather slow. Fortunately, the receiver is far more responsive in regular use.

Channels can be sorted by satellite, provider or (user-definable) favourites lists. A multi-channel 'timeline' EPG spans 11 consecutive channels at once; the alternative is a more descriptive single-channel mode. DVB and XML-downloaded now-and-next and seven-day schedules fall within the EPG's remit, as do text searches and timer setting.

Timeshifting and recording are both supported, as is the ability to record and view two different channels on the same transponder.

Multimedia playback – from USB or networked storage devices – is possible with a good range of formats, but a separate picture viewer application is deemed necessary. A wide range of plug-ins is available.

Verdict

The picture/sound quality and responsiveness of the Solo can't be faulted. The handset, which looks good and handles well, is also noteworthy for its handy shortcut buttons.

If you're after a no-nonsense budget Linux receiver with some cool features, the Solo is worth considering.

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Pioneer's VSX-2021 is a receiver for the Apple generation. It's all but intrinsically linked to the company's wares with iPhone/iPad control Apps, dedicated music sharing for multiple iPods, remote control of the latest OS devices and full AirPlay integration. Even the user manual and set-up navigator are fully interactive iPad Apps.

Okay, this £800 receiver can be operated with its own remote control and you can ignore the Apple-centric features, but that would be like buying a BMW and never using the iDrive. Even those VSX-2021 buyers with a penchant for Android devices (there is an app for that platform, too) might find themselves considering an iPad for its Pioneer-centric features alone.

Where that Pioneer/Apple allegiance really excels is in the control interface. Pioneer's iControl AV App of a year or so back was so far ahead of the curve that no AVR maker has yet caught up.

The latest iControl AV2 App adds a raft of new gizmos alongside the truly inspired, tilt-sensitive level adjustments and gorgeous animated App UI from the first edition. You now have access to a wider range of the AVR's features including finer adjustment of phase control, PQLS, group delay, virtual speakers for depth, height and virtual rear back and access to Pioneer's Auto Sound Retriever, which spruces up lossy MP3 and low bitrate net radio streams.

For those social ravers out there, another Pioneer App called AirJam can be used in conjunction with the optional AS-BT200 Bluetooth adaptor, allowing up to four Apple devices to be simultaneously paired to the VSX-2021. Each user cues up songs from their device to form a giant multi-party playlist, which is simultaneously displayed on the screen of each device. Among my friends, I reckon this would lead to complete bun-fight by track three.

Widget daddy

However, the ultimate widget among widgets award goes to iControlAV's Finger EQ feature. This brings the concept of a graphic equaliser into the iPhone age by mapping a frequency response curve to the sweep of your finger across the screen. Great fun.

More sensibly, the App also affords Zone 2 and Zone 3 control, videos explaining various features (see these on Pioneer's excellent YouTube channel) and a readout of precise audio and video signal information.

While all this works beautifully on an iPhone/iPod, the dedicated iPad version of iControl AV2 is even better. It makes you realise why Crestron and AMX touchscreens have always been so popular. And, frankly, a decent App on an iPad is both better and cheaper than dedicated controllers.

Just to prove I haven't turned into an Apple freak overnight, my ability to get iControl AV2 to turn the VSX-2021 off but not back on again was really annoying [Pioneer reckons you need to fiddle around in the Network Setup Menu – Ed].

Respect to the spec

Apple sauce aside, the VSX-2021 is a very solidly specified receiver and well paced with rivals at this price point.

The THX Select2 badge is proudly displayed at the top of Pioneer's features list, followed closely by the class-leading seven HDMI inputs and twin simultaneous HDMI outputs. These are v1.4 configuration so they support Audio Return Channel from your TV back to the amp, 3D pass-through and, at some point in the future, 4K2K video.

Sadly, there's no Ethernet channel embedded in the HDMI ports to exploit the IP networking feature of v1.4, but you wouldn't currently find many devices to connect an Ethernet HDMI cable to anyway.

The Pioneer offers hardwired Ethernet as standard (with optional Wi-Fi adapter), offers vTuner net radio and is Windows 7 and DNLA-compliant, just to prove that the world doesn't end at Cupertino.

Under the hood are seven channels of power and processing for all our favourite HD-audio movie formats plus Dolby ProLogic IIz for height channel output using terminals at the expense of rear-back speakers. Processing for anything remotely Apple is a given, including Apple Lossless (via Airplay at least), and this is also one of the first AVRs to offer support for ultra-high 192kHz/24Bit FLAC recordings.

For EQ duties you get the latest version of Pioneer's MCACC room EQ system. Alongside the auto-setup and auto calibration features, deep, deep, deep in the advanced EQ Professional menus you will find audio controls of mind boggling complexity.

More equal than others

You can vary the EQ time positioning to best adjust for room nodes that build up over a short period and can run the calibration with different output biases. The EQ emphasis can be put on pure frequency response, phase characteristics, multi-point standing wave control or even balance the surround speakers to match the front main pair.

There is no simple tweaking of frequencies as a manual option, but you do have control over channel levels to +/- 0.5dB and speaker distance in 1cm increments. Quite who keeps their head that still during a movie is a mystery to me, but for the sake of absolute accuracy you can't beat Pioneer's MCACC.

Which brings me to the overall package and what a big old beast the VSX-2021 is. It is tall and deep in stature although I have no idea why. Inside there is a chunky transformer, several PCBs, a relatively compact rack of cooling fins and enough air-space to pilot a Sopwith Camel.

The mostly empty chassis does nothing for the feel or the build quality either. The case is rather tinny, the front flap feels like it will fall off if a child gets within 10 paces, and the speaker terminals flex alarmingly when you hook up even moderately chunky cables.

That said, the VSX-2021 does look rather lush. It is smooth, sleek and black with the biggest knobs I have ever seen outside of a government conference. The style is pure Pioneer, but if you happen to own a black iPad and squint a bit, there is a cosmetic synergy too.

Maybe because Pioneer pretty much expects you to control the VSX-2021 with a portable Apple device, the supplied remote control is pants. It is a small device with buttons so bijou I can hit nine at once with my sausage thumb. On the plus side, it is fairly logical in that it emulates most standard remotes and offers a red backlight for fumbling around in the dark.

If you do already own an iPhone, iPad or iPod Touch you might as well leave the standard remote in the box – you won't even need it for set-up.

Pioneer's MCACC is not the quickest auto set-up system these days but it is thorough, has a progress bar and explains what it is up to every step of the way. There are memory slots for different set-up balances and configurations, and the system hand-holds you through the deeper features nicely.

The manual is actually a fully interactive program supplied on PC DVD-Rom and is also available as an iPad App... you won't be surprised to hear. This runs a step-by-step connectivity guide followed by information on using the MCACC setup.

The MCACC knack

Then the AVNavigator gets really cool. It allows you to configure your connectivity, the MCACC features and settings on a PC or iPad and then download them to the AVR over your network. Post setup, the EQ data graphs are displayed in AVNavigator software with ongoing ability to tweak and adjust.

And, even cleverer still, the interactive manual reacts to button presses on the receiver itself. So if you press Phase Control, for example, AVNavigator immediately jumps to that page in the manual. If you keep the program running on your iPad or PC, Pioneer automatically loads updates and information on firmware upgrades.

Running on a PC, AVNavigator is incredibly slick; on an iPad it is the blueprint not just for all future AVR user guides, but probably all connected electronic goods too, from Smart TVs to digital radios as well. It is that good.

And finally, you might just get around to playing a movie, which is immensely rewarding. Running with the MCACC EQ and full-band phase control on, the VSX-2021 is crisp, clean and blessed with a hugely spacious soundstage.

The balance is one of detail, accuracy and special effects etched into the room with laser-like precision. Bass is tightly controlled with breathtaking slam and absolutely no bloat or overhang. Other AVRs may sound weightier, but the breathy-clarity that the Pioneer exhibits right across the spectrum is revealing – not unlike really good hi-fi in fact.

Switch off the phase control and MCACC and you get a relatively cloying and congested sound that is far from ideal. The whole front soundstage is squished together and there is a sluggish malaise that just won't budge no matter how many times you shift the speakers around. Clearly the VSX-2021 is built from the ground up with MCACC in mind and it is essential to use it.

As Leonardo Di Caprio speaks to Ellen Page in her first lucid dream in Inception (Blu-ray), the Pioneer paints an atmospheric portrait of the bustling city and coffee bar, complete with passing traffic and clinking cups. The dialogue is perfectly articulated and projected well out into the room with intonations and accents faithfully reproduced.

As Ariadne realises she is in the dream with the scenery exploding around her, the Pioneer digs deep into its reserves of power and punches out each explosion as a cacophonous mix of bass power and fragment effects. The snap back to the scene in the laboratory immediately focuses the scene on the dialogue and music playing gently in the background. It is as close to genre agnostic as AVRs get, being damn good at them all.

Upping the ante

The VSX-2021 sets new standards of operational flexibility in the AV receiver genre and does so backed up with stunning audio engineering. The latest MCACC is nothing short of a revelation for a sub-£1,000 receiver, and works miracles on the Pioneer's slightly lacklustre un-EQ'd sound in my room.

The rather lightweight build quality aside, the VSX-2021 offers class-leading features, performance and flexibility. In fact, it is truly in a class of its own.

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NAD Electronics has announced a new mid-range AVR that incorporates its award-winning Modular Design Construction.

The T 757, available from September, will feature replaceable plug-in modules for some of its audio and video stages, meaning future tech developments won't render it out-dated.

Says NAD director Greg Stidsen: 'MDC's advantages are clear. Customers have the comfort of knowing their investment will not become prematurely obsolete.' Which is good news for anyone who bought, say, an HD DVD player.

The T 757 will hit retail for around £1,500. For that outlay buyers get a 7.1 receiver with four HDMI inputs and one output capable of passing 3D video. The lossless audio formats Dolby TrueHD and DTS-HD Master Audio are naturally supported.

Other connections include a 12V trigger and RS-232 for integration into an automated home cinema system.

Source setup

Another neat feature of the T 757, alongside MDC, is the ability to customise presets for different sources. For example, speaker levels and tone controls can be programmed to change depending on whether you're watching a film on your Blu-ray player or a regular TV show.

Then there's NAD's proprietary EARS (Enhanced Ambient Retrieval System) mode, which takes stereo material and uses digital signal processing to create a surround soundfield.

The receiver side of the T 757 comprises an FM/AM tuner, although a rear port is available to connect NAD's optional DAB/DAB+ adaptor. Buyers can also hook up an iPod via the brand's IPD 2 dock.

What's missing from the T 757 is any form of video tweaking. Explains the Canadian company: 'We leave the video processing where it belongs – in your display – avoiding the multiple format conversions that plague lesser AVRs.' Fair enough.

Onkyo will complete its 2011 AV receiver lineup in September with a duo of models aimed squarely at the high-end of home cinema.

The TX-NR5009 and TX-NR3009 are both 9.2-channel AVRs with THX Ultra2 certification, meaning they're deemed powerful enough by the George Lucas-founded company to drive a surround sound system in a dedicated movie room and at neighbour-bothering volumes.

The top-of-the-range TX-NR5009 (follow up to the TX-NR5008 claims a power output of 9 x 220W, while its TX-NR3009 stablemate offers a slightly less boisterous 9 x 200W.

Audio features shared by the two AVRs include support for DTS-HD Master Audio and Dolby TrueHD audio codecs, DTS Neo:X processing and automated room equalisation/correction courtesy of Audyssey technology.

Meanwhile, standard-definition imagery is buffed up by the onboard HQV Vida chip to HD, with a second stage of video tweaking allowing upscaling to the next-generation 4K resolution - not that you have a 4K TV yet.

Media maestros

Beyond their main movie duties, the new Onkyos double up as home entertainment hubs. Each is network-enabled, offering Spotify, last.FM, Napster and Vtuner integration as well as DLNA-powered media playback over a home network.

And Onkyo's musical heritage means a wide range of file formats, including FLAC, WMA Lossless, WAV, AAC, Ogg, and, of course, MP3, are catered for.

Buyers of the TX-NR5009 or TX-NR3009 shouldn't have a problem connecting the rest of their hardware, as the receivers sport eight 3D-capable HDMI inputs and two outputs.

Other ports include two USBs and an Ethernet jack. However, those with a wireless network will have to use Onkyo's UWF-1 wireless LAN adaptor, as Wi-Fi isn't built in.

While these new AVRs will ship with backlit remote controls, both can be operated from your Android device or iPhone or iPod touch, thanks to Onkyo's free app.

The price tags of the TX-NR5009 and TX-NR3009 reflect their power and feature sets - the former will sell for around £2,700, while its sibling comes in at £2,000. We expect to clap our eyes, and ears, on them at the forthcoming IFA 2011 tech show in Berlin.

There has been something of a dry spell for new AVRs of late. Months have passed without seeing one then, like buses, Yamaha launches the five-model strong RX-Vx71 lineup all at once. We got our hands on the baby brother the Yamaha RX-V471 AVR.

To celebrate the 25 years since the launch of its Cinema DSP technology, Yamaha's fledglings get some cutting edge features and obligatory eco-friendly credentials, too.

While the flagship RX-V771 looks stunning on paper, I suspect this was a ruse by Yamaha just to tease us, because the RX-V471 turns out to be an absolute corker.

First off, gone are the symmetrical cosmetics from the 1987-AVR Designer's Handbook. They have been replaced with a slick and thoroughly contemporary, part-gloss fascia. Having dissed the brand's AVR aesthetics in print for nearly a quarter of a century, this is a revelation to me.

And it is equally sleek around 
the back where there are just enough essential connections, such as 
4-in 1-out v1.4 HDMIs, a selection 
of digital connections, component video and a Yamaha accessory 
port. There's no longer a dedicated dock for porting an iPod/iPhone, unless you want a wireless connection, for when both Wi-Fi 
and Bluetooth docks are available.

Instead all five models in the range extract raw digital audio, play lists and even display album artwork from a standard USB input.

In my opinion, this more than makes up for a lack of network connectivity, delivering high-quality music-server functionality for 
the price of an iPod. There is a Compressed Music Enhancer in the DSP modes, but my advice would 
be to buy your iPod big and go VBR 
or lossless for best sound quality.


Of course, at this price you only get five channels of amplification for Dolby and DTS 5.1 formats, at a claimed 100W a-piece (although 
our Tech Labs rate them lower).

Research pays off

It is also clear that more than 
a few months of research and development have been lavished 
on the user interface, too.

The RX-V471 boots up fast with a colourful high-definition image 
of a Yamaha piano on screen. 
A single press of the remote has the full-colour GUI overlay sliding up from the bottom of the screen offering a raft of easy-to-follow options.

Once the supplied set-up mic is installed (in the correct port and not, as I did, into the fascia-mounted 3.5mm input jack) the receiver automatically pulls up the auto set-up menus. Powered up, 
the receiver makes a few suitably eye-watering noises and announces all is well in under two minutes.

The YPAO room EQ system is 
a fairly basic incarnation of the technology and offers no manual adjustment beyond three presets. The GUI overlay enables you to play content and flick between each mode easily to select whichever 
you prefer.

Ironically, in a blind test, 
I ended up plumping for the 'EQ off' mode, but in a standard living room which has less than optimal speaker positioning I suspect the YPAO will come into its own.

The features list is not too shoddy for a £300 receiver and concentrates on those that will actually get 
used rather than specification trumps. There is no video upscaling, but you do get HDMI input switching in the frugal 1.2W standby mode for those days when you just want to watch and listen to the TV.

On fire

At all other times the RX-V471 delivers performance to set your socks on fire. Sounding agile, potent and incredibly detailed, this little receiver would give last year's 
£800 models a run for their money 
in pure performance.

Within seconds of spinning up Iron Man on Blu-ray 
I was hearing little details that 
older models at twice the price 
would gloss over.

As Stark emerges from the imprisoning cave, the LFE handling 
is sharp and visceral. This is no slow-burn performer that you might warm too; this is an immediate wow-factor machine that punches out a holographic surround soundstage with precision that I have not heard in any AVR the affordable side of £500.

I considered it may be the preceding dry-spell of amps that 
let the Yamaha gain my affections, 
so I garnered a second opinion. 
Mrs S has been exposed to a lot 
of AVRs over the years, so I played two scenes from different discs and asked her to guess the price of the Yamaha. She plumped for '£600-£800'. Okay, so it's not just me then.

The RX-V471's winning quality is undoubtedly 
its superb balance, which seems to let the dialogue, effects and action shine through. This pulls you into the movie, letting you forget about 
the electronics and speakers and simply enjoy the plot.

It is the result of a very clean sound through the mid-range; 
open, spacious and free from any congestion. Effects such as the spent bullet cases dropping to the floor have a wonderful metallic quality and the RX-V471 places each one with individual precision. Bass effects are robust and punchy without being overbearing and the top end deliver plenty of sparkle.

On one hand the sound is 
much firmer and fruitier than the competition, yet feed the AVR a 
diet of drama and it offers unrivalled clarity at this price, too.

The King's Speech is delivered with intensity and gravitas, underpinning the anguish of Colin Firth's King George with superb realism. I found myself holding my breath, willing the character to enunciate the next stammered word.

This rare combination of power and precision makes the RX-V471 something of an all-rounder, equally at home with family-friendly Disney fun as it is 18-cert action mayhem. 
To test the point, I slipped in the original Ice Age on Blu-ray and another thoroughly entertaining 
90 minutes slipped by.

Even nudging the volume skyward results in a very pleasant surprise. While most budget receivers start 
to struggle and harden up when the volume gets much beyond –5dB, 
the Yamaha finds untapped reserves, simply powering into seriously 'neighbour-unfriendly' territory.

With 0dB showing on the clock, the sound retains its fine balance and clarity with the bass effects threatening 
to bring down the light fittings. 
Great fun? You bet.

The iPod/iPhone hook-up is simplicity itself, using no more than the Apple supplied USB lead. The RX-V471 quickly lists all the tracks and artists.

Once you hit Play, the GUI pulls up the cover art work from the device a few seconds later – all controlled by the Yamaha's simple remote. Further up the model range you get App control as well, but I guess at this price point you can't have everything.

Benchmarks

Power consumption: Watts
Idle: 41
Powered: 110

Power ratings: Watts (8 Ohms @ 0.5% THD)
2 channel 8 Ohms: 80
5 channel 8 Ohms: 60

Signal/Noise: dB
20 Hz: 85 dB
1 kHz: 85 dB
20 kHz: 85 dB

Style, substance, value

While more affluent receivers offer more power, greater resolution and additional features, I can't remember a time when a budget AVR impressed me so much.

It is stylish on the shelf, amazingly easy to use, offers a useful set of features and tops it all off with comfortably class-leading sound at the price.

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Pioneer has spilled the beans on its latest high-end AV receivers, showing off four new devices that, it claims, recreate audio as close to studio source as possible.

The SC-LX85, SC-LX75, VSX-LX55 and VSX-2021 don't come with the catchiest of names but they can all handle multiple HD audio and video formats.

What's more, the top-end SC-LX85 and SC-LX75 come with Direct Energy HD amplifiers for super-efficient performance with minimal distortion and clever multi-room capabilities that can offer differing channel set-ups.

First the A

These models also offer Hi-bit 32 and hi-sampling audio processing to revive the original sound and again lessen distortion; they both offer a new DAC filter too.

The SC-LX85, SC-LX75 and VSX-LX55 also come with Apple AiPlay compatibility, while all four come with Made for iPhone/iPod/iPad certification.

Each is also DLNA Certified v1.5 and compatible with an optional Bluetooth adapter for wireless music streaming fun.

And now for the V

In terms of video performance, the receivers all offer 1080p 24-fps playback with upscaler to automatically improve standard definition footage to 1080p.

Other features include advanced video adjust for smart adjustments when connecting to displays via HDMI and Stream Smoother to reduce compression noise for better quality images when streaming media online.

The Pioneer VSX-LX55 and VSX-2021 UK release dates are set for July 2011, while it's a wait 'til September for the SC-LX85 and SC-LX75

When it comes to UK pricing, the VSX-2021 and VSX-LX55 will set you back £799.95 and £999.95 respectively, while the higher-spec SC-LX75 comes in at £1499.95 and the SC-LX85 at £1999.95.

Overview

Every year, Onkyo's home cinema hubs top the bestseller lists, appealing to punters looking for an amp that delivers maximum bang for their buck.

And this year, the company clearly intends to retain its position at the top. The 7.2-channel TX-NR609 is the most advanced model in Onkyo's first wave of 2011 receivers, offering full network capability and a couple of exciting world firsts.

Chief among these is its ability to stream music directly from Spotify. With over 10 million songs available in 320k quality, it could put your MP3 player out of a job, although you'll need a Premium account to use it.

Alongside this is a wealth of other connected services, including vTuner internet radio, Napster, Last.fm and DLNA-certified music streaming from networked devices. All of these are accessed at the touch of a button, using gloriously simple menus.

The Spotify interface is particularly good, displaying cover art and providing access to playlists and features such as 'What's New' and 'Starred'.

It's also the first receiver to feature Marvell Qdeo video processing technology, which can upscale any video source to 3840 x 2160 resolution. This may not have any practical use right now, but it could be handy when sets such as Toshiba's glasses-free TV hit the shops within the next 12 months.

Sound

Headline-grabbers aside, when it comes to fundamentals such as audio processing, amplification and performance, the Onkyo TX-NR609 is pretty much untouchable at this price.

Like its predecessor, the brilliant TX-SR608, the NR609 is THX Select2 Plus-certified, decodes any HD audio format and offers 7 x 160W of grunt, with two LFE pre-outs if you want to bulk up bass with a second sub.

There's even a choice of vertical surround processing, with Dolby Pro Logic IIz and Audyssey DSX both vying for your attention. The latter offers greater flexibility, enabling you to use the surround back speakers as front height or front wide channels (although with only seven channels, you will have to give up those surround backs no matter what.)

On the socketry front, you get no less than six HDMI v1.4 inputs (one of which is found on the front) making it ready to receive full HD 3D signals and audio from an ARC-compatible TV.

Other highlights come in the shape of powered Zone 2 output, an analogue RGB input for PCs and a USB port with extensive media playback. The Ethernet connection is currently your only way of getting online, but Onkyo is set to launch a wireless USB adaptor. On the minus side, there are no multichannel analogue inputs.

Build quality is spot-on, and Onkyo has revamped the external design to include a flat fascia with buttons discreetly tucked along the grooves. While classy, the exposed sockets are asking for trouble if you have kids.

On test

Power consumption: Watts

Idling: 45 Watts - Reasonable power consumption for an AVR of this complexity

Powered: 150 Watts - With movie footage, real world use averages 150W with five channels driven

Power ratings: Watts (8Ω, 0.5% THD)

2-channel 8Ω: 100 Watts - Delivers a solid stereo measurement, although below Onkyo's own specification

5-channel 8Ω: 90 Watts - This multichannel figure is very good considering the receiver's market position

Untainted: Watts

Fidelity firewall: 75 Watts - A measure of power achieved before distortion becomes unacceptable (0.03%THD).The Onkyo is up to spec but not as 'clean' as some rivals

Signal/noise: dB
S/N tests: 85dB at 20Hz, 1kHzand 20kHz - Good, but not excellent across all frequencies. High listening levels are afflicted with a noticeable hiss

Verdict

The Audyssey 2EQ auto setup works its magic with the supplied mic and test tones, or you can take the DIY option by delving into the onscreen set-up menu, which uses the same logical layout as last year's models but with swanky new fonts and graphics.

Its performance is magnificent, handling Blu-ray soundtracks with consummate control, roof-raising power and the same deftness of touch as its predecessor.

During the sedate opening scenes of Inception, it gently caresses the lapping waves, teasing out the background ambience. And the expository dialogue is articulated with admirable clarity and body.

But as the dream starts to fall apart, the Onkyo handles the epic-scale action with thunderous power, swift, decisive steering and terrific effects placement.

Debris crashes to the floor with a chandelier-shaking thump, while the wave of water cascading into the room mixes frightening low-frequency presence with clean top-end detail.

It's a top-drawer movie performer, and although you'll get even greater power and subtlety from more expensive models, we doubt you'll hear many better £500 amps this year. The TX-NR609 is a force to be reckoned with.

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Overview

Canadian brand Anthem's classy high-end D2V processor and P-series power amps wowed our high-end sensibilities when we saw them, leading to a three-strong lineup of more affordable AV receivers coming to these shores in 2011.

Here we have the range-topping MRX 700 coming in at around £2,100 and competing with the likes of Denon's AVR-4311 and Onkyo's TX-NR5008.

From the cosmetics alone you can trace the MRX 700's lineage from the D2V, but they share more than a few design features and philosophies.

Compared to the D2V's cluttered looks, which we suggested had a fascia ideally suited to an enclosed cupboard, the 700 is positively stylish. The silver buttons and bold white logos on matt black are a long way from the elegance of British or Japanese receivers, but it's nothing like as cluttered as the D2V, and the side flap over the front inputs is a very neat touch.

This contrast between AV receivers from differing nations continues under the casework, too. Anthem has its own state-of-the-art electronics and software design facility in Ottawa, shared with sister brand Paradigm, and it clearly has the cajones to forge its own path rather than follow the herd.

The MRX 700 is no Swiss army knife of functionality, and in a game of pure features strip poker it would be sitting at the card table in nothing but its boxer shorts long before the Denon and Onkyo.

The focus is on delivering the best possible sound quality at the given price without diluting the R&D budget with widgets and fluffery that you may not use anyway.

Features

Of course, it has decoding for all mainstream standard and high-resolution movie and music sound formats, USB inputs with an iPod dock on the way, upscaling to 1080p, Ethernet networking and even a Dolby ProLogic IIz height channel option. But that is your lot for secondary features.

There's no independent multi-room AV, or Airplay, no bespoke anti-jitter digital link-ups and (at present) no iPad app remote control. There is also an amazing lack of big-name component brands such as Anchor Bay, ISF, Burr-Brown etc, and virtually all the electronics are born and bred in-house at the Paradigm Advanced Research Centre, or PARC.

Most notable of these is Anthem's own ARC EQ system, notable for being a lightly pared-down version of the ARC system found on the D2V. And that is the best-sounding EQ system of any I am yet to hear by a long, Canadian country mile.

Set-up

Set-up and installation is not necessarily for the faint hearted, though, because the protocols and accepted procedures used by almost all other manufactures have gone right out of the window.

Unlike the competition, that supply a little plastic bodied set-up mic, the MRX range comes with a solid aluminium USB audio mic, an easily adjustable tripod, cables and software for your laptop. The whole set up procedure is controlled from the PC which runs thorough a complete Real Time Analysis (RTA) measurement before applying its comprehensive filters for best stereo music and multichannel movie response curves.

ARC feels so much more flexible on the PC than an in-receiver-based system, and the filtering range runs from 5kHz right down to 20Hz – a lot lower than Audyssey's effective range. Moreover, the sheer number-crunching power and data storage requirements are moved to a dedicated device (your laptop, notepad, PC etc) offering much greater depth, detail and flexibility in the system.

OK, I admit, the set-up is mind bogglingly complex. The laptop-based EQ will no doubt have some users running for the hills and the onscreen interface is simply not as logical or as well laid out as the slick GUIs on the latest Japanese receivers.

If you do use the setup without the safety net of a dealer installation, I guarantee you'll be flicking back and forth through the manual wondering why certain things just aren't working. Still, we like a challenge.

Sound

The 7 x 120W amps are traditional class A/B design, fed from a chunky power supply to ensure plenty of current for big multichannel swells. As per most receivers, the EQ system defaults to being on, but it is worth spending some time with the MRX 700 with the EQ off to start with.

It's a robust-sounding beast with plenty of 'oomph' on tap. The natural stance is a heavyweight balance that delivers a soundstage forged of granite with lead trimmings and ballast in the belly.

With suitably dense and moody movies such as Hellboy II on Blu-ray, the sense of dark foreboding is amplified with crushingly intense effects,and the bass presence threatens to squeeze the air out of your chest. In Hellboy II, as the tooth fairies fly around the auction house, the scale and dimension of the soundstage is perfectly formed, becoming wide, spacious and uncluttered. The effects come fast and furious with the newly dry and tightly focused bass underpinning each one.

As Hellboy unloads round after round at the fairies, the effect is thrilling and immersive, the MRX 700 punching well above its price point in terms of adrenaline-fuelled action.

But while impressive with the right movie, it's all a bit heavy for Love, Actually or Toy Story.

Stepping the pace down produces sound that is cleaner, crisper and more infectious with the ARC engaged, bringing life and sparkle to slower-paced movies and Pixar classics alike. Dialogue is precision-crafted 'front of house' with admirable tonal accuracy to voices.

Engage the ARC and the effect is nothing short of astonishing. The system's grip and control of the lower frequencies is stunning, turning phat bass with added room reverb into ultra-tight, mega-punchy effects with lightning-fast transient attack.

Better still, it does this without culling any of the bass power. Quite the opposite in fact! Gunfire has incredible power that will flap your bell-bottoms with every round, and explosions attempt to physically pitch you off the sofa in a sharp-edged wave of percussive violence.

The ARC's control over the subwoofer in particular is way ahead of the game, making even Velodyne's excellent built-in EQ on the DD18 sound woolly by comparison.

It's an incredibly impressive and involving sound, but the ARC does have its limitations on the MRX series. For example, compared to the implementation on the D2V, it's not quite as sophisticated, and the upper frequency EQ stops at 5kHz.

This means that any top-end issues borne of, say, feisty speakers with too much treble, for instance, or an over-damped room, packed full of Laura Ashley's finest soft furnishings, are left untouched.

With my elderly Tannoys and their now rather smooth and rolled-off top end, the Anthem MRX 700 never achieved the sheer magic of the full-bandwidth D2V ARC system. That said, it is still very impressive and some seven grand cheaper, too. Cool.

On test

Power consumption: Watts

Idling: 70 Watts – Another AVR that you're advised to switch off when you're not using it

Powered: 120 Watts – In five-channel mode and at a comfortable listening level, real world consumption averages 120W

Power ratings: Watts (8Ω, 0.5% THD)

2-channel 8Ω: 135 Watts – Our Tech Labs measured 135W into 8Ω in two-channel mode, which is above Anthem's specification

5-channel 8Ω: 115 Watts – As expected there is a drop-off in power in five-channel mode to 115W, and to 80W in seven-channel mode

Untainted: Watts

Fidelity firewall: 130 Watts – A measurement of power untainted by distortion (0.03THD, 8Ω, 1kHz), the Anthem is somewhat eclipsed by its Japanese rivals

Signal/noise: dB

S/N tests: 70dB at 20Hz, 70dB at 1kHz and 70dB at 20kHz – A solid measurement across the frequency range

Verdict

With the ARC tuned to perfection, the MRX 700 establishes a new standard of sonic performance at this price point, and leaves the rest of the pack sounding a little lacklustre by comparison.

OK, so there is no Audyssey DSX, AirPlay, full multi-room, Napster, THX modes and so on, but does that matter? Possibly not.

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If you want to play tunes or movies from your iPhone or run your new iPad internet radio app through your hi-fi, then Pioneer has your back with the UK release of five new iOS-compatible AV Receivers this month.

Pioneer's new range features support for Apple's AirPlay and full support for iPad, including an exclusive 2.1A battery charging facility via the USB port.

Pioneer's new receivers are DLNA Certified (v1.5), and work with vTuner Internet Radio and Pioneer's own custom-developed apps for iPhone, iPad and iPod Touch such as the exclusive iControlAV2 App and the Air Jam App.

A haven for advanced home cinema

With improved features and functions across the board, the 2011 line up of Pioneer receivers includes the VSX-821, VSX-521 and VSX-42, and the Airplay-toting VSX-921 and VSX-1021 7.1 channel home cinema receivers.

Philippe Coppens, Technology and Product Information Manager at Pioneer Europe, adds: "This will for example enable [users] to access their music and video content as well as share them with others in one room or throughout the home."

Pricing is still 'tbc' with Pioneer's new range set to be available in shops from June 2011 onwards.

The Yamaha RX-V3067 is a deceptively polite flag-bearer for Yamaha's latest generation of AVRs. It sits at the top of the brand's 3D-capable range, but it's an unassuming hero and certainly doesn't cast the same shadow as its Z11 and Z7 forebears.

This upper-midrange, 7-channel AVR is literally a bit of a lightweight (17kg), albeit one with trappings of sophistication. Build quality, however, is on the right side of prestige, extending as far as its satisfyingly metallic remote.

Rear-side connections are generous, featuring seven HDMI inputs, plus another on the front, and two HDMI outputs that enable you to route to a flatscreen TV and a projector. It's possible to set the AVR to feed both simultaneously, or you can manually select either one.

All the HDMI connections are v1.4, which means there's compatibility with 3D (we successfully tested the unit with Sony's 3D VPL-VW90ES projector) and ARC (Audio Return Channel). The latter enables audio (from a v1.4 TV) to travel back down the cable to the receiver; this saves having to use a digital audio output on the back of the screen if you want to get audio from the TV's tuner through your sound system.

There's also provision for iPod connection via the Universal dock and Bluetooth streaming. While the RX-V3097 supports all the principal surround sound codecs (Dolby Digital Plus, Dolby TrueHD, DTS-HD High Resolution and DTS-HD Master Audio), there is no provision for Dolby Pro-Logic 11z or Audyssey DSX height/width processing.

Instead, the brand offers its own height/presence channels for the front and rear soundstage, provided you're prepared to add an external amp to power them. For this audition, we chose not to add additional amplification and so ran the receiver in a conventional 7.1 configuration.

The V3067 offers connection for two subs, using designated front and rear outputs. Also missing from the post processing feature roster is THX. Yamaha has being playing fast and loose with THX, only buying in the licence for its highest-end receivers. It dropped widespread certification in 2006, only to reinstate it for the RX-Z11 a year later, when it became the first AV receiver in the world to feature THX Ultra2 Plus certification.

Lack of THX

THX is off the menu again for this model and, frankly, it is missed. By way of compensation, there's the latest selection of the brand's long standing Cinema DSP modes, but, to my ears, none of them offers the seamless and balanced movie presentation of THX Cinema.

Room calibration comes via YPAO, Yamaha's proprietary measurement suite. The AVR ships with a small mic and weird plastic Frisbee. The latter is used for measuring the angle (rather than position) of the speakers and is an optional refinement.

It's easy to appreciate the construction values employed here. Extra rigidity comes from the AVR's double-bottom construction, and there's a big new heat sync and symmetrical power amplifier layout to manage heat and power.

Beneath the bonnet are Burr-Brown PCM1796 DACs, while video processing comes courtesy of Silicon Optix's VHD1900 HQV chipset. This offers a surprisingly high level of picture calibration, including auto noise reduction (mosquito, block and temporal noise), variable detail and edge enhancement, plus contrast boost.

I spun up the DVD release of the Angelina Jolie thriller Salt, which is a rather dreary looking disc. But, by nudging the contrast and coaxing some subtle texture out with the resolution tool, the RX-V3067 made it look a good deal more respectable on a large display. Six memories are available to store custom tweaks.

Also provided is an FM/AM tuner, although given that there's integrated internet radio support, it's hard to believe anyone would use it.

Yamaha seems rather pleased with its new user interface, but I don't share its enthusiasm. Learning to drive the RX-V3067 is rather like taking a course in ancient Egyptian hieroglyphics.

The brand has gone its own way when it comes to this UI, eschewing straightforward lists and instructions for a predominantly graphical approach. Selecting On Screen from the remote calls up a vertical bar, which offers access to Setup, Input and other niceties. Choose one of these, and a second bar pops up across the bottom of the screen, sporting more graphics. Click here and another pop-up appears in the centre of the screen.

The brand also expects users to invest a significant amount of time in its so-called Scene presets. There are four dedicated buttons on the remote (for Blu-ray, TV, CD and Radio), from a total of 12, all of which can be edited as required. For me though, this is just more obfuscation masquerading as ease of use.

Graphical WTF is taken to an extreme when it comes to assigning inputs. Rather than just scroll and select text options, you have to decode a graphic that resembles something from a PC puzzle game of the 1980s. Any GUI which forces you to cross reference with a manual constitutes a Fail in my book.

More Scooby Doo mystery is encountered when you want to update the firmware. The process involves all manner of arcane button presses via the AVR's Advanced Setup routine. Why it can't be in the regular setup menu is beyond me. Does Yamaha think we'll not be able to resist the siren call of firmware updating and bugger things up?

Okay, let's rock!

For all its unnecessary graphics, the RX-V3067 does at least know how to kick back and party. Ultimately, this is an AVR with a musical heart, at its happiest with riffing rock 'n' roll.

Keri Kelli and Damon Johnson's infectious axe work on the live version of Poison (Alice Cooper's Theatre of Death, Blu-ray) provokes involuntary air guitar. Alice's ragged yet distinctive vocals are locked centrestage, while harmonies as flat as week old Bud, drift in from the left. It's just like listening from the mosh pit of the Hammersmith Apollo.

Adding Yamaha's own Music Video DSP to the original DTS-HD MA mix of the disc genuinely enhances the ambiance. When the audience sings along to 'I love the dead', it's as if the room is filled with phantom carolers.

If you're looking for an AVR able to integrate with your networked music collection, then this one is a peach; integration of media playback is extremely well thought out. The AVR may be DLNA compliant for music only, but it will scour your network for MP3, WAV, WMA, AAC or FLAC 96/24 files.

It can also read the same from local USB flash drives. A FLAC rip of Serj Tankian's Elect the Dead Symphony was meticulously rendered, the clean vocals being held away from the sweeping orchestral backing, rather than blended in with it.

To make the most of low-bitrate MP3s, Yamaha has a Compressed Music Enhancer, which rather cleverly plumps out their frequency response. The benefit is subtle, but definitely advantageous.

In addition to wide ranging audio support, the display will also present any album art it finds in the requisite folders. The execution is seamless.

Priced at £1,500, this Yamaha finds itself surrounded by AV piranhas in the shape of Pioneer's highly-rated THX Ultra 2 SC-LX83 (similarly ticketed) and Onkyo's THX Select 2 TX-NR808 (substantially cheaper). Both are market leaders for good reason.

In its defence, the RX-V3067 has a melodious character and integrates streaming music extremely well. Those seeking a well-made, multimedia music hub should shortlist it without hesitation.

It's unfortunate that the brand's new GUI does nothing to make this advanced amplifier easier to drive. Consequently, buyers are advised to audition before committing.

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The Harman group cuts quite a dash. With such brands as Infinity, JBL, Lexicon and Mark Levinson on the books, it knows its way around the higher end of the home entertainment market. But equally, it's not a brand that's synonymous with innovation.

Solid, well-engineered products are the name of its game. In fact, if Harman/Kardon was a meal, it would be a plump Porterhouse steak, to which peppercorn sauce would be added as an optional extra.

Appropriate then that the BDS800 all-in-one system is nothing if not tasty looking, and comprises a combi Blu-ray player/receiver (the BDS550) coupled with a stylish sub/ sat 5.1 speaker system.

The package sits atop a range of new BDS all-in-one HTIBs sold by the brand. H/K rates the BDS5's digital amp at 65W per channel with all channels driven into 6Ω, which matches the stereo measurement recorded by our Tech Labs.

The player/receiver is a sizable, weighty beast. With a metal top plate and rounded corners it's clearly a statement product. Instead of a tray, there's a slot-loading Blu-ray drive, while on the lower lip of the fascia is a USB input. The volume knob increments in satisfying clicks and is framed by a circular backlight. This becomes a little intrusive when watching a movie, but can be switched off in the menu settings if you opt to turn down the brightness of the display.

Similarly, the bundled HKTS 60 speaker package doesn't skimp on cosmetics. The satellite speakers are reassuringly heavy at 1.5kg, with a piano-black finish and glinting branding. The grilles are not user removable, but you can clearly see the dual 75mm flat-panel drivers and 19mm tweeter beneath.

Providing mid-bass is a sealed enclosure subwoofer with 200W power plant. This neat, nicely finished sub stands tall on blunted feet and has a downward firing 8-inch driver. On its rear are the usual controls, including volume, phase and bass-boost.

For all its contemporary élan, the BDS800's feature specification is a tad conventional. Ethernet is provided purely to support BD Live functions (aka that Blu-ray disc feature that no-one uses). It does not enable the unit to go online for firmware updates, stream media files across a network or provide a gateway to internet radio services.

There's no DAB – instead we get FM radio – and 3D is not supported. Now if you were buying a Blu-ray system today, wouldn't you want 3D? Harman Kardon seems to think not.

While there are no networking functions, the unit's local file support is good. The front-mounted USB reader supports a wide range of video and audio files. My test suite of MP3, AAC, WMA and WAV samples all played fine, although FLAC and OGG were passed over.

Video support covers AVI, MOV and MKV (although I had only a partial success rate with Matroska, depending what was within the wrapper). SRT subtitles are also supported.

A refined performance

Blu-ray disc loading speeds are good, but not brilliant. Lou Reed's Berlin (Artificial Eye) went from disc loading to menu screen in 31 seconds; the remastered Goldfinger (Fox Home Entertainment) served up the 007 logo in 56 seconds. This compares to 30 and 46 seconds respectively on the sprightly Sony BDP-S570.

Harman Kardon BDS800 test dataPower consumption (Watts):

Idle: 26W

Drops to 1W when left in standby mode

Playing: 50W

This averaged figure shows how much juice the HK will draw when watching a movie

Loading (Boot/Java):

Boot speed and disc eject: 12 seconds
Disc in to main BD menu: 70 seconds

Not the quickest with our test Blu-ray

High definition image quality is perfectly acceptable, although the lack of a 1080p24 video option will, no doubt, rule the machine out of the running for serious AV enthusiasts.

As a hi-fi proposition (CD only, Super Audio CDs are not recognised) it has both strengths and weaknesses. The BDS550 is tuned for mid-range/vocal clarity. So while the pop punk of (early) My Chemical Romance sounds like a riot in a biscuit tin factory, the lilting MOR of Emi Fujita is more engaging and her breathy, closely mic'd vocals sound deliciously intimate.

Two-channel imaging is wide, suiting rounded, resonant piano and slow jazz beats. The sub is quite potent despite its size. For best results make sure that the Bass Boost is turned off. As the crossover between it and the satellites is set quite high, the Boost makes it far too easy to localise. A subwoofer should extend the reach of the satellite speakers without drawing undue attention to itself.

The CEN TS60 centre speaker carries dialogue with clarity and conviction, and is well-matched to the satellites. During multichannel playback, steered effects move around the soundstage with ease, thanks to voice-matched drivers.

Despite the heavyweight build quality of the player/receiver, I found the machine to be rather noisy during operation, even when it was not spinning a disc.

Overall, the BDS800 can be regarded as a stylish home entertainment all-rounder. Blu-ray performance is good, with effective surround sound. The SAT TS60 speakers have a sweet and articulate mid-range making them an ideal fit for vocal/MOR recordings.

If design and upmarket simplicity are important aspects of your purchasing decision, its high-end design and finish lift Harman Kardon's BDS800 system above its mainstream competition, and performance is relatively refined for this category of kit.

That said, I can't help but feel that the unadventurous feature specification, and particularly the lack of 3D support, makes it look like relatively poor value for money. But that probably won't put off the sort of customer who might otherwise plump for a comparable system from Bose, or even B&O.

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Today's AV receiver is the ubiquitous hub of any serious home entertainment system. From simply broadcasting the radio to a fully networked beast capable of streaming HD video and 11.3 channels of surround sound to several rooms in your home, the breed is as versatile as it is complex.

Established brands, once famous for their two-channel expertise, now make their living from AVRs, with models ranging from a few hundred quid to thousands of pounds apiece. It wasn't always this way.

The term receiver emerged in the 1950s when radio listening required a tuner, pre-amplifier and power amplifier to drive a speaker. Harman was the first company to put all that in a single box and the receiver was born.

Skip to the early 90s and the new interest in bringing cinema sound to the home brought Dolby Surround and amplifiers that needed several channels rather than just two. Twenty years on and the AVR has evolved to become a networked hub of digital media. And according to manufacturers working on the development of the next generation of AVRs, this is just the beginning.

Nick Hamada, product and marketing manager at Onkyo, is already working on products that won't see a retailer's shelf for two years. 'AVRs will become hubs for much more than just music and movies, and network connectivity will be one of the key ways to realise that,' he told me.

'Moreover, flatscreen TVs are becoming bigger and bigger, and people will demand higher resolution video than current full HD pictures can offer. That is a scenario we are already busy planning for.'

The bigger picture

Clearly, handling 4K 'Super High-Definition' (4,096 x 2,160) content will be a big challenge for AVR manufacturers even if, like 3D handling at present, they only offer a switching function. If future AVRs were to offer image processing of 3D and 4K HD content, their core video processors will require a major upgrade over current AVR video technology.

Once that sort of number-crunching power is on board, it would be logical to include one of the emerging 2D to 3D real-time content converters, potentially using a Cell processor. This is perhaps a little way off, and companies who would divulge what they were working on were focusing on evolving their current tech and features. Even this can cause issues, as the lifecycle of a product with IT at its heart can be shorter than a mayfly with a heart condition.

NAD's director of product development, Greg Stidsen, comments: 'It looks like internet video streaming and 3D with higher resolution will be the next big things in home cinema development. But nobody knows for sure exactly what is next. This is why we introduced the Modular Design Concept in 2006 allowing digital circuits to be upgraded as technology evolves. We're now introducing our third-gen of modules, adding HDMI v1.4 and Audyssey MultEQ XT32 RoomEQ.'

Features such as RoomEQ have added a huge degree of control to the setup of any multichannel system, enabling complete novices to tune theirs to the room in a matter of minutes. Not 10 years ago, this would have taken a team of professionals with several laptop PCs and high-end mics.

The upshot is a real-world performance leagues ahead of AVRs from only a decade ago. The complexity of EQ systems will continue to evolve in tandem with jitter-reducing tech such as DenonLink and Pioneer's PQLS, to realise improvement in AVR audio performance year on year.

Oliver Kriete, senior manager at Marantz Europe, explains: 'As we see it, today's AVR is more and more the centre-piece of the home entertainment system.' He goes on to say, 'Our core will maintain the advancement of audio processing and amplification performance, but the higher focus will be on the built-in source, the network connection. With the wide variety of digital contents the big challenge will be to make that content easily accessible.'

Internet radio and networked-streamed audio is already a given on any serious AV receiver, but the future will see seamless two-way streaming of HD video content over the network, as well. Downloading movies in HD from providers such as LOVEFiLM and BBC iPlayer, and punching that content around the home over wired and wireless networks, will be the must-have features on range-topping receivers from as early as autumn 2011.

From here, it is not a huge leap of faith to see AVRs becoming a hub of not just AV content, but also an access point to a raft of other wider network services including social media, email, IM and even mass multiplayer on-line games.

Roger Batchelor, consulting guru at Denon, also sees networked content as the future of AVRs, but is keen not to lose sight of the underlying performance criteria.

'Beside the fact that good sound quality is the essential when designing AVRs', he says, 'we think additional network functions and access to mobile devices are likely to be the most appreciated features. Our current range of receivers offers access to thousands of internet radio stations and iTunes via Apple AirPlay, plus access to music services such as Napster, Last FM and the photo service Flickr. The breadth of content will grow into the future so we are thinking about how to improve AVR ease-of-use as much as possible.'

Keep it simple

Operational simplicity will be one of the bigger challenges for makers over the next few years as AVRs integrate PC-centric services without the benefit of a mouse or keyboard. Having a flexible and infinitely updateable AVR remote control will be fundamental to this success, and Pioneer's awesome iControl AV app for the iPhone/iPod Touch has shown the way forward in this respect.

Every manufacturer is developing a remote control app for their network AVRs, because smart phones and web tablets are the perfect remote control device. They offer full-colour, touchscreen interfaces with as many menu levels as is needed, delivered with pretty and easy-touse GUIs, and can be updated and upgraded as often as required.

Once the first tranche of remote control apps has emerged, I suspect we will see constant development in this area, including user-configurable interfaces, customisable GUIs, macro facilities and open source multi-brand apps, creating a sort of 'app-for-all' remote control. It then rather poses the question why bother supplying a normal button remote control with an AVR at all?

Making a standard remote an optional extra would reduce the AVR cost for buyers already in possession of a suitable iPhone or web tablet. Asking AVR makers directly, the jury is still out on that concept becoming reality.

One thing all manufacturers do agree on (officially or otherwise) is that the growing number of amplified channels is not necessarily a good thing. Implementing nine channels of amplification, or perhaps even more for full Audyssey DSX, is not technically difficult, but it is expensive and virtually no one will use it.

Most AVR owners only have a 5.1 speaker setup with the spare two channels of amplification either laying redundant or sometimes used for bi-amping or multi-zone duties. The move to launch nine or 11-channel amps lower down the market is simple numbers-trumps, and once one manufacturer has started it, the rest will follow to keep up with the Joneses.

Phillippe Coppens, European Product manager at Pioneer, sees the benefit of a larger number of channels more in terms of the AVRs' overall flexibility: 'For some users more amplifier channels is a benefit, but not always directly as a 7.1 or 9.2 setup, for example. We offer flexible re-assign options that allow various configurations. Many users of our flagship SC-LX90 Susano amplifier assign its 10-channels of amplification to bi-amp a five-channel setup. The general trend to increase the number of amps in mainstream products is largely a result of market dynamics.'

Whether you use 5.1, 7.1 or even 11.3 channels of processing and amplification, the sound quality of today's AVRs is nothing short of jaw-dropping. Uncompressed HD audio formats such as Dolby TrueHD and DTS-HD Master Audio have transformed movie soundtracks, and developments in RoomEQ, jitter reduction and improved DSP technology mean today's receivers can deliver sonic fireworks to shame most commercial cinemas.

From budget to high-end, AVRs are more flexible than ever, much easier to use than ever before, and offer a seamless portal to a vast range of networked content that is set to grow and grow. With so much more exciting AV technology on the horizon, the AVR is finally taking up its rightful place as the beating heart of home entertainment.

With a price that dips below £200 from some online retailers, the Yamaha RX-V367 is the cheapest AVR in our roundup and solid evidence that you don't have to pay through the nose for 3D-readiness.

Support comes in the form of four HDMI v1.4 inputs and one output, which is generous enough to fit your 3D player, Sky box and games console, leaving one for future expansion. The look is classic Yamaha.

A moody black finish and sharp angled lines are the order of the day (it also comes in titanium and silver) while the front panel is a hive of activity, with buttons, displays and sockets aplenty.

Most noteworthy are the 'Straight' button, which bypasses the unit's listening modes, and four Scene macro buttons. On the back, there's evidence of cost-cutting in the shape of springclip terminals for the centre and surround channels and no iPod dock connection or surround back pre-outs.

But the lineup of other sockets is useful, with four digital audio inputs being a highlight. There's no on-board HD audio decoding, though, which means Dolby TrueHD and DTS-HD Master Audio soundtracks have to be decoded by your player beforehand. This isn't a major problem if you trust your deck's own abilities, but does make you wonder how the others managed it at a similar price.

Redeeming factors

Yamaha makes up for this with an obscene amount of sound modes and virtual surround processing, plus the YPAO auto calibration that makes it a cinch to optimise.

The lack of onscreen menus is a shame, but the logically structured front-panel display makes it easier to set up than you might expect. And, aside from a few undersized buttons, the remote is also terrific.

In general, there can be few complaints about the RX-V367's sound quality for the money, although it inevitably lacks the sonic polish that turns a good receiver into a great one. The sound is dynamic and detailed; the receiver digs out the subtleties during Avatar's many rainforest scenes, filling the soundstage with distant cries and swirling ambience.

Fluid rear-channel steering and crisp separation makes for an absorbing listen. Voices are prominent and cleanly detached from the rest of the action, while punchy bass response lends decent depth to the explosions and gunfire during the Battle for Pandora scene.

However, this scene also exposes brightness in loud high-frequencies that betrays its budget price tag. But if you can tolerate this and work around the lack of HD audio decoding, then the RX-V367 makes a decent purchase.

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The key to Onkyo's success is simple: its receivers are packed with the latest features and sound great, yet somehow its prices stay competitive. So it comes as no surprise to find the company, once again, applying this crowd-pleasing approach to the budget arena.

The TX-SR308 is a 3D-ready 5.1-channel receiver, offering a claimed 100W per channel and decoding for Dolby TrueHD and DTS-HD Master Audio. Sockets are predictably thin on the ground, but at least there are three HDMI v1.4 inputs for your hi-def sources, all of which are primed and ready for 3D and the Audio Return Channel feature. They're backed up by three digital audio inputs and four sets of analogue inputs.

Meanwhile, Onkyo's Universal Port lets you connect optional peripherals such as an iPod dock or DAB tuner. Only the front speakers get binding posts, though; the other channels must suffer the ignominy of springclip terminals, which isn't great if your cables are particularly fat.

Black beauty

From the front, the look is of Onkyo's signature black, covered in lights and buttons. It's tasteful and nicely laid out, although there are no sockets besides a line input for MP3 players. Build quality is also impressive for the money.

But given Onkyo's usual generosity I expected even more features, even at this low price point. There's neither hide nor hair of Dolby Pro-Logic IIz, Audyssey processing or 1080p upscaling, but there are plenty of other sound modes to play with, including 11 Onkyo 'Original DSP' settings and vanilla Pro-Logic II.

There's also no automatic calibration, so everything has to be tweaked manually using the setup menu. Thankfully, the company has designed an attractive onscreen menu, which is one of the clearest we've encountered, and puts a wealth of options at your disposal.

Onto performance, and although the SR308 doesn't blow me away like the mid-range TX-SR608, it still does a terrific job with movie sonics. There's lovely harmony and cohesion between channels, while frantic effects during Avatar's Battle for Pandora are conveyed without eardrum-piercing hardness and delicate detail oozes from every speaker.

Bass tones are also taut and nimble, providing a solid foundation to any scene. Encouraging, but it's not always the breathtaking home cinema experience I was hoping for.

When it comes to huge blockbuster scenes that require a real sense of wall-shaking power and scale, the Onkyo is just too polite and restrained to do them justice.

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Pioneer's 2010 receivers are the best looking on the market, and that applies even to the bottom-end of the range, represented in our roundup by the VSX-520. The build quality is up to Pioneer's usual impeccable standards, too.

Cleverly, most of the front panel buttons are tucked into the cracks and crevices, which makes this AVR look clean and uncluttered despite its fairly high button count. Sadly, there are no AV connections on the front, just a headphone jack and a port for the setup mic.

The Pioneer's budget credentials are further confirmed by the disappointing presence of springclip terminals for the surround and centre channels, which means only the front ones are connected to binding posts. Otherwise, the feature list is pretty solid.

Aside from a healthy amount of audio and video inputs (including three HDMI v1.4 inputs ), there's an adaptor port for a Pioneer Bluetooth wireless adapter that lets you stream music from mobile phones, laptops and so forth (although there's no iPod support via USB), and Dolby Pro-Logic IIz processing, which uses dedicated pre-outs.

The VSX-520 also decodes HD audio (unlike the Yamaha RX-V367) and there's a wealth of DSPs and other sound options, including Pioneer's Front Stage Surround and Phase Control.

Tweaking the sound is easy thanks to the Multi-Channel Acoustic Calibration feature, but the lack of onscreen menus makes further adjustment via the front panel display feel laborious. The remote is also fiddly to use due to its tiny keys and cluttered layout. You even have to use a shift key for certain functions, which feels too much like work for me.

Audio steerage

Thankfully, the VSX-520 atones for its operational faux pas with solid audio performance. Avatar's DTS-HD MA track is conveyed expansively, firing effects to the far-flung reaches of the room and steering them from speaker to speaker like Lewis Hamilton around Silverstone.

Meanwhile, burly bass tones lend authority to pounding footsteps and explosions, while the elegant high-frequency reproduction ensures that sounds such as tinkling glass and metal on metal sound crisp, but not grating. There's a level of control and cohesion during action scenes that's a joy to behold, and it also displays a deftness of touch that makes quiet scenes absorbing.

The Pioneer does, however, lack a little punch and dynamism.

This five-channel amp tries to bring Denon's legendary sound quality to a low price point without greatly compromising on cutting-edge features.

As such, the AVR-1611 boasts 3D compatibility through its four HDMI v1.4 inputs, and chucks in a few other unexpected frills such as Dolby Pro-Logic IIz, which expands the soundstage to include front height channels – as long as you have another amp to run the signal into.

What you also get is Denon's impeccable sense of style. The unit's stylish black finish cleverly camouflages the buttons on the fascia, which gives it a clean, uncluttered look and the large display panel provides a lot of information.

The rear panel seems sparse at first glance, particularly when compared with the brand's pricier models, but it covers all the basics and, thankfully, the speaker terminals are all binding posts. Unlike the Yamaha, the AVR-1611 can decode Dolby TrueHD and DTS-HD MA soundtracks, and offers seven DSP modes to spice up music and movie playback, including a Virtual surround mode.

Installation is aided by Audyssey's auto setup mode, as well as a group of technologies (MultEQ, Dynamic EQ and Dynamic Volume) designed to monitor the sound once optimised.

Operation is hugely simplified by the onscreen menus, although the graphics are so dated they make Pong look like Call of Duty. Still, at least they're easy to follow and cover all the essential audio and video tweaks.

The remote features glow-in-the-dark buttons, most of which are intuitively arranged but the bank of keys at the bottom is a bit cluttered and many of the sound modes get lost in the crowd.

The AVR-1611's power rating is quoted at 5x110W, and with movies it's certainly a powerful performer, taking huge dynamic shifts in its stride and handling the explosive carnage at the end of Avatar with neighbour-waking potency. It harnesses that power in a controlled and measured manner, too, and as a result the sound is mostly easy on the ear.

That may not suit those who like a bit more bite and aggression to their home cinema sound but it makes for a smooth listen. Crank the volume up too high and a few cracks begin to show – one or two screeching creatures tip the sound into minor harshness – but on the whole, audio is remarkably refined for an entry-level product.

It also rains down detail from every speaker, dredging up Pandora's gentle ambience and distant noises, while delivering speech with clarity and authority. All in all, the Denon AVR-1611 is a fine performer that gives its competition plenty to worry about.

When Europe's biggest AVR brand unveils a new flagship, it's time to take your head out of the popcorn bucket and pay attention. Not only has it outsold pretty much every other brand in the UK (and Germany) since 2009, but the Japanese marque has also consistently been first to market new AV receiver technology.

As I write it sounds as if cars are being lobbed into each corner of my viewing room. Onkyo's latest heavyweight, the TX-NR5008, is in full flight. The heavy metal objects landing around me are Iron Drones, dropping down to square-off against Shellhead and War Machine, for their climatic face-off in Iron Man 2 on BD.

What follows is 360˚ of bedlam, with ordnance panned every which way. The big NR5008 handles the DTS-HD Master Audio multichannel mix with thrilling precision. The wife complains that it sounds as if the house is being demolished. Welcome to home cinema sound on a devilishly large scale.

Feeling familiar

If you're looking for a radical form factor to usher in 2011, then you won't find it here. The TX-NR5008 is a cookie-cutter battleship, indistinguishable from last season's TX-NR5007. Unlike rival Marantz, which has applied an entirely new design aesthetic to its latest AV receiver range, there's no fresh ground being trod here.

Connections are extensive. There are eight HDMI inputs (including one under the fascia flap for a quickie console or camera hook-up), all of which are 3D capable (one of the key differences between this model and last year's NR5007 iteration).

Also new is a PC VGA/mini-jack audio input that helpfully outputs over HDMI, and with a view to family friendly integration, you get HDMI pass-through for those who want to play a disc without utilising the AVR. A pair of HDMI outputs is provided to feed both a display and a projector, simultaneously if you like.

Other niceties include Onkyo's Universal Port jack for iPod and peripheral accessories, Ethernet and USB (one on the rear, another under the fascia flap). Basically, if you need a connection, it's probably there.

Setting up shop

Room calibration is achieved via a small supplied pyramid mic, using Audyssey 2EQ algorithms. In my experience, these systems tend to have unpredictable results, but are usually worth a shot. The AVR pulses out test tones so that the room response can be analysed. The number crunching employed here is actually very good.

The Audyssey system ironed out some lumpy mid-bass introduced by my listening room to give a better overall balance. I still felt the urge to tweak (the LFE output was too low for starters), but generally I felt the calibration effort provided a good starting point.

Codec support is class leading. In addition to Dolby TrueHD and DTS-HD Master Audio, there's Dolby Pro-Logic IIz, which creates a seven-channel soundstage from any stereo source. There is also plenty of DSP, plus extra height/ width processing options in the form of Audyssey DSX and Dolby Pro-logic IIz.

Personally, I can't get too het up over height channels – at least not hard-wired ones. I suspect for the vast majority, they are just too problematic to implement; the front heights need to be placed about 100cm above the main stereo pair to be effective. My listening room just doesn't have that kind of ceiling height (users of smaller standmount L/C/Rs might have more options). Unless it's possible to extend the soundfield virtually, I'm not inclined to experiment.

Audyssey's DSX width processing is more intriguing. It's based on the premise that an extremely wide front soundstage with two rears is more immersive and realistic than you'll get from a conventional 7.1 system with four surrounds. Whatever configuration you prefer, there are plenty of options you can deploy.

With the NR5008 sporting nine channels of amplification, you can even have your cake and eat it, running extra height and width plus side and rear back channels (9.2). For the bulk of my audition I ran the receiver in a 7.2 format.

The NR5008 is undeniably versatile. If you don't want to fill your living room with loudspeakers, you could choose to run 5.1 multichannel in your main room and stereo in two other zones.

I'm not sure that too many UK enthusiasts have needed multiroom audio from an AVR (our homes are just not as big as those in the US) and looking ahead, wireless solutions such as Air Play seem a far more sensible option if the concept floats your boat.

Curiously, Air Play is not part of this Onkyo's arsenal. Are we seeing the brand slip behind some of its rivals for the first time in years, when it comes to introducing technical innovations?

THX and beyond

Half the fun of any listening session with the NR5008 involves juggling sound modes.

Of course, there is the usual selection of DSPs available, the best of which are Orchestra (which emphasises the surround channels and adds extra reverb), Unplugged (which does the reverse and stresses front stereo) and All Channel Stereo (basically a full-on party mix).

The unit is THX Ultra2 certified, and courtesy of a dedicated THX chipset offers re-equalisation, bass management, adaptive decorrelation and timbre matching to pretty much anything that makes a noise. THX post-processing used to be fairly straightforward, but now it comes in a bewildering array of flavours.

I remain a fan of the standard THX Ultra Cinema mode, and find THX Surround EX (aka Dolby Surround EX) a great processing embellishment for 5.1 TV material, like Fringe (Sky One HD).

Included as part of the Audyssey suite is Dynamic EQ with Dynamic Volume. This seeks to maintain bass response and dialogue intelligibility at lower volume levels, and evens out variances in source volume.

THX appears to have an equivalent, THX Loudness Plus, but it's actually a somewhat different proposition, having been designed to protect the integrity of the soundfield when listening at less than reference levels, by goosing the surround channels and frequency response in a way that keeps the spatial cues and depth of the mix intact.

This is not a Night mode. Unless you're very fortunate and have a totally isolated cinema, I'd wager it's unlikely you'll be listening at Reference level too often, so it's worth switching this on as standard.

One of the big surprises offered by this Big Onk is Neural post processing, of which there are two variants: Neural Digital Music and Neural Surround. The former is designed to take two-channel compressed audio and expand it out to whatever multichannel configuration you're running. Neural Surround does much the same for uncompressed sources.

Developed by THX and now owned by DTS, Neural Surround also allows broadcasters to transmit high-quality multichannel via low-bitrate, two channel. Putting aside its role as an encode/decode tool, I found it astonishingly effective doing post-processing duties on twochannel source material.

The stereo track Seraphim, by Digitonal (a Studio Masters release by Linn Records) gained space and scale using Neural Surround processing. A FLAC 970kbps 24bit/44.1kHz recording, the needlesharp electronica curled gorgeously around my listening position.

Obviously, not everything works as well. Beethoven's Fifth (Studio Masters Linn Records) just didn't need to be posted about the room in the same way. The AVR preferred this FLAC (2496kbps 24bit/96kHz) recording in its original stereo format, and I agreed.

Similarly, the title cut from Steve Steven's Flamenco.A.Go. Go. (DTS DVD-Audio) ended up having half the band dumped in the rear channel. But the mode scores more hits than misses and is well worth playing with.

Controls and networking

Navigating the NR5008 is not massively intuitive, but to save you digging into the Setup menu every five minutes (which snatches you away from any source selected), there is now a simple Home overlay which offers basic video, audio and listening control.

The NR5008 offers a good selection of networking audio tools. You can pull your MP3s from networked NAS devices, PCs and USB media, or stream audio from the internet. A range of music formats are supported, including FLAC, AAC, MP3, WAV, WMA and Ogg Vobis.

The 'net radio option comes pre-loaded with subscription services Last FM and Napster, while VTuner internet radio makes Japanese rockhouse Someya Junkie Station just a few clicks away. You can add other 'net radio aggregators by accessing the NR5008 via a browser.

Moving around the receiver's net/USB environment feels a little shoddy. You can't call up the Home overlay over the net playback screen; it flips away to a blue-screen. And occasionally, for no apparent reason, the transport keys became nonresponsive when playing back a track.

Still, hooking up my iPod to the front USB allowed the NR5008 to perform a neat trick: displaying album art. However, while the AVR found all my networked music servers, disappointingly, it was unable to display album art from them.

This is a receiver that rewards high-quality sources. A Studio Master recording of Subbuteo, by Admiral Fallow (Linn Records), brought the Glaswegian indie rockers stomping into my living room. The 24bit FLAC recording, played from USB Flash drive, offers three-dimensional vocals and raw, nuanced guitar.

The NR5008 will also accept a DSD stream from a Super Audio CD player over HDMI. I hooked the AVR to Sony's BDP-S570 and was amazed at just how precise the imaging was. Emi Fujita's melodious vocal work on the SACD Camomile Best Audio (Leafage) had a tangible sense of air and space, while her unplugged version of Walking in the Air reveals just how refined the AVR can sound when not wound to the wick.

Shining star

An effective update on an already well-regarded AV receiver design, the TX-NR5008 does almost everything with élan.

As a movie machine, it's a West End theatre capable of throwing a sonic envelope wide and loud; but it's also a sophisticated musician, at home with hi-res source material. While integration of new media sources could be a little more seamless, it's well worth an audition