DENON AVC-A1HD Review

Το μεγαλύτερο ερώτημα μου ήταν αν ο AVC-A1HD θα είναι καλύτερος (άν ήταν) και πόσο απο τον ΑVC-A1XVA έναν ενισχυτή που είχα για πάνω από δυο χρόνια και είχε αντικαταστήσει (δικαίως) τον YAMAHA DSP-Z9.
Τούς τελευταίους δύο μήνες τους είχα περάσει με τον εξαίρετο DENON AVR-4308ci τον οποίο όμως δεν θα βάλω στην σύγκριση γιάτι θα ήταν άδικο.

ΑΡΝΗΤΙΚΑ :
Δεν μπορώ να καταλάβω την εμμονή της Denon να αφαιρεί απο το κορυφαίο της μοντέλο στην ευρωπαική έκδοση του το ράδιο, τόσο το αναλογικό όσο και το ψηφιακό,το αντίστοιχο αμερικανικό μοντέλο (ΑVR-5308) είναι πλήρως εξοπλισμένο.
Αυτό είχε συμβεί και με το προηγούμενο μοντέλο όπου ο αμερικάνικος AVR-5305 υπερτερούσε σαφώς σε σχέση με τον ΑVC-A1XVA στον τομέο των ραδιοφωνικών λήψεων.
To δεύτερο αρνητικό σημείο είναι τα remote controls, χρειάζεται πολύ σκέψη και μαεστρία που αγγίζει τα όρια του κατορθώματος για να κατασκευάσεις ΤΟΣΟ ΔΥΣΛΕΙΤΟΥΡΓΙΚΑ controls (τα ακριβώς ίδια χρησιμοποιεί και ο AVR-4308ci).

ΣΥΝΔΕΣΕΙΣ :
Έχει τα πάντα, με μεγαλύτερη εντύπωση να προκαλούν οι ΕΞΙ HDMI 1.3 είσοδοι με τις ΔΥΟ παράλληλες HDMI εξόδους.
Για πλήρη εικόνα των συνδέσεων που προσφέρει ο ενισχυτής σας παραθέτω αναλυτικό pdf.
http://usa.denon.com/AVR-5308CILit_1219.pdf

ΠΟΙΟΤΗΤΑ ΚΑΤΑΣΚΕΥΗΣ :
Ούτε εδώ υπάρχουν εκπλήξεις η ποιότητα κατασκευής και συναρμογής είναι κορυφαία μιλάμε άλλωστε για την ναυαρχίδα της εταιρείας, όμως έχω την αίσθηση οτι βρίσκεται ένα κλίκ κάτω απο τον ΑVC-A1XVA.

ΕΙΚΟΝΑ - VIDEO UPSCALING :
Όπως είναι γνωστό το τμήμα επεξεργασίας της εικόνας το έχει αναλάβει το γνωστό chip REALTA HQV sxT2 (αναβαθμησμένη έκδοση του chip που έχει το κορυφαίο universal player της Denon A1XV-A).
Το τμήμα video του ενισχυτή κάνει θαύματα ειδικά σε upscale (σαφώς και υποστηρίζεται λειτουργία 1080p/24 pass through).
Ενώ μία απο τις κορυφαίες λειτουργίες του είναι το DNR που σε αντίθεση με οτι κυκλοφορεί στην αγορά κάνει καταστολή θορύβου χωρίς καμία μεταβολή της ευκρίνειας.
Άλλη μια κορυφαία λειτουργία είναι το Enhancer που προσδίδει λεπτομέρεια και καθαρότητα στο σήμα (είται αυτό είναι High Definition η Standart Definition) χωρίς όμως να εισάγει παραμόρφωση (αρκεί να μην το παρακάνεις).
Σας παραθέτω ένα μέρος απο review του site www.hometheatrehifi.com για το REALTA HQV.
Some of the key features here that I recommend are the Enhancer and the DNR adjustments. These use the new processing in the HQV chip and deliver astounding results. The enhancer sharpens the image and has adjustments from 0 to +11. Using the HQV test disc, I found the results to be dramatic with their live video test, but using test patterns, I started to see artificial ringing in the image from about +2 and up. I would recommend setting this level using a sharpness pattern from a test disc like Digital Video Essentials or AVIA.

The DNR (Digital Noise Reduction) setting is probably one of the best features of the Realta and really separates this player from almost any I’ve seen on the market today. DVD fans know that DVD mastering is always hit or miss. For every great looking DVD, there are at least 15 nasty looking ones. The main problem nowadays seems to be compression. As studios pile more and more features (wanted or unwanted) onto the disc, the available space for the movie transfer gets smaller and smaller. This means more compression and unwanted artifacts. The DNR filters in the HQV do an amazing job making poor DVDs look a lot better.
I had the opportunity to see some on the fly examples of how well this filtering does at CES 2005. Using the HQV test disc and various DVDs from my collection that I knew had noise, and setting the filter set to +1, the amount of noise in backgrounds was drastically reduced. This made the image seem a lot cleaner, and artifacts were no longer distracting. Normally noise reduction is something I shy away from, as it causes motion blur or what looks like tracers in the image. These tracers are mainly apparent in high motion scenes and look like the image is trying to catch up. Fine detail is robbed, and a smearing effect ensues. I did notice a bit of this smearing effect with the DNR set to +2 or +3 (max), but hardly any at all in +1. Sometimes there was a slight amount with very subtle movements, but it was hardly distracting. I ended up setting one picture memory with DNR set to +1 and one memory set to 0. When I started a DVD up if I noticed any distracting noise I would just switch over to the memory with the DNR turned on.



ΑUDYSSEY MULTEQ-XT & DYNAMIC EQ
To γνωστό σύστημα ακουστικής ισοστάθμησης χώρου Audyssey MULTEQ-XT είναι παρών με τα γνωστά (καλά) αποτελέσματα αν και εφόσον κάνεις σωστά τις μετρήσεις, ένας παράγοντας που πολλοί αγνοούν επιδεικτικά (θα ανοίξω σχετικό θέμα σύντομα), αν και η αλήθεια είναι οτι δεν βοηθάει και πολύ το manual του ενισχυτή.
Πάντως τα αποτελέσματα είναι άριστα αφού καταφέρνει να τιθασεύσει σε μεγάλο βαθμό τα διάφορα ακουστικά προβλήματα του χώρου.
Η αποκάλυψη όμως είναι το σύστημα Dynamic EQ (που περιλαμβάνει τα υποσυστήματα BASS XT & Dynamic Volume)το οποίο και ενεργοποιείται αμέσως μετά τις μετρήσεις.
Το εν λόγω σύστημα έρχεται να καλύψει την μοναδική αδυναμία των συστημάτων ισοστάθμισης χώρου, δηλαδή την διατήρηση της σωστής καμπύλης απόκρισης ΣΕ ΟΛΕΣ ΤΙΣ ΣΤΑΘΜΕΣ ΑΚΡΟΑΣΗΣ.
Όπως είναι γνωστό το Audyssey αλλά και αντίστοιχα συστήματα όπως το YPA0 της Yamaha λειτουργούν σωστά σε μία σταθερή ένταση και αναλογία, αν πούμε θεωρηρικά οτι αυτή είναι τα 75 db spl όπου εκεί αποδίδονται τα μέγιστα τι συμβαίνει όταν ο χρήστης κατεβάσει την στάθμη στα 70 στα 60 η στα 50 db spl?
Eδώ εμπλέκονται πολλοί κανόνες ακουστικής αλλά και ψυχοακουστικής που έχουν να κάνουν με την αντίληψη και τον τρόπο λειτουργείας του ανθρώπινου αυτιού στις διακυμάνσεις της έντασης.
Με απλά λόγια οι αλλαγές της έντασης επιδρούν άμεσα στο συνολικό αποτέλεσμα με επιπτώσεις που ξεκινούν απο την διατήρηση της στερεοφωνίας μέχρι την αντίληψη των άκρων του ηχητικού φάσματος τόσο στις χαμηλές όσο και στις υψηλές συχνότητες.
Το πρόβλημα είναι γνωστό απο παλιά και μια απο τις λύσεις ήταν το LOUDNESS (άσχετα αν το συγκεκριμένο σύστημα είναι εντελώς λανθασμένο).
Αυτό λοιπόν που κάνει το Dynamic EQ μαζί με ταBASS XT & Dynamic Volumeείναι να διατηρεί την αρχική καμπύλη μέτρησης-απόκρισης σε όλες της στάθμες μεταβάλλοντας την ισοστάθμιση σε πραγματικό χρόνο.
Το καλύτερο απο όλα είναι ότι................. λειτουργεί.
Σας μεταφέρω με λεπτομέρεια των τρόπο λειτουργείας των ανωτέρω συστημάτων.

AUDYSSEY MULTEQ XT
How does MultEQ work?
Three easy steps:

1. Hook up the microphone, place it in the middle of the listening area, push a button, wait quietly while MultEQ pings each speaker with a special signal.
2. Move the microphone to up to 8 (32 in the Pro version) positions and wait for the speakers to be pinged again.
3. MultEQ calculates a room correction solution for each channel.

Done. Total time elapsed about 8 minutes.
Then the fun starts. Turn it on and be amazed how your system sounds.
What makes MultEQ work when so many others have tried to solve this problem for decades?
Two things:

1. The way it measures your room
2. By correcting both time and frequency problems

Measurement:
There are two types of systems out there today:

1. Those that attempt to correct for only one seat in the room. This typically makes other seats in the room sound worse because a single measurement does not provide an accurate representation of the problems of the entire room.
2. Some EQ systems do try to correct for multiple positions. They simply average the measurement results that they gather. Averaging tends to smooth out common acoustical problems, and therefore doesn't fix them. For example, if there is a peak at 200 Hz in one seat and a dip at 200 Hz in another seat (typical room), then the two measurements average each other out and there is no correction attempted.

In either case, these systems only attempt to correct frequency response problems and not time domain problems and this leaves a big part of the problem unsolved.
How does MultEQ measure your room differently?
MultEQ looks at patterns in the time domain responses and classifies them into clusters based on the similarities in those patterns, typically in 3-5 groups. A representative response is created from each cluster, and a final response is then created from grouping the representatives. That response is then used to create the EQ filter. It is a complicated process that is based on the complex mathematics of pattern recognition and fuzzy logic. But there is nothing fuzzy about the results. If you want to know more, we offer copies of selected publications we have written for technical conferences.
Time and Frequency correction:

1. The time domain is where many of the problems reside. Parametric and graphic equalizers can only correct for the frequency response and do so in a very coarse manner because they have limited resolution (bands).
2. Further, whether they have fixed or adjustable bands it does not matter because bands cause phase problems that most people hear as "ringing" or "smearing." This is why, after thirty plus years of trying this method most people don't like the results and turn it off.

How does MultEQ address time and frequency problems?
MultEQ filters start in the time domain. They are not just a few parametric bands. Instead they use several hundred points to represent the room response in both the frequency and time domains. The trick is to use enough filter points to get the needed resolution, but not so many that it overwhelms the processor inside the audio component. So, we came up with a way to reduce the number of points without sacrificing accuracy and a way to provide more filter power at lower frequencies where it is needed the most. MultEQ can correct 8 channels by using only a fraction of a single DSP chip. This gives you the best of both worlds: time and frequency correction. Result--room correction that works for the first time ever.
What about calibrating my system?
In addition to all of our very complex EQ work, we also do the simple things really well. During step 1 above, MultEQ checks the absolute polarity of your system and tells you if any speakers are out of polarity (the + - wiring problem), measures the acoustical distance (within a 1/4 inch) to each speaker and sets the proper level trims for all channels including the subwoofer. Finally, it finds the optimum crossover frequency between each satellite channel and the subwoofer(s) and provides that information to the bass management system.
AUDYSSEY DYNAMIC EQWhat is Audyssey Dynamic EQ?
Audyssey Dynamic EQ is the first loudness correction technology to solve the problem of deteriorating sound quality as volume is decreased by taking into account human perception and room acoustics.
Why is loudness correction needed?
Film composers, musicians, and audio engineers create the mixes of your favorite movies and music at reference levels much louder than typical home listening levels. At a lower playback volume, voices change, bass disappears, and the surround soundstage becomes less enveloping. Now, Dynamic EQ lets you enjoy the original rich sound at any volume.
How does Dynamic EQ Work?
Audyssey Dynamic EQ selects the correct frequency response and surround volume levels moment-by-moment. The result is something never before possible—bass response, octave-to-octave balance and surround impression that remain as they should be despite changes in volume. This is the first technology to carefully combine information from incoming source levels with actual output sound levels in the room, a pre-requisite for delivering a loudness correction solution.
How does Dynamic EQ work with MultEQ?
Audyssey Dynamic EQ is uniquely designed to work in conjunction with our award-winning room correction technology, Audyssey MultEQ. Before loudness correction can be implemented, the room must be corrected for both time and frequency domain problems. MultEQ effectively removes the distortions caused by the acoustics of your room and the unique way your system interacts with it. Dynamic EQ then determines the proper loudness compensation based on the sound pressure level measurements MultEQ provides. Audyssey Dynamic EQ working in tandem with Audyssey MultEQ provides the right listening conditions for every listener at any volume level.


Dynamic EQ with MultEQ: The frequency response stays the same as volume is decreased.
Dynamic EQ turned off: Bass response is diminished and voices changes as volume is decreased


Dynamic EQ On with MultEQ: The frequency response stays the same as volume is decreased.
Loudness systems without MultEQ: Playback system is not calibrated for the room resulting in incorrect adjustment
Hasn't loudness correction been around for years?
Experiments by researchers at Bell Labs in the early 1930s showed that humans don't perceive low bass and high treble frequencies as well at lower volumes. Audio manufacturers tried to compensate for this by adding a loudness correction option to their products, however this could not be correctly implemented without advanced DSP technology. Loudness compensation controls had a tendency to sound too boomy and artificial in the bass and treble ranges. Loudness correction was dismissed as inadequate and by 1980 most manufacturers had removed loudness controls from their products.
Tomlinson Holman, inventor of THX, currently Audyssey Chief Science Officer, and USC School of Cinematic Arts Professor, investigated these problems in his classic 1977 paper, "Loudness Compensation: Use and Abuse." This paper, published in the peer-reviewed Journal of the Audio Engineering Society, explained the fundamental problems preventing loudness from working correctly in audio systems of the time:

• Existing loudness controls were based on the wrong curves. Most loudness controls were based on data collected at Bell Labs by Fletcher and Munson in the 1930s. While these curves characterized the effect, the measurements themselves were imprecise, due to the primitive equipment that was used at that time.
• Existing loudness controls were based on the Fletcher-Munson curve themselves. In order to hear content played back at a different volume than the original, loudness compensation controls should have been based on the difference between the curves of the reference level and the playback level.
• No input level calibration was available. There was no way to know the original mix level of the program material. Thus, there was no starting point to find the difference between the original level and the playback level.
• No output level calibration was available. Varying electrical gain after the volume control, speaker sensitivity, and room acoustics made it impossible to determine the exact output level. These factors all conspired to make a particular volume control setting to be reproduced with very wide variations.
• Loudness controls were not dynamic. For example, an orchestra typically plays at 100 dB SPL on peaks and at 50 dB SPL during soft passages. When the volume is turned down by 20 dB for home listening, the peaks and soft passages require different loudness correction. More compensation is required when the starting level is low and attenuated than when high and attenuated. This lack of content-based dynamic control also added to the boomy bass of earlier loudness systems.

How does Dynamic EQ address these problems?
After years of research, the Audyssey team determined Dynamic EQ could now be a viable product:

• New research has produced more accurate data. The last 30 years have produced more refined data from Fletcher and Munson's original findings. Thousands of listeners participated in experiments around the world to define today's more accurate standardized curves. Audyssey Dynamic EQ has customized this data to the home theater environment, with a special emphasis on accurate multi-channel loudness compensation.
• It is now possible to calculate difference curves. Audyssey developed proprietary methods for the real-time calculation of differences between reference level and playback level curves.
• Input level calibration is now available. Movie program material is now mixed at a standard level. Music and television programs are also starting to adopt a standard. Recorded program levels can now be traced back to the acoustical levels of the original mix. Audyssey uses this information to apply the proper loudness correction.
• Audyssey performs output calibration. In receivers, output calibration is achieved with MultEQ and an Audyssey-calibrated microphone. In packaged systems, loudness calibrations are performed in advance, because everything is known in the signal chain.
• Audyssey Dynamic EQ is the first truly dynamic loudness control. Dynamic EQ evaluates the content in real time, updating the loudness control curves so that both soft and loud passages receive the proper treatment.

These breakthroughs were possible because of Tom Holman's original findings, advances in DSP technology, and present-day research on the principles of loudness correction by the Audyssey team.
How is Dynamic EQ different from other loudness methods?
Other loudness correction methods have been proposed, but Audyssey Dynamic EQ is the first to address all of the five major problems required for proper loudness correction.
Other methods fall short for the following reasons:

• They have no method of room measurement. Other loudness controls do not have a method for measuring the actual playback volume in the room your system is set up in. Audyssey MultEQ first measures playback levels, then provides this information to Dynamic EQ for proper loudness correction.
• They have no method of room equalization. Variations in the response of a room can be as large as 10 dB or more at some frequencies. Without proper equalization, the effectiveness of loudness correction will vary immensely from seat to seat.
• They have no real-time analysis of audio content. Film and music pieces are typically made at reference volumes much louder than typical listening volumes. At reference level, loud sounds can be near 100 dB SPL, while soft sounds can be much softer, near 50 dB SPL. If a consumer listens at softer levels such as 20 dB down, loud sounds will need less loudness correction than softer sounds. This must be analyzed continuously to ensure the correct octave-to-octave balance is sustained as the content is playing.

AUDYSSEY BASS XT
What is BassXT?
Audyssey BassXT enables low frequency drivers to produce deeper bass by intelligently monitoring incoming audio signals and extending driver performance to its maximum safe limits at all volume levels. With a BassXT-enabled system, small woofers sound big, and big woofers sound bigger.
Why is BassXT needed?
Small subwoofers are desirable because of their small footprint, but this also makes it difficult to reproduce very low bass sounds. Traditionally, the only way to extend the bass response to lower frequencies would be to invest in a subwoofer with a bigger driver in a bigger enclosure. BassXT enables smaller drivers and enclosures to reproduce very low bass sounds by dynamically monitoring the low frequency signals and constantly pushing the speaker to its maximum capability.
How does BassXT work?
Before a speaker system comes to market, Audyssey works closely with the manufacturer to create a precise model for the driver and the enclosure of the subwoofer or full-range speaker. Based on this model, BassXT is able to accurately monitor the level and frequency content of the signal. The content is continuously monitored so that both soft and loud passages extend the driver to near maximum excursion. This enables the system to produce lower frequencies than would be possible with a traditional system of the same size.


Low frequency playback example of the same small subwoofer at three volume levels
At each volume level, BassXT expands the low frequency performance by delivering much deeper bass
Isn't BassXT just another "bass boost" method?
No. Traditional methods merely attempt to trick your ears into thinking there is bass at lower frequencies. When you push a "Bass Boost" setting on some audio systems, specific lower frequencies may appear perceptually louder, but the range of frequencies you are hearing is not actually extended any lower. You are not getting deeper, natural bass as you do with BassXT. Further, these other systems are not customized for your exact driver, but are generic for any speaker system. BassXT is specifically calibrated to enhance the physical bass response of your system.
How does BassXT work with other Audyssey technologies?
Audyssey BassXT is designed to work in conjunction with our loudness control technology, Audyssey Dynamic EQ, and our core room equalization technology, Audyssey MultEQ. MultEQ first determines the proper equalization curve for your system. Dynamic EQ then determines the proper loudness compensation based on the sound pressure level information MultEQ provides. BassXT then utilizes the real-time loudness compensation data from Dynamic EQ to extend the maximum capability of your system's low end.
Can BassXT push my system too far and damage it?
BassXT is designed to avoid that exact problem while extending bass performance to its safe limits. Because Audyssey engineers are able to analyze specific driver models from manufacturers, they fully characterize the capabilities and limits of each driver. BassXT will never push your system beyond what it can do, but it will make sure your drivers are doing all they can to deliver the deepest possible bass response.

AUDYSSEY DYNAMIC VOLUME
About Dynamic Volume
The listening experience is greatly diminished when there are significant shifts in volume between television programs, commercials, and within program material. The user must constantly adjust the volume to maintain the desired listening level so dialog is clear and sound effects and commercials are not overwhelming.
Audyssey Dynamic Volume monitors the volume of program material moment-by-moment, maintaining the desired listening level for all content while optimizing the dynamic range to preserve the impact. With this innovative technology, the user no longer has to constantly reach for their remote control volume button.
Background
There are two main causes of differing volume levels within broadcast, commercials, and DVD content:

• Lack of volume standards among broadcast, content and equipment companies.
• Poor translation of content produced on systems with wide dynamic range and reproduced on systems with limited dynamic range such as TVs, HTiBs, and home theater systems not playing at full reference volume.

Attempts at solving this problem have been largely ineffective for several reasons:

• Most are designed to only look at the signal levels and not the perceived loudness
• Those that look at loudness do not make use of the correct psychoacoustic models
• They have no knowledge of the actual sound pressure level in the room
• They typically look at only a small number of frequency bands
• They perform simplistic dynamic range compression methods with fixed time constants

As a result, these attempts at leveling volume produce plainly audible artifacts, such as sudden increases and drops in level, that detract even further from the listening experience.
History of Dynamic Volume
Under the direction of Audyssey Chief Scientist Tomlinson Holman, it took years of research and experimentation for Audyssey researchers and engineers to make Dynamic Volume a reality. The first step was to carefully study how people interact with their volume controls over the course of their listening experience. This demanded extensive experimentation and hundreds of hours of data-gathering from a range of listeners, from typical consumers to professional mixing engineers.
Audyssey researchers instructed their participants to watch and listen to entire movies in differently-treated acoustical environments, from simple listening rooms to acoustically-treated theaters. Subjects were directed to adjust the volume control as if they were listening in their homes, yielding valuable data on how people compensate for changes in listening volumes such as:

• Raising the volume to hear dialogue nuances, and then readjusting when sound effects become too loud.
• Immediately reducing volume when loud, overbearing commercials start after a program break.

Multiple terabytes of data were collected and processed in the course of this research, a feat that, not long ago, would have been insurmountable. Audyssey researchers and engineers analyzed this vast amount of data and crafted an accurate representation of how a typical listener controls their volume range for home listening.
This data and the correlation to the measured content loudness, led to the development of Dynamic Volume. Audyssey engineers successfully implemented this technology so volume remains consistent across multiple sources, such as live and recorded television programs, commercials, and music. The creation of Dynamic Volume proved to be one of the most technically complicated problems Audyssey has tackled to date.
Audyssey technologies work together to solve the complex problems that arise when attempting to reproduce sound as it was originally conceived. Audyssey Dynamic Volume includes Audyssey Dynamic EQ, which compensates for deteriorating sound quality as volume is decreased by taking into account human perception and room acoustics.
As part of Dynamic Volume, Dynamic EQ selects the best possible frequency response and surround volume levels on a moment-by-moment basis. These two technologies enable the full frequency response of the source at its original level to be reproduced at any listening level. Even at lower listening volumes, Dynamic Volume ensures that the richness and dynamics of the response are maintained.
Dynamic Volume employs advanced audio signal processing that operates in both the time and frequency domains. The spectral content in individual channels and the surround mix are continuously monitored in order to maintain proper spatial volume. Both rapid and slow changes in level and dynamics are monitored in order to prevent the common artifacts produced by standard compressor methods.
Conclusion
Audyssey Laboratories was founded on the principle of producing the best possible translation of music, movies and television programs for the home. Its flagship technology, Audyssey MultEQ, measures and removes the distortion caused by room acoustics. Audyssey Dynamic EQ solves the problem of deteriorating sound quality as volume is decreased by taking into account human perception and room acoustics. Audyssey Bass XT delivers deeper bass response from smaller subwoofers by actively monitoring the incoming signal and pushing subwoofer excursion to maximum levels at all volume settings. And now, Audyssey Dynamic Volume delivers consistent volume playback levels, anticipating sudden spikes and dips in volume and compensating for them in real time. This newest technology frees listeners from having to constantly reach for the remote control when watching TV or DVD movies.

ΑKΡΟΑΣΕΙΣ - ΕΝΤΥΠΩΣΕΙΣ :
Για το σύστημα μου (7.1) χρησιμοποιώ τα Εnergy Veritas με subwoofer το Velodyne DD12.
Στην δουλειά μου (ηχολήπτης δισκογραφίας) τα ηχεία-εργαλεία μου είναι τα B&W 805S που μεταφέρω παντού σαν near field ενώ στο στούντιο τα main είναι τα B&W 801.
Αυτό το αναφέρω για δείξω οτι δεν είναι τυχαία η επιλογή των Εnergy Veritas για το σπίτι.
Το εν λόγω σύστημα το έχω ακούσει με αρκετούς ενισχυτές (Yamaha DSP-Z9, Yamaha DSP-Z11, Denon ΑVC-A1XVA, Denon AVR 4308ci) με τον ΑVC-A1HD όμως συνέβει κάτι απροσδόκητο τα ηχεία απλά εξαφανίστηκαν.
Ξεχνάς οτι υπάρχουν ο ηχητικός θόλος που δημιουργεί ο ενισχυτής είναι συγκλονιστικός, ο έλεγχος είναι απόλυτος και η ανάλυση.......η ανάλυση είναι σε άλλο επίπεδο χωρίς να γίνεται αποστειρωμένος και κλινικός σε καθηλώνει.
Ανάλυση και ταχύτητα κλέβουν την παράσταση, ο ενισχυτής εξαφανίζεται αλλά ταυτόχρονα αφήνει την υπογραφή του, γνωρίζω το αντιφατικό της παραπάνω πρότασης αλλά συμβαινει.
Αισθάνεσαι οτι είναι συμμετοχικά ΕΚΕΙ χωρίς όμως να μπορείς να προσδιορήσεις που ακριβώς είναι το ΕΚΕΙ.
Είναι ενα κομμάτι τεχνολογίας που μπορεί και σου γεννά συναισθήματα κλείνοντας σου πονηρά το μάτι, αυτός είναι και ο λόγος και δεν έβαλα την υψηλή τιμή του στα αρνητικά γιατί αξίζει κάθε Ευρώ που ζητάει.
Χαίρομαι που θα μείνει κοντά μου για πολλά χρόνια.
Οσο αναφορά το μεγαλύτερο μου ερώτημα στην αρχή του κειμένου δεν έχει πια καμία σημασία.
Ανυπομονώ να γυρίσω σπίτι............

Ευχαριστώ για τις ευχές να είστε καλά.
Η διαφορές μεταξύ του AVC-A1HD με τον AVC-Α1ΧV είναι αρκετές, συνοψίζοντας όμως θα έλεγα οτι ο AVC-Α1ΧV παρουσιαζόταν πιο ουδέτερος, πιο ρωμαλέος και σου έδινε την αίσθηση οτι θα μπορούσε να οδηγήσει σχεδόν τα πάντα, απο την άλλη ο AVC-A1HD χωρίς να υπολείπεται σε δύναμη είναι πιο αναλυτικός, εκνευριστικά ταχύς ενώ ηχητικά αφήνει το στίγμα του κάνοντας πιο σαφή την παρουσία του.
Γνωρίζω ότι η ουδετερότητα ενός μηχανήματος είναι μέγιστο προσόν αλλά μην κρυβόμαστε, με όλα τα εμπλεκόμενα συστήματα βελτίωσης αυτό είναι πια ανέφικτο.
Αν μου έλεγαν να βρω μια λέξη για κάθε ενισχυτή θα έλεγα οτι ο AVC-Α1ΧV έχει την Δύναμη και ο AVC-A1HD την Χάρη.
Όσο αναφορά την σύγκριση μεταξύ AVR-4308ci και AVC-A1HD απλά δεν υφίσταται, μην ξεχνάμε όμως ότι έχουν ακριβώς την διπλάσια τιμή.

Re: Απάντηση: DENON AVC-A1HD Review

argi said:

καλοταξιδος
στο audyssey αναφερεις πραματακια που δεν εχει ο εν λογο εργαλειος

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Όπως?

Re: Απάντηση: DENON AVC-A1HD Review

argi said:

bass xt
dynamic volume
περιμενουμε φωτο και τιμη
παλι καλοταξιδος
αν και πιονερακιας τον προτιμω απο τον 90
βεβαια τα λεφτα ειναι πολλα
και αναμενω τους νεους sunfire που μαλλον θα ειναι διαφορετικου look ,συν το νεο parasound

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To Βass XT βρίσκεται μέσα στο Dynamic EQ
Audyssey BassXT is designed to work in conjunction with our loudness control technology, Audyssey Dynamic EQ, and our core room equalization technology, Audyssey MultEQ. MultEQ first determines the proper equalization curve for your system. Dynamic EQ then determines the proper loudness compensation based on the sound pressure level information MultEQ provides. BassXT then utilizes the real-time loudness compensation data from Dynamic EQ to extend the maximum capability of your system's low end.

Tιμή δεν μπορώ να αναφέρω είναι με επαγγελματική έκπτωση και δυο φώτο.

Τακης Πετροπουλος said:

Να σε ρωτησω αφου σου ευχηθώ και εγώ με γειά ,αν το realta επεμβαίνει στο σήμα από τις hdmi η απλά το κάνει pass through ?

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Στα σήματα απο ΗDMI το Realta επεμβαίνει σαν scaler και σε αφήνει να ρυθμίσεις DNR - ENCHANCER -SHARPNESS.
Μόνο οταν το σήμα είναι 1080p/24 γίνεται pass through.
Oι υπόλοιπες ρυθμίσεις contrast-brightness-hue-color ενεργοποιούνται στις αναλογικές εισόδους.

dvotsis said:

Εγώ θα ήθελα να ξέρω τι διαφορές θα μπορούσε να έχει άραγε αυτός με τον AVP-A1HD.!!!

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Ο ΑVP-A1HD είναι ακριβώς το ίδιο μηχάνημα χωρίς στάδια τελικής ενίσχυσης λειτουργεί καθαρά σαν προενισχυτής.

=silent= said:

Καλορίζικο το θεριό. Nα τον δέσεις με αλυσίδες μην σου φύγει

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Eυχαριστώ...........δεμένος είναι.