• Trickle-down Paradigm Reference technology … despitecone size, the NLC™ non-limiting corrugated Santoprene®surrounds help cones move huge volumes of air for bass so loud and so deep it will send the cat running for cover.

• State-of-the-art room-tuning technology. Don’t worry aboutperfect placement, put the sub where it looks best and letParadigm’s Perfect Bass Kit™ (sold separately) dial in perfect bass.

•Go wireless! Paradigm’s PT-2 transmitter (sold separately) canbe used with up to four Monitor subwoofers simultaneously.

• The clean, modern aesthetic matches the new MonitorSeries 7 speakers.

• Monitor Series 7 subs were designed, engineered and manufactured in our state-of-the-art Toronto, Canada facility

Parts

In today’s market, the call is for subwoofers in much smaller form factors but without any sacrifice in performance.
Part of Paradigm’s success in this area is our proprietary design, our commitment to high-quality materials and a
process known as Finite Element Analysis (FEA). FEA allows us to analyze the movement of the cone, monitor
magnetic flux, evaluate heat dissipation and perform stress analyses on both component parts and the enclosure.
We can enact “what if” scenarios, making virtual material substitutions or design changes and observing their
effects on the magnet/motor structure before we even start building a sub. This ability to experiment is what has
allowed us to achieve such incredible performance from a form factor as small as that of the tiny Monitor SUB 8.

Power

900WATTS DYNAMI CPEAK POWER/300WATTS RMS SUSTAINED

•Ultra Class D™ Power Amplifier with Unique Switching Power Supply.

•BIG Power from a Compact Package:

The low noise high power compact transformer(0.29lb/0.13kg)  boasts an ETD core purposedesigned for smaller applications that must have high power.  Noise suppression networks and top quality MOSFET s help to achieve high current but with quiet operation.  Unlike conventional Class Damplifier designs,our design in he rently rejects variations in the power supply.

•Full Bridge Output Stage:  Operates from split power supply rails ensuring exceptionally low distortion.Not only does the design increase the speed of switching it also dramatically increasess witching efficiency.

•Precision Driver Component sand Military Spec(FR4Rated)  Glass Epoxy Circuit Board:  Reference quality component part sand a circuit board painstakingly designed by hand guarantee an enviable degree of performance and long term reliability even under extreme conditions.

•Unique Temperature Sensors: Maintain a safe operating temperature even when the Monitor subwoofers are operating under maximum output conditions.

•Superior Short Circuit Protection:Should current through the MOSFETs exceed our internally preset limit, the Digital Signal Processing(see below) disables the out put stage. Reaction time is typically within  10µs.

Digital Signal Processing: Monitors the line current and voltage so that long-term average output powerremains continuous. Sophisticated mathematical algorithms shape frequency response (see graph)ensuring accurate, consistent and musical bass without distortion even when the subs are pounding out bass at lowest frequency the highest levels.

Precision

INJECTION-MOLDED CARBON-LOADED POLYPROPYLENE CONES

A high stiffness-to-mass ratio is an important aspect in a woofer’s ability to deliver that loud, deep, clean and articulate bass we all desire. In this case, in-house injection-molding and a 30% carbon content made for a wonderfully stiff cone while the polypropylene, an inherently well-damped material, delivered the necessary lightness, the cone is never weighed down in its movement.

NLC™ NON-LIMITING CORRUGATED SANTOPRENE® SURROUNDS

An extreme low-density thermoplastic elastomer Santoprene possesses the flexibility and durability of rubber but with longer life expectancy and improved tolerance for operating extremes — exactly what we want in a woofer. Building on our success with this design in our high-end Signature series, Paradigm

engineers created a new 3D model for the more compact Monitor subs. We applied FEA to conquer areas of concentrated stress, verify and perfect symmetry of motion and push the limits of excursion.

The corrugations were also optimized — height, width and quantity — to assist in achieving the unbelievable one and a half inches of excursion on SUB 12 and only slightly less in its smaller siblings. Dimpling and cone wrinkling? Non existent even at full-on output. We then molded the surround over the cone edges to ensure a superior long lasting bond.

Paradigm Perfect Bass Kit

Paradigm’s Perfect Bass Kit (PBK) is a derivative of the critically acclaimed Anthem® Room Correction (ARC) system, based on research conducted by the National Research Council (NRC). The NRC’s goal was to identify the correct “in-room” target response for a loudspeaker (in this case, the subwoofer) and
then develop a way to achieve that same response in any listening room. Using proprietary processing, PBK measures your subwoofer’s frequency response and then computes the target response to yield optimal bass performance in your room. Each PBK can be used with up to four Monitor Series subwoofers.

How Does PBK Do What it Does?

The process begins when your computer signals the subwoofer to play the test signal, which is then picked up by the individually calibrated microphone. The system puts the subwoofer through a frequency sweep to highlight problem areas and determine necessary adjustments. It asks you to position the microphone in at least five different locations. Configurations are then saved on the connected PC. The optimized solutions are calculated, then uploaded to the subwoofer and the calculated room corrections are put in place. An audiophile solution to the problem of “the room”!

Even when your Paradigm subwoofer is ideally placed, the room can still have a dramatic impact on bass performance. Room dimensions, dead spots, archways, and even furniture placement can turn a room into an additional instrument, playing alongside musicians or movie scores with unwanted contributions of coloration and resonance. Bass can sound bloated or boomy, with poor definition. Paradigm’s

Perfect Bass Kit is the answer …

How Does PBK Do What it Does?

The process begins when your computer signals the subwoofer to play the test signal, which is then picked up by the individually calibrated microphone. The system puts the subwoofer through a frequency sweep to highlight problem areas and determine necessary adjustments. It asks you to position the microphone in at least five different locations. Configurations are then saved on the connected PC. The optimized solutions are calculated, then uploaded to the subwoofer and the calculated room corrections are put in place. An audiophile solution to the problem of “the room”!

PBK is unlike anything else!: This state-of-the-art “bass perfecting” system analyzes the subwoofer’s response in your room, then sets the correct equalization parameters to attain optimal sound. The frequency response of each microphone is measured and the data is used to create the microphone’s

calibration file included on the software disk.

• PBK applies Super-Efficient Infinite Impulse Response (IIR) Filters in addition to Custom Filter Topology:

This minimizes delay and reduces processing gain noise. The combined approach of limiting the width of IIR filters and applying custom topology means that any artifacts that might have resulted from the filtering process are inaudible.

• PBK allows for Multiple Microphone Measurements:

Most room EQ methods work from a single point source, taking one measurement at the primary listening position. PBK provides for multiple user-selected measurement points (we suggest aminimum of five, but up to ten positions can be measured).

Unlike many room EQ systems, PBK applies correction to Peaks (modes) and dips (anti-modes): Tackling both allows us to achieve a more accurate, natural room response. And to limit the demands on the amplifier as well as maximize signal-to noise ratio, PBK applies appropriate limits to this correction.

• PBK is Ultra-Accurate:

The connected PC’s 64-bit floating-point processor calculates the correction curves, which minimizes the rounding errors of a less sophisticated “calculator”.

• It’s Easy-to-Use (at least your part is!):

Three years of intensive research and development on our part have made it a snap to attain “Perfect Bass” performance in any room! All that’s required is a PC running Windows XP or Vista, two USB portsand the Paradigm Perfect Bass Kit. Paradigm even includes the two USB cables you’ll need: one for the PBK microphone and one for the subwoofer.

SPECIFICATIONS

MONITOR SUB 8

MONITOR SUB 10

MONITOR SUB 12

The advantages of Super PureLED technology

The M.150’s light source is a trio of new, more powerful PhlatLight LED modules by Luminus Devices (one for each primary color R, G and B). These LEDs act as both light and color sources for the DLP chipset.

This new, selected LED-powered “Lamp-Free” projector has some very important advantages over conventional projectors:

The LED lamp lasts the projector’s entire life cycle (approximately 30,000 hours). No maintenance is needed for the light source with consequent low cost of ownership.

The LED light source provides a wider and more consistent color gamut, with richer and better color rendition .

Color autocalibration thanks to an always-on, built-in sensor that controls RGB LED light intensity.

Very stable color characteristics along the product’s lifespan.

There is no color wheel. The LEDs increase the active color cycles available per frame practically eliminating any perceived rainbow effect.

Near-instant power on/off.

Very low noise thanks to a new advanced liquid-cooling system.

Truly “Green projector”: no mercury lamps and no need of lamp replacement hence avoiding the pollution caused by their disposal.

The M.150 in detail

Latest high-power LED technology

SIM2 has a close relationship with the world’s leading LED manufacturers. In particular, Luminus Devices, a Boston company established and supported by MIT (Massachusetts Institute of Technology). The modules used in the M.150 are the result of the most recent innovations in the design and production of high-power LEDs. These newly developed LEDs are able to produce 30% more light output than their predecessors and have a considerable increase in efficiency.

In addition, a great deal of attention has been paid to collect and direct the light fluxes in the direction of the DLP modulator, yielding an LED projector with an output value among the highest on the market.

Amazing picture quality along the whole product lifespan

LED light sources output a pure and narrow light spectrum that allows higher light engine efficiency, and perfect color matching. This differs considerably from the somewhat ragged spectral output of a normal UHP lamp.

Separate RGB LED light sources, provide a wider and more consistent color gamut, an unbelievable 128% NTSC which is more than 80% greater than that achieved through conventional UHP projectors, with richer and better color rendition.

Indeed, not only can the M.150 reach REC709, but also:

   Adobe RGB color space, which is an extended color space used in critical viewing applications where exacting color reproduction is required. Such applications include: professional photography, graphics and printing, CAD/CAM labs.

    CINEMA color space that responds to the highly specialized needs of post-production houses. CINEMA color space offers an extremely wide gamut that lamp projectors simply cannot reach without sacrifying dramatically brightness.

In other words, the M.150 is the ideal solution not only for home theater but also for post-production studios. Also, these LED modules stay consistent over their entire lifetime with an average lumen decay of less than 5% after 2000 hours.

EasyLED 2.0 software

The latest EasyLED software (version 2.0) was optimized for the calibration of the M.150. Particular attention has been paid to fully exploit the LED emission with the use of dedicated colorimetric sensors, which can be suggested by SIM2. Together with the extremely wide and controlled colorimetry, this software enables professional calibration of all projection parameters, giving experts unprecedented control over the final image quality.

Autocalibration

The M.150 sports a built-in sensor in the optical path that allows the projector to maintain a constant color gamut post-calibration. This is an essential feature when we consider that LED emission changes slightly with temperature and time. This change occurs both in terms of emitted color (changing color coordinates) and in emission level. The sensor is coupled with both the image processing and the firmware that controls the most important parameters, and is always active.

Precise brightness control

The LEDs’ brightness is precisely controlled thanks to an 8-bit-per channel high-speed current driver, able to balance the light intensity coming from the three different LED modules. Furthermore, the driver is able to switch off the 30A driving current to each LED in less than 1 microsecond. This switching speed is comparable with what could be done with a 20x color wheel. In this way we can eliminate the typical color break-up issue (the so called “rainbow effect”) of traditional 1-chip DLP projectors, while improving at the same time contrast ratio, color saturation and grayscale accuracy. If necessary, the driver can turn off the LEDs to give totally black images during dark scenes.

DynamicBlack with selectable auto LED switch-off

In the M.150 the DynamicBlack technology is completely electronic. In other words, the LEDs’ emission and the DMD are modulated simultaneously in order to maintain the bright parts of the image at the same light level. This fully digitally-controlled system delivers improvements in contrast ratio and black level performance without the use of mechanical actuators in the light-path. DynamicBlack operates on a frame-by-frame basis and at a frequency of 120 Hz.

Advanced LED liquid cooling

LEDs run at high temperatures, which lower their efficiency and reliability. A correct and efficient thermal management of high power LEDs is, therefore, crucial.

The M.150 sports LED liquid cooling technology that increases the lifetime of the LEDs. The tubes of the cooling array are in a closed circuit configuration – operated by a pump – and contain glycol. This liquid is suitable for the conduction of heat. The heat is then transferred from the LEDs to a secondary, sizable cooling area for proper dissipation through a large, slow-motion fan; the result is a very efficient system with a very low noise level.

Lens Auto-centering function

The M.150 is equipped with the Lens Auto-Centering function which automatically centers the projection lens in respect to the DMD (horizontal and vertical). This feature ensures the best optics performance and symmetry for a balanced installation. Nonetheless, it makes setup very simple.

Elegant and modern design

The stunning new look of the M.150, courtesy of the renowned industrial designer Giorgio Revoldini, represents a new era in projector design for SIM2. Taking cues from Italian classics, such as the legendary Brionvega’s CUBO TV, the M.150 features bold, straight edges with a contemporary appearance that immediately convey the look and feel of luxury. The M.150 is offered in crystal-glass surfaced black. As an elegant alternative to large, flat TVs, the M.150 integrates beautifully into any living space while offering cutting edge technology.

M.150 3D(*) features

SIM2 has recently launched a very successful series of 3D projectors (LUMIS 3D SOLO and NERO 3D) that have become the new 3D reference standard. Now, SIM2’s R&D design team has delivered another amazing product: the M.150 the world’s first active 3D LED projector.

Completely independent left and right 3D images (no ‘ghost’ effect between left and right views)

SIM2 has made 3D vision the most natural attainable, avoiding the fatigue and perception of the ‘artificial’ image quality that is typical of other competing 3D systems.

The video processing in the M.150 ensures that the image is correctly separated so that each eye (right and left) sees only the view dedicated to it.

SIM2 VISUS active 3D glasses and extremely short blanking time

Active 3D single chassis projectors are all based on switch components that can display the Left and Right “Frame Sequential” signal at least at double the frame rate. All technologies (DLP, LCD, LCOS, etc.) need time (blanking) to switch from one view to the other and during this time it is necessary to blank the displayed image to prevent losses or crosstalk between the Left and Right views.

DLP technology is the fastest technology available for projection and can easily surpass the scan frequency needed to correctly display 3D. The “Frame Sequential” alternating Left and Right images can be precisely timed. Then the switching speed from Left to Right images or vice-versa is only affected by the speed of the glasses. VISUS glasses are finely-tuned for this very purpose.

Competing technologies, like LCD, using a scanning approach, and create a simultaneous display of both the Left and Right images on-screen for a short time period. This creates a ‘ghosting’ effect with smeared and blurred images, particularly with fast motion.

To try to solve this problem the LCD display frame rate has to be increased nominally, this does not, however, truly increase the speed of the images seen on-screen by the viewer.

The following picture shows how LCD and DLP technologies solve this problem. In particular, referring to the 240 Hz or 480Hz displays present on the market, these panels typically need all the

frame period to scan the lines and load the signal from top to bottom. So during the frame period two adjacent images are present on the screen. The solution to the crosstalk problem for that display is to repeat the scanning of each image many times and open the glasses only when the two consecutive images are equal.

The result is that at 120Hz, to avoid crosstalk, only one scan period out of two can be active for the glasses and the opening efficiency of glasses is 50%. This corresponds to a blanking time of 4.1ms over a frame period of 8.3ms. At 480Hz the situation is a little better because the same image is repeated four times on the screen then only one scan period out of 4 must be blanked from glasses. This corresponds to a 2ms blanking time over a 8.3ms of frame period.

The most important thing that should be noted is that, despite the declared LCD scan frequency, the real frame rate for the viewer remains 120Hz (60Hz for each Left and Right image). The additional ‘speed’ is used to reduce the blanking time.

In the M.150, the blanking time is reduced to 0.9 ms, which is significantly less than the 2 ms delivered by the competition and eliminates any ‘ghosting’ effects. This allows for better 3D depth and realism, and a much smoother image.

SIM2 VISUS 3D active glasses

Specifically developed by SIM2 for maximum efficiency and comfort during use, the VISUS 3D glasses represent state-of-the-art technology ensuring extremely fast switching times for an exciting movie experience without eyestrain.

SIM2 glasses and emitter are required to initiate the 3D function of the M.150 and are offered in sets of 4 + emitter or SIM2 luxury boxes that can hold up to 8 glasses.

Chromatic correction in 3D viewing

The use of 3D glasses generates a false perception of image colorimetry. SIM2 has therefore introduced additional memory settings in the color parameters to make the necessary correction.

PureMovie, PureMotion 2D and PureMotion 3D (*)

The video processing electronics circuitry used in M.150 is based on that used in SIM2’s high-end LUMIS 3D S 3-chip series and offers the same optimized picture modes for 2D and 3D viewing: PureMovie, PureMotion 2D and PureMotion 3D.

• PureMovie (2D): allows a pure presentation of the signal coming from your sources: all but the most basic circuitry is bypassed in order to ensure a more “film-like” viewing experience. SIM2’s PureMovie allows the delivery of the widest contrast ratio and deepest black level performance from the projector.

• PureMotion (2D): it has been specifically designed for fast-motion video material, resulting in smooth motion, free from the ‘smear’ or ‘judder’ that can affect the image. The PureMotion mode is particularly suited to fast-action sports viewing, where the ability to easily follow the action, regardless of its intensity, is paramount.

• PureMotion 3D: is SIM2 implementation of the next level in reality reproduction: 3D video visualization (120 Hz). PureMotion includes the state-of-the-art of 3D technologies in order to ensure a 3D viewing free of flickering, ghosting and motion “shudder” suffered by most 3D displays.

Low cost of ownership

The M.150 gives the viewer a totally new home theatre experience in terms of picture quality with the bonus that the user is free from lamp replacement. The typical life of the LED modules is estimated at around 30,000 hours

Near-instant On and Off

The LEDs’ driver circuit permits near-instant on/off operation; this means the user does not need to wait for several minutes to cool the lamp before re-starting the projector.

Low acoustic noise level

The M.150 utilizes a unique and technologically-advanced cooling system which reduces acoustic noise to almost whisper-quiet levels.

The cooling fans are carefully calibrated to reduce noise, and the crystal-glass cabinet accents further damp the vibrations coming from the fans. In fact, the crystal-glass accents not only make the product look extremely refined and elegant, but also play a substantial part in the reduction of the acoustic noise.

New brightness measurement concept

With the introduction of an LED light source, it becomes necessary to introduce a new concept of brightness that differs from the ANSI one normally used for UHP lamp projectors.

Some consideration on the ANSI brightness measurement is needed:

ANSI Lumens is an engineering measurement of white light. It is a convenient relative measurement when comparing lamp-based projectors with other lamp-based projectors.

ANSI lumens do not accurately represent color brightness and cannot represent exactly the human eye’s perception of saturated colors.

It is very important to understand the concept of COLOR BRIGHTNESS.

The word “brightness” is being incorrectly used in the Audio/Video market to describe how bright a projector or a display is. In Physics, “luminance” is the correct term (expressed in cd/m2 or Lumens)…and this is the measurable characteristic.

Color brightness actually has an empirical meaning based on human eye perception and it currently lacks a proper measurement unit.

It is in this respect that LED-based projectors differ greatly from lamp-based ones.

Going into details.

As previously stated, the LED light source produces richer and more saturated colors than a lamp source. Based on a particular effect called “Helmholtz-Kohlrausch effect”, brightness (or human perception) rises with the increase of color saturation. So, comparing an LED projector with a lamp-based projector with the same ‘luminance’, the LED one appears to be brighter to the human eye! Based on empirical tests, brightness perception of LED-powered projectors is 25% more compared to lamp-based units.

In summary, to define an LED projector’s luminance with the same ‘catalog ANSI lm’ as a lamp projector is a mistake because:

− The actual brightness delivered on-screen is higher, and is also more stable over time.

− The end-user experience and perception of brightness is superior with LED.

Incredible 100,000:1 contrast ratio

The M.150 is equipped with the latest TI Darkchip4 DLP Chipset and with DynamicBlack technology. This combination enables the M.150 to produce an impressive Full On-Full Off contrast ratio of 100,000:1.

Installation flexibility

M.150 will be available with two different lens options, with a total throw ratio ranging from 1.5 to 3.9:1. A short-throw ratio lens is also available upon request (0.675:1).

Moreover, the M.150 is equipped with both vertical and horizontal motorized lens shift.

M.150 is probably one of the easiest projectors to install in any home theatre, regardless of the type of installation/environment

M.150 Main Technical Specifications

 0.95” 1080p DC4 Single chip DMD

 1920 x 1080 resolution

 SIM2’s Super PureLED technology

 Lighting system: NEW HIGH EFFICIENCY Luminus Phlatlight PT120 R/G/B LEDs

 LED lifetime (estimated) 30,000 hours

 DynamicBlack technology

 Contrast ratio up to 100,000:1 with DynamicBlack

 Luminance 1,100 ANSI Lumens (standard ‘white’ measurement)

 SIM2 active 3D(*) technology 120 Hz

 SIM2 PureMovie, PureMotion and PureMotion3D(*)

 2 long throw ratio lenses available: T1 (1.5 –2.1 :1) and T2 (2.1 –3.9 :1)

 Motorized Lens shift: Vertical Up 60%/Down 25%, Horizontal +/-8%

 Horizontal and vertical scan freq.: 15-80 kHz, 48-120 Hz

 2 x HDMI (1.4a with Deep Color)

 Color space: >128% NTSC, >180% Rec. 709

 EasyLED 2.0 software

 Dimensions: W 16.5 x H 8 x D 21 inches

(*) A SIM2 VISUS System is required to initiate this feature (sold separately)…

Key Features

• Full HD Single-chip projector
• Glass finish
• Available in white or black
• 2500 Lumens brightness
• Up to 30,000:1 contrast ratio

Design and Specs

It’s also worth stating that some of the Crystal 35’s presets are rather unhelpful by Sim2’s usually exacting standards, making a little time tinkering with the available settings in one of the three provided ‘User’ preset memory slots well worth your while.

Thankfully it’s possible to end up with some very good looking colours indeed, which combine natural tones with exceptional blend subtlety for a £4.5k projector. Even better, the predominantly natural look to colours is combined with levels of vibrancy that are nothing short of spectacular for the sub-£5k market. This is, of course, a direct result of the way the Crystal 35‘s massive brightness levels combine with what’s clearly a very impressive contrast range.

Black levels get much deeper than they’ve any right to on a projector with so much light at its disposal – yet the brightness ensures that there’s never any shortage of shadow detail during even the darkest scenes.

It was at this point that we realised we were actually only using the lamp in its eco mode. Which meant that the already stunningly punchy images we were looking at could be made even more dynamic. This was probably the closest we’ve come to a real life ‘but this one goes to 11’ moment, and actually left us with a picture that felt a little overpowering.

Switching back to Eco, we were also able to wallow in the phenomenal amount of detail the Crystal 35 managed to resolve from a selection of Blu-rays – all delivered without a hint of noise beyond any grain that might be in a transfer (so long as you don’t activate the noise-inducing BrilliantColour option, which has to rate as just about the most unnecessary feature we can remember seeing on any product in recent times given how vibrant the Crystal 35‘s images are in their ‘natural’ state).

Picture Quality

There are obviously some seriously impressive projectors around right now that cost less than the Crystal 35. JVC’s X3, in particular, delivers not only outstanding video quality but also decent 3D playback for just £3,500. However, with a brightness output that’s not even half that of the Crystal 35, the JVC only works effectively in an extremely dark environment of the sort usually only achievable in a dedicated home cinema room.

The extreme brightness of the Crystal 35’s images, by comparison, actually makes it a unique proposition for its price point in that it allows you to watch and truly enjoy its pictures with ambient light in your room. In fact, couple the Crystal 35 with one of the Screen Innovations’ Black Diamond, focussed-reflection screens, and you’ve potentially got yourself a 100-200in ‘TV’ without needing to cough up anywhere near the 50 grand minimum required to buy an actual 100in TV. 

In fact, this scenario could well be Sim2’s main thinking behind the Crystal 35. Tellingly, according to designer Giorgio Revoldini ‘Crystal lives in the home decor, free of unnecessary formalities. Only when it is turned on, when the lens and graphics are illuminated, does it unveil its true nature’. Decipher this classic ‘designer speak’ and Revoldini’s words suggest that the Crystal is meant to be something you live with as part of your day to day life, in your normal living spaces, rather than something that’s expected to be tucked away in a dedicated, blacked out room.

While we have a feeling the unique properties of the Crystal 35 will appeal to a good many home cinema enthusiasts, though, before you all start trying to scrape together £4,500, we do have to add a word of caution. Or rather, two words of caution: rainbow effect. For as feared, the Crystal 35’s combination of extreme brightness – even in Eco lamp mode – and a single chip DLP system does generate pretty clear evidence of colour striping, especially during dark scenes. 

The impact of this reduces if you’re watching in ambient light. But the fact remains that if you happen to be one of those people who’s badly affected by rainbowing (its impact varies from person to person), then the Crystal 35 is not for you. 

The Crystal 35’s extreme brightness also causes another couple of less troubling issues, as it kicks out more heat than most projectors and also runs a touch noisily. The noise is very even, though, and the projector’s throw-distance flexibility should enable you to position the projector a suitable distance away from your seating position.

Verdict

The Crystal 35 is the only projector we’ve tested costing less than five figures that’s been able to produce pictures of real cinematic quality in ambient light. Especially if used with a high-contrast, focussed-reflection screen like the Black Diamond. This gives it a unique, ‘lifestyle’ SP that amply justifies its £4.5k price.

It’s also a ferociously potent projector for a dedicated home cinema room, of course. However, if you’re thinking of buying one for such a dark space – and perhaps even if you’re thinking of getting one for a lighter, more casual environment – we really do recommend that you try and give the Crystal 35 a spin in a friendly dealer’s demo room before you hand over your cash, just in case you find the rainbow issues too overpowering.

Networked home entertainment now optimised for iPad and Android tablet users

Yamaha’s AV Controller app has transformed countless iOS and Android devices into wireless remote controls since it was introduced in 2011, opening the door to networked home entertainment for many Australian households.

In a major update, version 3.0 of the AV Controller app boasts an optimisedinterface for iPad and Android tablets.  Notably, the app now adopts enhanced navigation, improved functionality and new customisation features allowing frequently used icons to be moved to more accessible locations within the app – similar to moving apps aroundon an iPad or iPhone.  The result is a home theatre experience tailored to the specific needs of the user.

Introduction

The CEDIA Expo isn’t really a show for audiophiles. Most of the setups are geared towards in-wall speakers, projectors, and other various forms of home automation, but there are always a few vendors there that have some nice demonstrations. This year, one of my favorite demonstrations came from Paradigm, who had a complete home theater built with their Signature S2, Version 3s as the front speakers. One of their demo tracks, “Rainy Night in Georgia”, was just wonderful with just amazing clarity. As soon as I returned from the show, I requested a pair to review, as well as the Anthem Integrated 225 amplifier to power them.

SPECIFICATIONS

Design and Setup

The Signature line is the pinnacle of Paradigm’s lineup and in person it certainly looks that way. The S2s arrived in their piano black finish looking wonderful, though they are an absolute magnet for fingerprints. The S2 is made up of a 1 inch Beryllium dome tweeter and a 7 inch bass / midrange made of Cobalt-Infused Anodized Pure-Aluminum that crosses over at 1.8 kHz. The speakers are relatively easy to drive with a 91db in-room sensitivity and 8 ohm nominal impedance, allowing you to use even a tube amp and obtaining decent output levels. The speakers were larger than I expected them to be when I removed them and certainly solid at a hefty 28 lbs. each. I removed each from their box and set them atop my Sanus Ultimate Foundation speaker stands.

As much as the weight of the S2s was surprising, the Integrated 225 was a completely different beast. The last integrated amp I had reviewed had been a Class D model that was fairly easy to pack around, but trying to move the box for the Anthem let me know that I was back to Class A/B again. Unpacked, this monster weighs in at almost 43 lbs. and a peek under the hood lets you quickly see why. A good-sized toroidal transformer is inside, along with two massive Nichicon filter capacitors in the middle of the board. Two massive heatsinks, one per channel, are visible through cut-outs in the bottom of the chassis which add to the weight, but also allow it to run without any fans to dissipate heat and interfere with the music.

The Integrated has a good selection of inputs as well, with 5 pairs of gold plated RCA inputs, a MM phono input, and a pair of XLR inputs. There are a pair of line level outputs for connecting to a recording device or to an amplifier, and two pairs of binding posts that will accept bare wire, bananas, and most spade lugs. There is also a an RS232 port, 12V triggers, and IR ports for easy integration with all control systems. The included remote has a nice rubberized surface with a nice feel to it and can be programmed to control your source devices in addition to the 225.

Setting up the Integrated was a nice change from a receiver or processor, as I simply connected the two channel sources I would be using over analog (MMF-2.1 and Clearaudio Concept turntables, Sony XA-5400ES SACD player, Oppo BDP-83SE and 95 Universal players, Olive 03HD Music Server), connected the speakers to their binding posts, and was ready to go. I positioned the speakers with the front tweeters 3 feet away from the back and side walls, with around 7 feet between them, and around 7 feet from my listening couch, with the speakers toed in.

In Use

What I was most impressed with at CEDIA had been the upper-end clarity of the S2s on the recordings that we heard. Higher pitched instruments and sounds were detailed without being edgy or harsh as many speakers can often be. Additionally, the soundstage the the S2 managed to project in that room was far better than I had expected to hear. CEDIA listening rooms often dictate that speakers are much closer to the walls that would be preferable, but the S2s did a remarkable job in that case.

When I fired the system up and listened to Eric Clapton Unplugged, these qualities came through in spades. The soundstage of the S2s was very wide, but most notably was very deep. Much of the music seemed to radiate from beyond the back wall, really bringing the depth of the stage that it was recorded on back to your listening environment. The picking of a guitar came through with the metallic notes of the strings coming across, but it was a very easy sound to my ear. In person, the sound of someone picking a guitar is usually not something that would cause you to wince, but with many tweeters you can find that those higher notes will have a glare to them that is very fatiguing. The Beryllium tweeters were very detailed, but still smooth and very relaxing to listen to with a guitar.

I’ve been trying to raise my son (now 17 months old) as a music lover, and so he has been bombarded by all sorts of music from the time he was born, but he’s really taken to jazz. Esperanza Spaulding is a jazz bassist that virtually no one had heard of until she won the Best New Artist Grammy this year, but she’s received plenty of air play on the jazz radio here in her hometown of Portland. Her award-winning album was just released as a double LP and I couldn’t wait to queue it up for my son and I to listen to on the Paradigms.

The Paradigm/Anthem combo presented a wonderful window into the recording studio. Though originally mastered digitally at 24/96 before the transfer to vinyl, there was exceptional clarity to the recording and the attributes that I had come to love with this setup really shone through again. The soundstage was wider than the speakers and again extended well beyond the rear wall in depth. The musicians and their instruments had their own clear space on the recording. There was a bassist over to the right of the stage, with a pianist in the center-rear. The sense of being next to the studio while they recorded was brought home to my basement. I sat back to enjoy the show, only getting up from my seat to flip the record.

The main worry I had with the Paradigms and their size was a lack of bass on certain material. For whatever reason I’ve always had a desire for full range speakers, regardless of how much of my music actually plumbs that bottom octave regularly. One album that I thought would do a good job of that was Metallica’s classic release Ride The Lightning. The deluxe 45 RPM vinyl release has brought out all the detail that was in the master tapes, hiss and all. Whatever worries I had vanished with the opening tones of For Whom The Bell Tolls. The bell that opens the track came across clearly, but the thunderous guitar and drum lines that open the song pinned me back in my seat. There was no shortage of bass coming from the S2’s, and the tweeter and midrange were fast enough to keep up with the incredibly fast guitar that is emblematic of early Metallica. Perhaps if my interests were aimed towards chamber music that used a pipe organ regularly, or kettle drums, I would have missed the extra oomph that the larger models from Paradigm could provide, but the S2’s provided plenty of bass for my diet of classic rock, jazz, and modern alternative and independent music.

The last thing that I played on the Paradigm’s before they had to leave was the new vinyl release of Eric Clapton Unplugged. I’ve been listening to the CD release for years, and using it as a reference since I’ve been writing for Secrets, but it finally was given a high quality release on vinyl from Warner Brothers this year. Everything I loved about the album was there, but with what I thought was a larger soundstage, and smoother, more relaxed highs compared to the CD. The bass might have lost a little touch of weight, but I found the vinyl edition to be a more natural, enjoyable listen than the CD version. It just put me a little closer to the experience of being there for the recording of the album and was a wonderful listen before I had to say goodbye to these speakers.

On The Bench

The on-axis response of the S2s was very nice, with a very flat response out to near 20 kHz, and solid bass down to 50 Hz as well. There is a large suck out from 55 Hz up to 110 Hz that is caused by the room itself and not the speaker, and curing this issue will be my next project.

The off-axis measurements are almost as good as the on-axis ones. The bass suck-out is more pronounced without the microphone right in front of the bass port, as well as a dip at 5.5 kHz as well.

The THD+N numbers for a 10 kHz test tone all the way at 100 dB were very low, with under 0.5% and secondary harmonics at over 50 dB below the primary one.

The numbers should look very similar for the 1 kHz tone, with again just under 0.5% THD+N and the harmonics coming in over 50 dB below the primary.

Next I started to see how deep I could go before I couldn’t hit 100 dB with less than 10% THD+N. I finally had to drop all the way down to 35 Hz, where I maxed out at around 93 dB, though as you can see the harmonics are far higher as you try to push a bookshelf speaker this hard.

Back in its comfort zone, as seen on the initial frequency response graphs, with a 50 dB tone we had right around 0.75% THD+N at 100 dB of output.

Since the 75 Hz frequency was centered right in that suck-out area of my frequency response chart, I expected performance to drop off when I tested it here and I was right. THD+N shot up to over 4% at 100 dB, with harmonics far above what I was seeing with the more demanding 50 Hz tone. This lets me know that I really need to look at the issues with my room and how I can fix this dip in my frequency response.

Overall, the S2s did very well on the bench, staying within a +/- 3 dB range all across their rated frequency response range, with the exception of the bass issue that is caused by my new room and needs to be addressed shortly. Now, we move onto the Anthem bench results.

The numbers for all four measurements here are around 0.004% THD+N with the values dropping as the amplifier puts out more power, or into a harder load, which is typical of Class AB amplifier designs.

With a 10 kHz tone, the numbers move up a bit compared to 1 kHz. We stay right around 0.012% into the 4 ohm load, and drop down to 0.008% into the easier 8 ohm load.

On the IMD test, the measurements were close to 0.005% IMD or lower, with the secondary peaks being around 90 dB below the fundamental.

On the 19 kHz, 20 kHz test we see some sidebands at 18 kHz and 21 kHz, but those are both around 90 dB below the fundamentals as well.

On the frequency response test, we see that the Anthem is within +/- 0.1 dB across the spectrum, with the exception of a bump that kept appearing for me right around 60 Hz when I ran the test. I imagine this is a bit of line noise or something else interfering as there was no hum present through the speakers, which you would expect if that was actually correct.

Finally, the THD+N numbers against frequency were very low across the board. Ignore the spike in the 8 ohm graph and that spike was showing up at a random point in the graph whenever I ran it, but it was not in a consistent location. It happened in the 4 ohm graph once as well, but I was able to run it again with no issue, leading me to think it is line noise or something else causing the issue.

Conclusions

The weeks that I had the Paradigm and Anthem setup in my listening room were nothing less than a joy. I found myself wishing to be able to go back to my college-age self and make myself purchase an integrated amp and nice set of speakers, instead of trying to assemble a 5.1 system that I didn’t have the proper room or budget for. While many people would scoff when you might say that close to $4,000 for a set of speakers and an integrated amp is a bargain, when a setup like this can provide so much enjoyment and remove the desire to need to upgrade anytime soon, I really feel that it can be classified that way. Add in a high quality source like the Oppo BDP-95 or Clearaudio Concept turntable, and you have an incredibly high quality system that will bring you joy for years to come.

I described the last Paradigm Reference sub I reviewed, the Reference Signature Sub 25, as the “Mother of All Subwoofers”. Then Paradigm came out with the even more massive SUB 1 and SUB 2 models. So when I agreed to review the Seismic 110, a small barrel-shaped sub that measures barely 13” in any direction, my expectations were set accordingly. I figured this was Paradigm’s version of a genteel sub, one that would produce quality bass without calling undue attention to itself with high SPL’s or deep extension. For this, I owe the folks at Paradigm an apology. I really should have known better. The Seismic 110 is a nasty little beast, capable of producing clean output down to 18 Hz, and filling a room with thunderous bass. Read on for the details.

SPECIFICATIONS

Design and Setup

The Seismic 110 is a sealed design, meaning there are no ports as found on many subwoofers. Ports are a nice way to increase the low frequency output of a sub, but come at the cost of higher distortion and group delay which can result in muddy, boomy bass. Generally speaking, a well-designed sealed subwoofer will produce cleaner bass than its ported cousins, but at the expense of low frequency output. So I was surprised to read Paradigm’s spec sheet for the Seismic 110 showing the -3dB point at a subterranean 18Hz. Not to spoil the surprise, but when I put the Paradigm through its bench tests, it really can produce clean bass down to 18 Hz.

The Seismic 110 uses a single, 10” driver, but there’s a lot of sophisticated engineering that went into the unit. In fact, the Seismic 110 contains no off-the-shelf parts, it is a completely custom built product. The driver has a low profile due to two-part construction, and uses Paradigm’s inverted, corrugated Santoprene® surround, which allows the driver extreme excursion. Here’s a video of Paradigm’s Mark Aling demonstrating the driver at last year’s CES. The driver uses a 10 lb. triple magnet, set in a die-cast aluminum chassis.

The Paradigm’s enclosure is cylindrical, which reduces the build-up of internal standing waves, and is structurally more stable than a typical box shape design. The Seismic 110 is powered by a Class D amplifier, increasingly popular with subwoofers. Paradigm’s amp is capable of producing 1,700 watts of dynamic peak power and 850 watts of RMS sustained power. The amp also has several features designed to minimize distortion, including a digital signal processor that shapes frequency response without distortion, and a pulse-width-modulation power processor that rejects variations in the power supply. Again, bench testing (see below) showed that the Seismic 110 was able to produce extremely high output with low distortion.

The rear panel of the Seismic 110 sports two line-level inputs along with a balanced XLR input (there are no speaker level inputs). Power is provided via a detachable IEC cord, and activated either through an external trigger or auto-on when the subwoofer detects a signal. The Seismic 110 also has a USB jack for connecting with Paradigm’s PBK Perfect Bass Kit software (sold separately), which I tested with great enthusiasm when reviewing the Sub 25. The back panel has three knobs, one for output level, a variable cut-off (defeatable) frequency adjustment from 35-150 Hz, and variable phase alignment from 0-180 degrees.

Setting up the Seismic 110 was literally painless, given its modest 37 pound weight and small footprint. I was really a nice change of pace to be able to pick up a subwoofer rather than have to drag it across the floor on a blanket with a helper (or two). I placed the Paradigm in my usual sub location, about two feet out from the front right corner of my listening room in front of a panel bass trap, then plugged it in, ran the PBK, and was ready to go.

In Use

I really enjoyed watching the San Francisco Giants complete the improbable run towards their first World Series championship. The Giants won it on the strength of their pitching staff, anchored by two-time Cy Young Award winner Tim Lincecum. What does this have to do with a subwoofer review? Lincecum, despite being a short, skinny guy, throws with tremendous power and accuracy. His nickname is “the Freak.”

During my time with the Seismic 110, I kept thinking to myself, “This subwoofer is a freak!” Despite the small footprint and modest 10 inch driver, the Paradigm (like Tim Lincecum) is capable of tremendous power and accuracy.

Starting with film, The Book of Eli (Blu-ray) is a post-apocalyptic journey that benefits from first-rate acting from Denzel Washington and Gary Oldman. It also has great sound, as Washington makes ample use of his sawed-off shotgun, along with several car chases and assorted mayhem. The Seismic 110 filled my large room with impressive blasts, without ever sounding distorted or stressed.

Star Wars: Clone Wars TV series is available on Blu-ray, and it seems to be constantly playing in my home. Blasters, light sabers, and exploding spaceships rumbled through the walls. Several times, I had to remind myself that I was listening to a small, 10” subwoofer. Simply put, the Seismic 110 sounded bigger than many 12” driver, large enclosure subs I’ve heard.

Because the Seismic 110 is a sealed design with a ten-inch driver, I expected the Paradigm to be fast and accurate with music, and wasn’t disappointed. Steely Dan’s Two Against Nature (DVD-Audio) is, like all Steely Dan albums, impeccably produced. The track What A Shame About Me is anchored by a bass/drum rhythm that chugs along, with the Paradigm reproducing the thwack of the beater on the kick drum distinct from the smooth lines of the bass guitar.

And yes, I had to break out Yes’ Fragile (DVD-Audio) to give the sub the dreaded Heart of The Sunrise work-out. The Seismic 110 passed with flying colors, even through Chris Squire’s growly, Rickenbacker’s sixteenth note bass runs.

On the Bench

As usual, all bench tests were performed with the Paradigm sub in the middle of the room, to avoid interaction with corners and walls. The PBK equalization was turned off during tests, and except as noted below all measurements were taken from one foot at a height equal to the center of the speaker.

The Seismic 110 is capable of not only producing usable output at 18 Hz, but at considerable power. Not many subs can put out 100 decibels at 18 Hz with less than 10% THD+N; the Paradigm was well within limits at only 8.14 THD+N.

At 20 Hz, distortion was down to 5.74%.

And at 31.5 Hz (third-octave), distortion was an impressively low 2.53%.

In fact, since the Paradigm was not even breathing hard at 31.5 Hz, I started turning it up. In this graph, the Seismic was up to almost 110 dB at less than 2.5% distortion, and sounded like it could handle much more. But I was starting to get sympathetic resonances from my room that corrupted the measurements at higher output, so stopped the test. With corner wall placement that typically provides 3-6 dB of room gain, it’s pretty safe to say you could get 115 decibels at 31.5 Hz with very low distortion. That is freakishly good performance from a small sub.

Distortion vs. frequency, normalized to 100 decibels at 50 Hz, shows the Seismic at 10% distortion around 20 Hz (I measured 8.14% THD+N at 18 Hz), then dropping rapidly to 2% by 30 Hz. This is amazing performance from a small 10” enclosure.

Frequency response at one foot (red), one meter (blue) and two meters (red). The one-foot response is virtually flat across the entire spectrum, while the one meter and two meter response curves show the effect of the listening room.

Conclusions

The Paradigm Seismic 110 subwoofer is a freak. It is very small, lightweight as subwoofers go; yet capable of playing very loud, very low, and very clean. It will blow away subwoofers that are bigger, heavier, and in some cases, more expensive. Highly recommended!

A quick internet search turns up a number of very positive reviews for the Anthem MRX 700. The MRX 700 is Anthem’s top of line receiver. In my internet search, however, I didn’t find any reviews of the two other receiver models. Incidentally, the MRX 700 has basically gotten nothing but positive reviews as far as I could tell. Meanwhile, Anthem’s other two receiver models; the MRX 300 and the MRX 500, may very well suit those who don’t quite need all the power and features of the MRX 700 or those who have real world budget constraints.

So I decided to spend a little time with the middle receiver, the MRX 500. A very big part of the story is that all three Anthem receivers include the complete Anthem Room Correction (ARC) system. This is an amazing inclusion at the available price points for the line. Let’s see how the $1,499 MRX 500 stacks up.

ANTHEM MRX 500 7.1 A/V RECEIVER SPECIFCATIONS

Design of the Anthem MRX 500 7.1 A/V Receiver

As with each of the three Anthem receivers, the MRX 500 is a 3d-ready 2- zone 7-channel surround receiver. Anthem originally planned to release a massive 9-channel receiver, the MRX 900, but that project has been cancelled due to the market realities for that size and class of surround receiver.

To start things off, I want to emphasize that the MRX 500 embodies Anthem’s legendarily solid and masculine build quality. The case has a sturdy heft with a textured finish while the front panel is a substantial brushed aluminum affair with a two-line dot matrix display.

Robert Kozel recently reviewed the Anthem MRX 700 on for Secrets of Home Theater and High Fidelity (Link). In his review of the MRX 700, Robert did an excellent job of providing a rundown on the three Anthem receiver models. So I will primarily focus my comments on some of the features and design elements that were not covered so thoroughly by Robert.

Dropping down from the top of the line MRX 700 to the MRX 500 naturally means that you will see a lower power output rating (100 wpc versus 120 wpc). Anthem rates their receivers for stereo operation using the FTC method. The MRX 500 is rated to deliver 100 wpc continuous into 2 channels driving an 8 ohm load from 20 – 20k Hz at less than 0.1% THD (Total Harmonic Distortion). I remember when all amplifiers were rated this way. That was back in the halcyon days of stereo, before the multi-channel beasts started to roam the earth. Ahem, well, what this means is that the MRX 500 can be expected to produce useful power output into actual speaker loads.

Bear in mind that the power rating drops to 75 wpc continuous into 8 ohms with 5 channels driven continuously. No distortion measurement is given by Anthem in this case. In any event, it would be very rare that a receiver would be called upon to produce peak power to five or seven channels simultaneously. In day to day practice, I found that the MRX 500 had ample power output to drive a number of different speaker systems despite the wide range of sensitivity ratings of each and also considering my theater space is relatively large.

Here is a shot of the MRX 500 transformer and forced-air cooling fan.

The transformer design in the MRX 500 is an iron core EI transformer as opposed to the lower-noise torroidal design found in the MRX 700. There was no noticeable transformer hum in any of the auditioning I did with the Anthem MRX 500. Also, I bench tested the MRX 500 and the results were almost identical to the test plots that Robert Kozel posted in his review of the MRX 700, despite the different transformer designs. Clicking on this link will bring up the bench test results of the MRX 700 (Link).

This image shows the outlet side of the cooling tunnel. There are 2 large output devices for each channel of amplification. Also, unlike the sparsely populated cases of mass market receivers, the MRX 500 case is literally packed with goodness, contributing immensely to its mass and solid build quality.

The MRX 500 does not have HD radio or RDS as found in the MRX 700. There is old-school analog AM/FM as well as internet radio using vTuner for those who favor quantity over quality. I personally use internet radio only for background music. As with the MRX 700, the MRX 500’s internet radio is via Ethernet only, however you could run out and purchase a wireless bridge if you wish to connect to the internet via Wi-Fi.

The MRX 500 has a dual processor dsp circuit that includes the heralded Anthem Logic listening modes along with the full suite of Dolby and DTS modes. There are front and rear USB inputs for playing music libraries off your flash drives or external hard drives. Cover art, when available, is displayed on your TV during playback. The MRX 500 is compatible with the soon-to-be-released Anthem MDX 1 iPod dock via a proprietary rear-panel connection.

There are two things on the audio side that are not included – a phono stage and multi-channel analog inputs. I don’t see these omissions as a major problem in this day and age, but many prospective buyers may have an issue with the exclusion of either or both of these. I personally have an SACD player with good internal DAC’s that I did not use with the MRX 500. But my Oppo BDP 83 SE sounded great playing SACD’s through the MRX 500. For vinyl, I have a Parasound JC-3 phono preamp so I had no issues enjoying my vinyl collection during the review period.

The Anthem MRX 500 includes Dolby Volume which I do not use very often. Since the MRX 500 is not THX certified nor does it have Audyssey room correction there is no Dolby Loudness control/Dynamic EQ which I often use. And my family loves Dolby Loudness even though they don’t know that it is typically engaged on our system or that it even exists for that matter.

On vinyl and other stereo sources, I tried the Anthem Logic music mode, but preferred the Dolby Pro Logic II music mode due to its inclusion of the center speaker. This is due mostly to the wide spacing I use for the main speakers when I have plans to use my front projector. Consequently, I did adjust the DPL II panorama, dimension and center width controls and found that the MRX 500 had no on-screen adjustment for this. The adjustments must be done via the front panel display. This wasn’t a major issue, but it was not very convenient as the Anthem receiver sat in an enclosed cabinet at the back of my theater.

On the video side of things, the MRX 500 is 3d-ready. I have not made the leap to 3d (yet) so I was not able to test this capability for myself. This receiver has a single HDMI output on the rear panel. I like a second HDMI out whenever possible as the HDMI splitter I have sometimes doesn’t play nice with receivers. The MRX 500 does not have a front panel HDMI input. Front-panel HDMI inputs are useful primarily so that my kids can get a crack at playing video games on the big rig until I send them packing to their own rooms with their gaming rigs in tow.

The included Genesis Torino video processor didn’t pass all the tests run by Robert Kozel. In actual practice, though, I thought the subjective performance of the video section was more than passable and even bested a number of other receivers I’ve had in my system over the years. I could happily live with the video performance I saw. Bear in mind that I didn’t use any analog video sources and it is in the MRX series transcoding of analog to HDMI where many of the very rigorous bench tests fell short of a passing score.

Kudos goes to the sliding panel that hides/reveals the front-panel inputs. It slides this way and that to show or hide the connections. I like this so much more than the detachable little plastic covers that disappear after the first few uses only to turn up several months later when you move a bookcase and discover that they suffered the dismal fate of having become a chew toy for one of your free-ranging house pets.

The MRX 500 comes with the same pair of remotes as the MRX 700. One is a full-function backlit model and the other is a smaller non-backlit device for the second zone.

Setup of the Anthem MRX 500 7.1 A/V Receiver

The time has come to setup the MRX 500. Although it doesn’t have all the connectivity options some people would like, this does make for a refreshingly uncluttered back panel. It is particularly easy to read the labels on the various inputs and outputs. And, likewise, the spacing of the jacks is similarly wide enough to allow the use of premium connectors. Thank you, Anthem.

Now then, the pièce de résistance of the Anthem receiver line is the inclusion of a complete Anthem Room Correction (ARC) system. As with all Anthem ARC systems, the one included with the MRX receivers comes complete with a set up disc and a high quality USB electret condenser microphone with a serialized microphone compensation file on the disc. It also includes a decent quality boom-style microphone stand.

All you need to provide is a computer to run the set up system. The mic connects to an available USB jack while the computer communicates with the MRX 500 via an RS 232 serial connection. I used a tower with my display as the monitor. So the serial connection to the receiver worked flawlessly. If you want to use a laptop, you can get a serial to USB adapter at your local PC supply house.

This ARC system isn’t quite the same as the one Anthem builds into their Statement D2 or AVM 50v Preamp Processors. The ARC systems in the MRX receivers have less processing power than the systems included with Anthem’s separate Pre-Pros. Likewise, the correction range is from 5 kHz and down while the more expensive systems operate out to a limit of 20 kHz. Despite all that, I found the performance of the ARC system bundled with the Anthem MRX 500 to be much better than the common room correction systems that are included with a number of mass market receivers I have tried.

Running the ARC system is a little more intensive of an operation than running Audyssey or the proprietary systems from Pioneer, NAD, H/K, Yamaha, etc. but it provides so much more flexibility for custom controls and visualizing the results of your work. Unlike lesser systems, the ARC system nailed the crossover and level for every speaker system I tried. It doesn’t automatically set the distance due to the uncertainty over actual latency of the PC in use. You need to use a tape measure to manually set the distance of each speaker.

On the EQ side of things, I was impressed how closely ARC’s measurements of the speaker response corresponded with measurements I made using my reference speaker testing set up. It also provided very effective frequency smoothing in relation to the target curve. You can define your own custom target curves and you can tailor the bass management to movie or music listening. The preferred bass management is selectable by source in the set up menu.

The Anthem MRX 500 7.1 A/V Receiver In Use

I did not observe any subjective issues with HDMI video quality. All my video sources are HDMI and I don’t utilize a single analog video input anymore. In fact, I found the digital video switching of the Anthem MRX 500 to be superior to a number of the receivers that have passed through my system.

As I mentioned in the previous section, the Anthem MRX 500 had some issues communicating with my HDMI splitter. This is pretty typical of many of the receivers and processors I have tested. I generally ran the Anthem on “Through” mode for the most pure image. When I would try accessing the on-screen menus while in “Through” mode, the screen would blink a few times as the splitter confused the MRX 500 and eventually the screen would come back up without ever displaying the menu. I quickly learned how to change the video mode to “Auto” using the front panel display so I could access the on-screen menus. I switched back and forth between each video mode throughout the review period in order to access the menus as needed. This really was nothing more than a minor inconvenience in actual practice. (Anthem informed me that the latest firmware update should solve this problem. I was not able to test this upgrade, but it should be available by the time this review is published.)

A good test for the MRX 500 video switching was the engrossing Blu-ray of The Lincoln Lawyer. I thoroughly enjoyed this suspenseful, thought-provoking movie. The video quality of the transfer is a top tier effort. Both the interior and exterior shots are rendered with excellent detail with natural colors and skin tones. The film grain was also preserved on the Blu-ray. The MRX 500 did not appear to soften the image to any appreciable extent and I was in fact drawn more in to the experience due to the very solid picture.

The audio on The Lincoln Lawyer is no slouch, either. There was great bass response during the times it was called upon and this movie has many different environments – jail cells, houses, interrogation rooms, court rooms, etc. The MRX 500 captured the essence of each environment in a realistic, nuanced way.

A more “actiony” movie to test the Anthem MRX 500 was the Liam Neeson thriller, Unknown. In this movie, Neeson plays a biochemist who is in Berlin for a conference. He winds up in an accident and suffers amnesia. The plot unfolds as he tries to pull the pieces of his memory back together again. One very important point about Anthem processors and their receivers with ARC is that they have in my opinion the best bass response I can muster in my theater. People and reviewers probably don’t talk about this ARC quality enough. Whether it is a movie or music, Anthem’s products deliver the smoothest and best-defined bass I have ever heard in my system. And the MRX 500 is no exception. During the big chase scene in Unknown, the bass from the Anthem was so well integrated with the rest of the audio, I was simply blown away. My notes actually said “Whoa, Nellie”! This movie also had a number of scenes with very clean video that passed through the MRX 500 quite nicely.

I didn’t really enjoy The Lovely Bones very much at all. I found the story to be extremely saddening on so many levels. But it is a good point of discussion regarding the sound quality of the Anthem MRX 500 receiver. To begin with, the musical score by Brian Eno sets the tone of the movie and shows off the musical prowess of the MRX 500 quite handily. Starting with the bass again, it was pinpoint with the appropriate weight . . . it was not boomy or muddy in any way. The movie’s core audio theme involved bell sounds and the sound of jangly things. The jangly sounds were clearly contrived, but the sounds of bells were so believable through the Anthem MRX 500 that I had one of those experiences where I paused the movie because I thought I heard an actual phone ringing in the other room. The film transfer did tend to over-emphasize the sibilants in voices and the Anthem let that come through unvarnished as well.

I actually watched Robin Hood in 2.1-channel mode because I was evaluating a pair of mid-sized bookshelf speakers at the time. This was a great opportunity to showcase the Anthem MRX 500’s power output capabilities. But first, let’s talk about the video qualities. The video through the MRX 500 was about as detailed as I could have imagined. A little too detailed when you consider it revealed how clean the actors were in this movie. They are just a little too clean to appear the least bit authentic. That was the single most negative thing about this movie . . . it’s too Hollywood.

Besides that, there was a seamless transition in the sub crossover. The sound came through with a clean and airy treble. Plus, there was plenty of power on reserve for the battle sequences. Even in stereo, there was no hole in the middle while the ambience and environmental sounds were very lively. Finally, the orchestral score had good bloom and vocals floated in front of the screen. There was a very surprising scale with the music during the closing credits.

Now I’d like to run the Anthem MRX 500 through its paces on a couple of surround music selections. First up was the multi-channel SACD of Sir Colin Davis conducting the London Symphony Orchestra on Handel’s Messiah. There was a subjectively very low noise floor through the MRX 500. It was not quite the inkiest black that I can remember, but it was about as dark a grey as one could imagine. The soundstage reached into every corner of my room and emulated the actual performance space with a wide and airy extension. The MRX 500 also delivered plenty of power to render the macro dynamic peaks at levels consistent with a live performance. But the sound was nuanced as well and everything held together the same at lower volume settings. This benefitted from the low noise. The strings took on the organic, wooden quality that lesser amps might smear into a more homogeneous mass of sounds. I was very impressed by the MRX 500 here.

I closed out my critical listening sessions with the SACD of Bach Organ Works. Kari Vuola performs these works on the organ at the Naantali Convent Church in Finland. This is becoming one of my favorite recordings for listening tests of surround systems. The Anthem MRX 500 filled my room with an amazing surround bubble. The receiver traced the subtlest dynamic shadings and demonstrated excellent power capabilities in filling my large room to convincing levels. The MRX 500 created a continuous soundscape loaded with timbral detail. I once again found the bass response from the Anthem MRX 500 to be on a par with the best bass I’ve heard in my system ever. It blends so seamlessly with the satellites and its weight and tonality is as close to ideal as I have ever heard.

Conclusions about the Anthem MRX 500 7.1 A/V Receiver

I can’t remember being more impressed with a mid priced surround receiver than I was with the Anthem MRX 500. It has a top tier room correction system that is one of the most accomplished and flexible correction schemes on the market. It also comes complete with a calibrated mic and a quality mic stand.

As far as the power output capabilities are concerned, this receiver drove a wide variety of speaker systems to satisfying levels without any obvious signs of strain. The MRX 500 doesn’t have every conceivable bell and whistle in the universe, but Anthem’s engineers smartly committed their resources into enhancing the quality of the essentials while throwing in a generous helping of useful creature comforts. For my part, I’ll take the Anthem’s smooth and confident sound, substantial build quality and clean, well-integrated bass any day of the week. Do yourself a favor and audition an Anthem MRX 500 before making a decision on any receiver. You may find that the Anthem MRX 500 has everything you need and everything you want.

 Anthem is a company that is well-known in audiophile circles for cost-no-object separates and excellent separate power amplifiers. Anthem is the parent company to Paradigm, whose Studio 20 v.3 monitors were used in conjunction with the Anthem seven-channel MRX 300 AV receiver for this review. I always assume that companies who manufacture both receivers and speakers design them to work with each other. This may or may not always be the case but the two were a good match for power handling and voicing.

ANTHEM MRX 300 RECEIVER SPECIFICATIONS

Design and Setup of the Anthem MRX 300 Receiver

First of all, I should say that this receiver has a very easy setup procedure. It defaults to HDMI video output and prompts you through a few simple questions to help it get acclimated to your preferences, sources, number of speakers, sub, etc. I never experienced any HDMI handshake problems and there is no audible clicking when changing inputs. This would seem like a no-brainer but there are more expensive receivers that still have no mastered this feat, and I do not take it for granted (and I would not purchase one that had these problems).

One benefit to buying this $999 receiver is that Anthem includes its proprietary ARC setup kit (usually sells separately for $329-$399 since early 2008, and $420 as of November 2011), which comes in a separate box and includes a professional grade tripod mic stand, mic, usb cable. Mine was shipped with a Tripp-lite serial to USB adaptor, which the company sells for a small extra fee (I think this should be included if it’s necessary to fully utilize the receiver’s biggest feature) I’ll say up front that I almost majored in computer science in college and this was the most complex, counterintuitive auto-setups that I’ve ever used. My family only uses Apple computers and as the ARC software was only written for PC, I had to borrow one just to run the ARC (in their defense, I was informed that ARC will run on Bootcamp equipped Intel based Macs).

Anyway, I got an error message early on stating that the ARC software couldn’t detect an Anthem processor. Turns out that the Tripp-lite serial-USB converter didn’t ship with Windows 7 drivers. So, I got on the Internet to download those, and, while I was on, got the most recent firmware and ARC updates from the Anthem site (make sure the serial and USB cables stay tight, if they wiggle off just a little, you’ll get a “no processor detected” msg. as well). Updating the firmware is an unusually lengthy process, about 30-40 minutes after you get everything hooked up.  The firmware I used was v.50.12 and fixed a bug with the receiver passing through a 3D signal from satellite, as well as some HDMI control problems. The firmware update was very beneficial though I’d like to see this process made easier by connecting the receiver to an Ethernet connection and letting it do the update itself.

There’s a very good screenshot walkthrough in our MRX 700 review here:http://www.hometheaterhifi.com/receivers/1354-anthem-mrx-700-71-av-receiver.html?start=2

The ARC is similar, but much more complex, to other room correction systems such as Audyssey Multi EQ that I have on my Denon ARV-2909. It requires a minimum of 5 room measurements at least 2 ft apart and 10 maximum. It also allows you to choose which speakers are being calibrated and lets you calibrate different ones for music modes. The Audyssey software simply calibrates whichever speakers are hooked up. I preferred the ARC partially because I run 5.1 in my living room and my surround back speakers to the patio and this always throws Audyssey for a loop (tries to turn them up because they’re so quiet, being outside). With ARC, you can just tell it to disregard any certain speakers you want. ARC feels like a much higher end room setup, but I’d try to talk your Anthem dealer into coming out to your house and running through the setup for you (it would really save you some time).

I also found out the hard way that DirectTV doesn’t play well with Anthem devices. First, I’m using my DTV remote to control the other components in my HT, but not the Anthem (I called Anthem and DTV both and it turns out DTV just hasn’t gotten around to programming Anthems codes…well, its time!) Second, since Directs HD box isn’t fully HDMI 1.4 compliant, it doesn’t play well with any devices that are and it won’t pass 3D through the Anthem to my TV, though 3D blu-rays worked fine as that bypasses the satellite box. During my time with the receiver, Anthem developed a firmware update that tricks the satellite box into working (it also enables HDMI control of the Anthem receiver with the satellite remote).

The remote is backlit but the light button is painted black and is impossible to see in the near dark plus its right in the middle of a bunch of other buttons, which makes it even harder to locate. Manufacturers need to start making the light button out of glow in the dark material or at least place it way over by itself where it can be easily located in the dark. Anthem does provide a zone 2 remote with only basic controls but this remote isn’t RF and has to have a line of sight so it’s not really that useful for a separate room (plus it cannot control the receiver’s zone 1-main controls).

Anthem MRX 300 Receiver In Use

I listened to the receiver for several weeks before running the ARC. Generally speaking, the ARC’s effects are fairly subtle. It produces a tighter image with better, flatter midbass vs. the uncorrected receiver’s sound, though not night and day. In all, I felt the ARC was an improvement so I left it on for all of my listening comments below. I’ve recently transitioned most all of my music to my Mac as lossless AAC and ALAC files so I can take advantage of the Mac interface and remote app (allowing any iPhone to control the digitized music through the home theater). I’ve recently invested in an asynchronous USB-DAC converter made by HRT (Streamer II+).  Generally speaking, the DACs in the Anthem receiver are a little less focused and relaxed sounding than the HRT. The Anthem’s internal DAC is warmer and it definitely sounds a little more analogue as it’s a bit more relaxed in the highs-pretty sure it is rolling off the extreme highs, but it’s a pleasant sound. The HRT DAC is much less likely to hide a bad recording and can almost be edgy at times (though not at moderate volumes).

Adele- 19 (CD) and 21 (CD) –

On “Melt My Heart to Stone” the bass drum strikes were more solid and controlled than I remember it being (with ARC on and calibrated without my sub, Studio 20’s running full range, in stereo). In addition, at the end of her sentences I could hear Adele running out of breath, much the same as can be heard on Louis Armstrong recordings. On “Take it All” the piano decay is very realistic and the instruments can be localized. I A-B’d the HRT vs. the Anthem’s DAC and found the Anthem to be just a bit softer sounding, though instruments were even more localized. The HRT resolved more detail and the soundstage was much wider though the instruments were a little more mixed into each other. The backup singers on this track really give the opportunity to tell whether a component can separate instruments (vocals) in space and the Anthem did this very well.

Eddie Vedder-Music from the motion picture Into The Wild-“Hard Sun” has everything from kick drum, tambourine, maracas, electric guitar and excellent male vocals…the harder I pushed it, it only got louder (still clean, not compressed).

Tracy Chapman-Telling Stories (song by the same name) just sounds correct through the Anthem, especially with the ARC engaged. Admittedly it’s a little more “clubby” with it off (more mid-bass bump) but it sounds like the ballad it is, and more like she’s in the room with you than any other time I remember hearing it.

I Am Number Four-The introduction sound effects were very realistic, with very good directional cues, excellent subtle effects, very dynamic sound and the subsequent chase scene left little to be desired from any surround receiver. Male dialogue was well anchored and very detailed without being muddy. The soundtrack for this movie includes Adele, Zac Brown, Kings of Leon, Jimmy Eat World, Beck, The Xx and others. This movie is mixed a little differently than most. Instead of laying dialogue over its soundtrack almost all of the songs on the soundtrack enjoy the spotlight for 30 or so seconds while it plays. It’s quite the demo disc for evaluating a home theater receiver, speakers, sub, etc.

During my time with the receiver I acquired an Emotiva UPA-7-7 channel separate power amplifier which outputs a true 120 Watts X 7 channels (with all channels driven). I connected this to the Anthem to see if I could better its sound or power output. The sound of the amp inside the Anthem was just as dynamic and forceful, but no more so. The Emotiva didn’t seem quite as detailed as the amplifier section inside the Anthem receiver.  Another reason some prefer separate power amps is due to the reduction in noise floor. In my listening, I was able to discern no noticeable difference between the setups. This is to be expected, but not taken for granted, as Anthem has been designing preamp/amps for a long time and knows the importance of isolating circuits from each other. In my 15X20X8 multi-purpose room the amps inside the Anthem receiver gave me all the power I could want without needing a separate power amp, your mileage may vary.  In short, the only reason I would ever consider adding an external amplifier would be for incredibly difficult loads to drive like possibly an electrostat. Even then, you’d want to go for a much higher power rated unit.

Other points-

The main drawbacks to saving money on the higher end Anthem models with this one is that you only get 1 HDMI output (only 4 in), lose USB input ability for music, lose network functionality such as Pandora, Netflix, internet radio stations, etc., and get a much less power amplifier. Initially, I though these missing options would be a deal breaker for many considering a this receiver against other $1000 competitors, almost all of which offer these feature and more. The more I used the receiver and thought about which options were absent the more I realized how smart the Anthem design team was in only cutting options that could be performed by other equipment you most likely already own (or can easily work around).

For instance, if you have a front projector and need a second HDMI output, an HDMI splitter can be acquired for around $50. Outboard DACs are becoming increasingly popular and much less expensive recently. Most now include asynchronous USB so you can pipe the music straight from your computer to your receiver (this would almost eliminate the need for a USB port on the receiver). If network features are important to you, almost any good blu-ray player these days includes many more internet features than most any receiver, and most have USB inputs (some eSATA ports for inputting movies from external hard drives) for bringing music in from a thumb drive or other USB device. If you have a large room and like it really loud or have a heavy load to drive, Anthem has you covered as they’ve included 7.1 pre-amp outputs for running a separate power amplifier. For this review switched back and forth between Anthems amps and an Emotiva UPA-7 which runs 120 watts/channel with all channels driven (which is more all out power than the twice-the-price MRX 700 probably provides). I confirmed with Anthem’s engineers that all Anthem receivers (MRX 300/500/700) share the same DACs, video processors and chipsets (though they were reluctant to share model numbers due to how big a deal is made of these…the implementation is arguably more important). All together, I see now that Anthem made some good decisions on which options to cut to bring the price of this AVR down.

Conclusions About the Anthem MRX 300 Receiver

I went into this review expecting a lot. Though it’s not the most expensive receiver I’ve ever reviewed it does come from a company with racehorse pedigree, so I expected it to be everything a receiver could be, which it did not appear to be, at first glance. What it is, though, is a really strong offering with no unforgiveable drawbacks. It offers a sort of different approach to HT by cutting back only on options that can be had in other components or added later. (DACs, video processors, power amps, etc.) If the feature set is robust enough for you, and the amplifier power enough, you should definitely find an Anthem dealer and audition this one.

Best Product Awards for 2011

The SECRETS Editorial Team is pleased to announce the Best of 2011 Awards. This year we have added a new Media Category for 3D Movies, in addition to Blu-ray, CD and Vinyl Recordings. And this year we have two products winning the “BAD ASS” Award,  and one Media “BAD ASS” for Audio. This year the Editorial Team is highlighting two technology areas for particular attention in 2012, so be sure to check out the ”Technologies on the Rise Awards”.

Congratulations to all of our 2011 WINNERS!!

 Bad Ass Awards for 2011

In addition to our product Bad Ass Awards, we have added a Media Audio Bad Ass Award for 2011.

Best Media Awards for 2011

 This year we have added a Best of Award for 3D Movies along with our Blu-ray, CD and Vinyl awards.

Technologies on the Rise

Technologies on the rise: Digital Audio

There was a spirited discussion among the Secrets Editorial staff as we worked to frame an award around the ongoing development of digital audio. Most of us agreed that the reproduced sound quality of digital sources continues to advance. The pace of progress in sound quality unfolds in fits and starts with the next major advances most likely taking place on the software side.

Meanwhile, high resolution audio is on the rise with more access and availability than ever before. It doesn’t really matter whether you choose to get your high resolution music through physical media, downloads or through streaming. They can all be very good. And with any of these sources, control is in the hands of the user. This is not a “push” technology like traditional radio or television.

But it doesn’t stop there. Current research and development on micro transistor architecture holds the promise of chips that will be smaller and faster with lower power demands than ever.   Combine this with advances in Class D amplifier technology and one can expect more powerful and higher quality digital audio devices in the future.

There are lingering concerns about the future commercial viability of high resolution audio. These concerns center on the uncertainty of upcoming copy protection demands of the major labels and that a majority of consumers are still perfectly happy with the sound of their MP3’s.

The Award Summary Statement…..

“High resolution music delivery is at an inflection point with enhanced quality, more variety, improved networking and component miniaturization.” 

It looks like we are entering a brave new era of digital audio with a bright and exciting future.

Technologies on the Rise: Room-correction systems with PC control in the hands of the consumer

DSP-based room-correction filter coefficients are determined from microphone measurements during calibration. The ability of the room-correction system to enhance the sound of the system is heavily influenced by the quality of the algorithms that calculate the filter coefficients; these algorithms often represent 90% of the development time of the best products.

Computing the model’s coefficients has typically fallen to a DSP chip on board the AVR. The DSP is designed for real-time signal processing, making it ideal for the signal processing aspect of this application. The DSP, however, falls short when tasked with off-line computations. To circumvent this issue, room-correction algorithms have often been deliberately simplified, thereby sacrificing the quality of the model’s parameters for the sake of compute speed.

A PC is better suited to calculate the model’s coefficients. In turn, as algorithms are improved, all that is required is a software update. The coefficients calculated by the PC are transferred to the AVR so the DSP can go about the work it was designed to do. The PC to AVR interface also transfers test tones produced by the speaker during calibration. Newer AVRs, with more powerful DSPs, perhaps from a different silicon supplier, are capable of more accurate real-time filter computations. Only minor changes must be made to the PC software to ensure compatibility. Time to market of the next generation systems is accelerated compared with an AVR that does not port calculations to a PC.

Visualization is a second advantage of the PC-based systems. For example, the PC can display frequency response data (before and after correction) and may offer numerous control options such as the ability to control the shape of the corrected frequency response (flat is often not optimal) and the ability to limit the frequency range that the system corrects.

Access to the PC software had been the sole domain of third-party installers. Anthem has broken this model, offering its best PC software on all products although higher priced Anthem Pre/Pros have more DSP computational power. Anthem provides a calibrated USB microphone, making practical PC-based room correction by the consumer. The need for analog mic cables, external microphone preamps, and ADCs has been eliminated. With the program in the hands of the consumer, there is significantly more time to listen and adjust in an iterative fashion

The Anthem system uniquely takes advantage of the PC to permit the user to optimize speaker placement and listening seat position. A real-time display of the room response updates continuously. One seeks to minimize response variations before correction to achieve better post correction results. Installers have separate expensive equipment to do this.

The AVR/PC interface is the first step towards shoe-horning the complete room correction into the PC for a computer-based music system. Modern PC microprocessors can handle real-time DSP computations. These systems are evolving rapidly, but they are not far enough along to approach the performance and ease of use currently offered in the Anthem PC / AVR system. Applications are limited to the space where AVR functionality is not required.