2022-08-01 Sound & Vision

VANISHING ACT ALL-IN-ONE ATMOS


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• To unignorably do its job when the pluck of a bass guitar or a giant’s footstep is supposed to
rumble your soul.



Subwoofers with “always-on” bass presence often can’t fulfill either of these all-important mandates.

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Most power products lower the performance by always improving the performance of
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insurance policy with a bunch of outlets. They powered speakers, TV, etc.
shout “protection is priceless!”
Our exceptional understanding of Radio-
Not true! Inadequate partial protection is dirt Frequency Noise informs our multiple Noise-


cheap, while totally effective non-sacrificial Dissipation and Noise-Filtering technologies
surge suppression costs about $50. But, Non- — incredible in the $249.95 PQ-2, even better
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VOLUME 87, NUMBER 5















































































contents features








TALKING HIGH
DYNAMIC
22 RANGE 24 THE ATMOS BRANCH

Bill Mandel, head of the Visual Solutions Lab at Porcupine Tree returns a er a decade-long hiatus to
Samsung Research America and co-manager deliver a career benchmark, Closure/Continuation.
at HDR10+ Technologies, provides an update All three bandmembers give us the scoop on how it
on the Samsung/Panasonic-backed HDR10+ all took root, and Steven Wilson takes us inside the
high dynamic range format. making of the album’s truly stunning Dolby Atmos mix.



On the Cover Clockwise from top: Monolith by Monoprice turntable (p. 54), LG 65G2PUA OLED Ultra HDTV (p. 36), Marantz Model 40n streaming amplifier
(p. 50), Epson LS12000 laser LCD projector (p. 28), Sudio E2 noise-canceling wireless earbuds (p. 13), Trinnov Amplitude16 amplifier (p.62).




[
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4 August September 2022 soundandvision.com

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VOLUME 87, NUMBER 5






72
ELTON JOHN:
MADMAN ACROSS
THE WATER—50TH
ANNIVERSARY ED.
This 1971 masterpiece is celebrated
with vinyl, CD, and Blu-ray releases
plus copious bonus material,
including alternate takes, ou akes,
piano demos, and of-era live
performances.

departments


8 TRACK ONE
Shifting gears.
12 LETTERS
Challenging S&V’s projector and
subwoofer testing plus more Roon
revelations.
13 WIDE ANGLE
Quick Take: Sudio E2 wireless
earbuds with Dirac processing.

columns


14 SIGNALS
Freedom matters: Sony Pictures
takes on the Chinese censors.

16 STREAM ON
Mike Mettler revisits the concert
streaming site nugs.net.













contents test reports


18 THE CONNECTED LIFE
How to make that massive
projection screen disappear.
28 EPSON LS12000 LASER PROJECTOR
20 Q&A
32 PRIMARE A35.8 POWER AMP
What’s it take to upgrade to
36 LG 65G2PUA 4K OLED ULTRA HDTV
Auro-3D surround and set up
an old AVR for streaming?
40 ELITE KESTREL MOTORIZED SCREEN
66 ENTERTAINMENT
44 B&W PANORAMA 3 ATMOS SOUNDBAR
The Batman, The Northman,
The Unbearable Weight of Massive
50 MARANTZ MODEL 40N STREAMING
INTEGRATED AMP Talent, The Untouchables, Shaft, Elton John and Bernie Taupin courtesy UMe.
Fistful of Dollars, Licorice Pizza,
54 MONOPRICE MONOLITH TURNTABLE
1776, True Romance.
74 REMASTER CLASS
58 JBL SYNTHESIS SDR-38 A/V RECEIVER
Black Sabbath: Paranoid
62 TRINNOV AMPLITUDE16 POWER AMP
[
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6 August September 2022 soundandvision.com



On The Web Log on to soundandvision.com and sign up for our free monthly enewsle er.
You’ll get exclusive tips, news, trends, and reviews from your favorite S&V writers.






















Customer
Service and Shifting Gears
Subscriptions
soundandvision@email-
customerservice.com AS WE WERE gearing up to produce this issue, my long-time colleague Al Griffin announced he was leaving Sound & Vision to
pursue a new opportunity and asked if I would consider taking up the reins. I was honored and, a er some discussion with the
Call (800) 666-3746
or write to: management team at AVTech Media, agreed to serve as interim editor for this issue. This is my second time around as editor of
S&V, the magazine I helped launch 23 years ago and have been affiliated with as editor at large for the past decade.
Sound & Vision,
P.O. Box 420235, Shepherding this issue through the production cycle brought back fond memories of working with the magazine’s original
Palm Coast, FL staff and contributors, many of whom still write for us. Ken Pohlmann and Dan Kumin have been with S&V from Day 1 and were
32142-0235 regular contributors to our predecessor, Stereo Review, and John Sciacca has been in the mix for 20 years. This elite list also
Please include your includes our current music editor Mike Me ler and contributing technical editor Rob Sabin—each of whom have served in
full name, address, various capacities over the years, including editor-in-chief—and, of course, Al Griffin, who was one of the magazine’s first
and phone number senior editors and played a key role in se ing up our original TV testing facility.
on any inquiries.
Over the past four years, Al has done an outstanding job as editor of Sound & Vision and will be missed by readers and S&V
staffers alike. I wish him all the best as he starts a new chapter in his career and have no doubt that he will thrive in his new role.
I wish I could take credit for the stellar lineup in this issue but, truth be told, Al had already mapped out most of the content
before he handed over the keys, including his review of a motorized projection screen from Elite that rises up from an unas-
suming case that sits on the floor and then disappears when it’s not in use. If you like the idea of a 100-inch screen you can
summon on command, turn to page 40. And for anyone who’s looking to upgrade to a new TV or video projector, we have
in-depth reports on two options. The first is LG’s G2 evo/Gallery Edition 4K OLED TV (page 36), which garnered a 5-star
performance rating for reaching new heights in brightness and delivering an overall outstanding picture. The second is
Epson’s new laser-based LS12000 projector (page 28), which offers admirable near-4K performance for $5,000.
On the audio side, we’re proud to present a mix of gear that includes a budget turntable from accessory-maker-turned-
A/V-powerhouse Monoprice at one end of the spectrum (page 54) and Trinnov’s 16-channel beast of an amplifier on the
other (page 62). If 16 channels of bridgeable class-D power is more than you need, don’t miss Dan Kumin’s review of the
outstanding A35.8 eight-channel amplifier from Sweden’s Primare on page 32. Within these pages you’ll also find our usual
detailed reports on products from three classic brands: an all-in-one Atmos-enabled soundbar from Bowers & Wilkins (page
44), a super high-end A/V receiver from JBL Synthesis (page 58), and an intriguing streaming amplifier from Marantz (page
50). I hope you enjoy the issue. It's been fun pulling it together.—BOB ANKOSKO


MOVIES AND MUSIC APLENTY

What’s the point of owning great gear if you don’t have great
content? There is none, of course, which is why I call to your
attention Mike Mettler’s revealing behind-the-scenes look at
how Steven Wilson and his bandmates used Dolby Atmos to
create a 360-degree soundscape for Porcupine Tree’s new
album, Closure / Continuation (page 24). Mike also delves into
two iconic albums from the early 1970s—Elton John’s Madman
Across the Water (page 72) and Black Sabbath’s Paranoid
(page 74)—world’s apart but each brilliant in its own way.
Not to be outdone, movies editor Chris Chiarella has
come up with a wonderfully eclectic mix of reviews that
runs the gamut from the new Ultra HD Blu-ray releases
The Batman and The Northman to a series of memorable
classics, including the Clint Eastwood spaghetti western
A Fistful of Dollars and 1971’s Shaft, featuring the soulful
Isaac Hayes-backed soundtrack. The Entertainment
section begins on page 66.—B.A.





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8 August September 2022 soundandvision.com

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August/September 2022 Volume 87/Number 5


®
Fathom IWS ACTING EDITOR: Bob Ankosko

In-Wall Subwoofer Systems SENIOR EDITOR, TECHNICAL EDITOR: Tom Norton
CONTRIBUTING TECHNICAL EDITORS: Kris Deering, Barb Gonzalez, Al Griffin,
Michael P. Hamilton, Howard Kneller, Daniel Kumin, Rob Sabin, John Sciacca,
Michael Trei, David Vaughn
CONTRIBUTORS: Michael Antonoff, Brandon A. DuHamel, Ma Hurwitz,
Roger Kanno, Josef Krebs, Ken C. Pohlmann, Leslie Shapiro, Stewart Wolpin
MUSIC EDITOR: Mike Me ler
MOVIES EDITOR: Chris Chiarella

TECHNICAL ART DIRECTOR WEB MONKEY
CONSULTANT Jeremy Moyler Jon Iverson
Joel Silver,
Imaging Science
Foundation



AVTech Media Americas Inc
EDITORIAL DIRECTOR Paul Miller
FINANCE DIRECTOR Owen Davies


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size might be overwhelmed by the result, with a
possible negative impact on the review.
letters

Roon Revelation
A er reading both your review (“Roon
Demystified,” April/May) and comments by other
Go Big or Go Home readers, there is still a ton of information about
When I see a review of a projector with a screen smaller than 100 inches (diagonal), I scratch my head Roon new users could benefit from. I want to
and say, “What’s the point?” You recently reviewed a Sony VPL-VW325ES with a 92-inch screen (April/ comment on the issue raised by Jon Johnson
May). I’m sure it was bright and looked great. But if you’re using a screen that small in this day and (Le ers, June/July): playing multichannel SACDs
age, why buy a projector? It offers nothing that you can’t get in a flat-panel display. It’s like reviewing a and DSD files. I ripped all my SACDs in both
Ferrari and using it to pick up groceries at the local market. It’ll get you there quickly and hold enough 2 and 5.1 channels and was frustrated that I
groceries for two, but that’s not what it was designed for. I would think the minimum screen size for couldn’t use Roon to play the files, so I tried
a review should be 110-120 inches, especially with some of the newer laser light sources. No one is something new. I used a Roon NUC (Intel Core
building custom theaters for such a small screen today. i7-10710U, or NUC10i7FNH1) as a core and
Brian Wiklem / via email connected it to my Anthem AVM 70 processor.
Anthem does not support DSD but Roon core
Technical editor Tom Norton replies: We live in an era in which large screen sizes are now available on can convert to PCM. It works like a champ.
flat-panel TVs at prices far lower than we might have imagined five years ago. At their maximum sizes Brian Fi erman / via email
they’re beginning to challenge smaller projection setups. You can buy a top-of-the-line 85-inch
(diagonal) LCD/LED, or an 83-inch OLED, for around $5,500. Howard Kneller, author of “Roon Demystified”
While it’s true you can get a brighter, punchier image from a flat-screen TV than any projector chimes in: Playing SACDs on a compatible disc
selling in the same price range, if your 80- or 90-inch projection screen is already installed, and the player is a straightforward proposition but with
room isn’t suitable for anything larger, a new 4K projector may well be a viable upgrade—and the many components playing DSD content can get
projector can be mated with a larger screen at a later time if desired. A smaller projection screen will complex. As you seem to have discovered, Roon
also give you a shot at ge ing be er results with high dynamic range (HDR) sources, as smaller is one of the few so ware products that converts
screens always produce higher brightness (given the same screen gain). DSD to PCM on the fly. It sounds like you are on
At Sound & Vision we don’t require our reviewers to use a standard screen size. Reviewers select a the right path. Happy listening and thanks for
screen size based on their individual situation, taking into account room size, viewing distance, and writing in!
preference. Some like si ing in the front row in a movie theater, while others prefer a seat further back.
If we required all reviewers to use a screen size that simulates a front-row theater experience (say, Big, Bad Bass
140-inches diagonal, or about 10-feet wide for a 1.78:1 screen), reviewers preferring a more modest In his review of the Monoprice 13-inch THX
subwoofer (June/July 2022) Mr. Kumin stated,
“It’s the most capable subwoofer I’ve ever
enjoyed, and by a pre y wide margin,” yet he
never mentioned what he was comparing it
to. By noting that the sub lacks a remote and
any sort of room correction, a mention of any
SVS sub would have been reasonable. And
when ordering products over a certain weight,
I think a comparison of customer service is
also warranted. It’s a good sub, but Monoprice
customer service can’t hold a candle to SVS.
Jim Helman / Montverde, FL


Daniel Kumin replies: Mr. Helman raises a point
regarding comparisons in equipment reviews.
Freestanding reviews, by nature, are just that:
free standing. If, as an extreme example, we tried
to hold every two-way bookshelf speaker we
review up against every other similar design we
have examined, a year’s worth of issues, cover to
cover, would not suffice. In the case of the
Monoprice subwoofer, I was using my experi-
ence of testing over many years and in the same
room numerous 12- to 15-inch subwoofers—
including models from SVS, Hsu Research,
Definitive Technology, JL Audio, and many
others—as a baseline, from which I concluded
its excellence. As for EQ and room-correction, I
was careful to note the lack thereof in the context
of the Monoprice’s value proposition, which I
nevertheless judged to be outstanding. Finally,
as useful as comparisons of real-world customer
service might be, that is simply not practical
given our relatively short editorial cycles.

[
[
12 August September 2022 soundandvision.com

wide
angle quick take BY BOB ANKOSKO AT A
GLANCE


Sudio E2 Noise-Canceling Good overall


sound quality
Wireless Earbuds Dirac Virtuo
improves and
expands the sound
We get pitched on new “true wireless earbuds” every few days from brands we know source and was rewarded with warm, Super comfortable
and don’t know. In a sea of sameness, it’s a category that begs for differentiation full-bodied sound and absolute for long listening
so our ears perked up when Dirac, the Swedish company known for its high level comfort, even a er hours of listening. I
of expertise in audio processing, reached out with an offer to review earbuds from remained impressed whether I was
Sudio, a Swedish brand we never heard of. Turns out the Sudio E2 earphones are chillin’ to the laid-back vibe of Beck’s App operation
among the first to include Dirac Virtuo, a new type of spatial processing that aims to “Morning” (Morning Phase, 2014) with is glitchy
create “an immersive sound experience with enhanced sound quality.” its rich acoustic guitar and glockenspiel
accents, digging the soulful groove and RATING
Features and Setup the other EQ presets but liked being brilliant Hammond organ flourishes on
PERFORMANCE
The E2 earbuds look ordinary and, apart able to create custom se ings and “Hear My Dear” from the Tedeschi
from Virtuo, offer a fairly common set tweak the bass and treble. The app Trucks Band’s new album I Am The
of features that includes active noise is easy to use, though I found it to be Moon: I. Crescent, or rocking out to the FEATURES
cancellation (ANC), a charging case with quirky. The onscreen ANC control panel Red Hot Chili Peppers doing their best
a magnetic lid, and IPX4-level resistance didn’t work when music was playing Weezer impression on “Nerve Flip” COMFORT
to rain, sweat, and even direct splashes. and playback would spu er when the (Unlimited Love, 2022). At times, I
Wireless connections are made through app lost its connection and had to be longed for a touch more sparkle at the VALUE
Bluetooth 5.2 and the E2 uses six micro- reconnected. top end or a tad less (upper) bass so
phones—three per earbud—to handle Ba ery life is rated for up to 6.5 hours having an equalizer came in handy.
calls and suppress noise. on a single charge, 5.5 hours with Virtuo Zeroing in on Dirac’s Virtuo, I quickly SPECS
Feedback and feedforward ANC with processing engaged, and 4.4 hours learned that Virtuo makes everything
Type: True
a microphone on the inside and outside with Virtuo and ANC switched on plus sound be er and expands the sound- wireless earbuds
of each earbud is used to reduce noise another 20 to 30 hours using the case stage in subtle but noticeable ways.
Driver diameter:
across a “wider [than usual] range of to recharge the ’buds. Although I didn’t The sound is clearer, be er defined and
0.4 in (10 mm)
frequencies.” You can turn ANC on and keep perfect score, these numbers are balanced, and more open and spacious.
Rated battery
off and activate a Transparency mode in the ballpark of what I experienced. On some tracks, like The Everly Brothers
life: Up to 6.5
that is effective at allowing ambient singing “Autumn Leaves” (Instant Party,
sound to come through when you need Performance 1961), the effect is striking as hard- hours, 5.5 hours
(Virtuo on), 4.4
to be aware of your surroundings. Two I used the Sudio E2 earbuds on and off panned piano flourishes and acoustic
hours (Virtuo and
of the six microphones are reserved for for several weeks, listening to a diverse guitar solos move up and out, creating ANC on); 20+
phone calls and work with Sudio’s Vivid- range of music around the house, out in a more spacious feel. I didn’t have a hours with
Voice beamforming technology, which the yard, while biking, and in the car. I chance to test out the noise cancellation charging case
filters out ambient sound to ensure clear tapped Tidal (HiFi Plus) for all of my in an airplane but the E2s did a respect- Accessories:
voice communication. It works well. listening to ensure a high-quality audio able job lowering the roar of wind Charging case,
Controlling the E2 earbuds by touch noise and rumble of a passing USB-C cable, four
is pre y straightforward once you get Harley while driving 65 mph (as ear tips
the hang of the tap/touch-and-press a passenger) on New Jersey's Weight: 0.17 oz.
method used play/pause/skip tracks, Garden State Parkway. (each earbud),
turn on the Virtuo processing, cycle 1.8 oz. (earbuds
through ANC modes (On/Off/ Conclusion with case)
Transparency), and more. You The Sudio E2 wireless earbuds Price: $129
also have the option of using have a secret weapon that sets
the Sudio Personal Sound app them apart from dozens of seem-
THE VERDICT
to control the earbuds with the ingly similar earbuds, making
bonus of an equalizer offering them an excellent choice for Dirac’s Virtuo
six presets, the ability to create on-the-go music lovers who value processing makes
custom EQ curves, and a sound quality. In addition to active the affordable
Personal Sound Profile mode noise cancellation, you get an and already good
that generates a curve based on app-based equalizer and Dirac’s sounding Sudio E2
your hearing acuity. excellent Virtuo processing, which earbuds sound
Except for Balanced (flat), makes an already good set of even better.
which I used for most of my earphones sound even be er—all
listening, I wasn’t too keen on at a price that is reasonable. sudio.com

[
soundandvision.com 13

wide
angle signals




Sony, Spider-Man,



and the Statue


of Liberty



BY KEN C. POHLMANN Liberty. To avoid any spoilers, I will 1950’s Adventures of Superman TV
simply say that the statue is fairly show. You might fondly remember
Spider-Man is a comic-book character that was created in 1962. The inau- obscured, perhaps as a precaution actor George Reeves, hands on
gural issue sold for 12 cents. Sony Pictures, which now owns the screen on the part of the filmmakers to hips, standing proudly before the
rights to the character, decided not to release the latest Spider-Man movie avoid precisely this kind of censor- Stars and Stripes. Yes, Lady Liberty
in the world’s biggest movie market. That decision might cost Sony as ship problem. Deleting the statue is a symbol of national pride. On the
much as $340 million. entirely, as the censors may have other hand, would American social-
wished, would have been impos- media censors object to scenes
Why on earth would Sony do of perceived patriotic connota- sible, or at least cost-prohibitive showing The Great Wall of China?
such a thing? Spider-Man: No Way tions. Sony refused. Perhaps as in terms of CGI. At most, perhaps The more interesting question
Home cost hundreds of millions an accommodation, authorities sections of many shots could is how American movie studios will
of dollars to make and to market, then reportedly asked for more have been blurred or dimmed—a respond to the rules that Chinese
and I am guessing Sony would subtle changes; in particular, it clumsy solution. There is one brief, censors impose. Imagine that
appreciate a certain ROI (Return would be acceptable to partially final “beauty” shot of the statue you are a Hollywood executive.
on Investment). Yes, the film obscure otherwise clear images of which is probably the visual that You are well aware of the financial
has already grossed $1.9 billion the statue. A er deliberation, Sony was most egregious to the censors. losses that Marvel and Sony have
and counting, was the highest- declined to make any changes, While the other statue shots would incurred on this and other films.
grossing film of 2021, and is the and thus the film will not be shown have been difficult or impossible to A screenplay comes across your
sixth-highest-grossing film of all in China. Various sources estimate work around, this one, the one that desk and it is brilliant. But it has
time. But still—why walk away from that Sony will lose anywhere from most obviously could be construed a scene that is very American,
those extra hundreds of millions? $170 million to $340 million. as being patriotic, would have been very patriot. Would you ask the
As you might guess, the reason has This kind of censorship is easy to cut and perhaps that would screenwriter to alter the scene? In
to do with China. anathema to most Americans; most have given Sony permission to other words, would you make the
As you might also guess, the of us view freedom of speech as a release the film in China. movie as wri en or preemptively
reason is censorship. Receiving bedrock principle. But the rules are You might recall that this is not bow to censorship?
permission to show a movie in different in China. If the government the first time that a Marvel movie Before you answer, consider that
China is hardly a fait accompli. objects to a movie’s content, it can has run afoul of Chinese censors. Superman’s mo o, “Truth, Justice,
In this case, reportedly, Chinese deny its entry into theaters. It is Eternals, Shang-Chi and the Legend and the American Way,” was
authorities did not approve of the important to note that some studios of the Ten Rings, and Venom: Let recently changed to “Truth, Justice,
film’s finale. In particular, the final willingly edit their movies so they There Be Carnage were also not and a Be er Tomorrow.” Acknowl-
extended scene takes place on and can be shown in China. approved for release in China. And, edgment of the global appeal of the
around the Statue of Liberty. Appar- In the interests of actual jour- it appears that Doctor Strange in character, or self-censorship? You
ently, Chinese censors initially nalism, I watched Spider-Man: No the Multiverse of Madness might decide.
demanded that Sony remove all Way Home last night. As noted, the not be shown either. In any case, A final note: The Statue of Liberty
images of the statue because climax takes place on the Statue of Sony has decided that the Statue represents Libertas, the Roman
of Liberty must stay. I cannot say goddess of freedom, who was
if Sony’s decision was based on particularly revered by former
higher principles, or if the studio slaves who had been freed by
was simply afraid of the blow back Roman manumission. Do Chinese
if Americans learned that Sony had censors object to the iconography
willingly demoted the Statue of because it represents America, or
Liberty in the Chinese release. In because it celebrates freedom?
any case, the company’s financial
loss is undeniable. THE AUTHOR
Is the Statue of Liberty a patriotic
Ken C. Pohlmann is an electrical
symbol? It is certainly iconic of
engineer specializing in audio
America. But it is less provocative
topics as a consultant and writer.
than, say, another superhero’s
He is Professor Emeritus at the
mo o, “Truth, Justice, and the University of Miami.
American Way,” a phrase from the

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14 August September 2022 soundandvision.com



double LP Cruel Country is one
of the best albums I’ve heard this
year. As a refresher before their
latest tour got underway, I cued
up Wilco’s show at the Chicago
Theater in Illinois on December 19,
2021 (a.k.a. Roadcase 086). “I Am
Trying to Break Your Heart” opens
up acoustically before fanning
out with kitchen-sink percussion,
buzzing guitars, and burbling
keyboard accents all bu ressing
frontman Jeff Tweedy’s mournful/
rueful story. Listen for how the
hometown crowd readily joins in
singing the key word “hello” and,
later, “trying to break your heart.”
I was also deeply struck by
tour. Having long-dispelled any the furious 10-minute take on
clichéd notions of Mayer’s Dead- “Impossible Germany,” with a
wide
angle stream on level prowess, his soloing and lengthy screaming guitar solo
accompaniment skills are truly a honoring the Neil Young/Crazy
wonder to behold, even beyond Horse school of jamola—the
what I’ve long admired about his amp buzz very much welcome
Nugs Redug guitar-playing capabilities. during the track’s back quarter.
“Nels [Cline] is gonna sit down
Following your free 7-day trial
period (which used to be 30 for a song,” Tweedy quips about
Revisiting nugs.net, the concert streaming site that days, back in 2020), the nugs.net his lead guitarist a er the song
continues to provide new and vintage hi-res live Premium Streaming/Standard ends—much to the audience’s
recordings from a wide swath of name artists. Sound Quality monthly plan still clear delight—then adds, “I think
runs $12.99 (or $129.99 annually), you hit a wrong note in the 86th
BY MIKE METTLER while the HiFi Streaming/Lossless measure—maybe—but you did it
Audio option still goes for $24.99 again in the 87th measure, which
Longtime readers of this column will recall that, back in October/November monthly ($249.99 annually)— was very satisfying.” Meanwhile,
2020, I discussed the many benefits of nugs.net, a top-shelf streaming meaning, there have been no a more recent entry from Wilco’s
site offering multiple-thousands of soundboard-quality streams and inflationary increases, at least Front of House Series—culled
downloads from a horde of name artists. I admired how nugs.net had been as of this writing. Seeing how from Thompson’s Point in Portland,
able to bring live-show listening (and viewing!) into the hi-res arena where the HiFi option enables 24-bit Maine, on August 25, 2021—is
it rightly belongs. Don’t get me wrong—I love my bootleg collection to MQA-encoded streaming in yet another “Shot in the Arm,” to
no end, but if I can a) get be er-SQ versions of live gigs that are directly addition to 360 Reality Audio, that borrow the title of the snarling,
artist-approved, and b) obtain them in such a way that benefits those artists plan is an automatic “yes, please” galvanizing set opener.
more directly financially, even be er. And that’s where nugs.net shines like in my book. Following the HiFi trial I could go on and on, but the fact
practically no other site can. period, you get additional benefits is, nugs.net continues to supply the
such as a 15 percent savings on breadth of soul-affirming content
Since that 2020 column, I’ve provides upwards of 25,000 live livestreams, CDs, and downloads, that live-music junkies crave. It’s
continued enjoying the scope shows and counting—certainly exclusive access to live audio and more than fair to say nugs.net
of nugs.net offerings whenever I soaring well past an earlier-cited video recordings, and on-demand really is the next best thing to being
can—perhaps even more expo- number of 250,000 individual ad-free streaming. But if you can’t there—and I plan to continue
nentially so of late, given how my song offerings. Plenty of exclusive wait that long, you can activate your accessing its fully stocked
personal live-gig a endance has livestreamed and pro-shot HD 4K full access immediately (and get streaming cabinet as o en as I can.
become relatively sparse (by my video content is also to be had, billed sooner).
standards) during the pandemic many shows of which offer multiple Besides enjoying hi-res
era. With all that in mind, I figured it hi-def camera angles—the la er soundboards from the likes of
was high time to deliver an official concept embodying an essential Metallica, Bruce Springsteen,
nugs.net redux—or “redug,” if you requirement for watching live and Santana, I’ve also been
will—to let you know if the site has shows at home, imo. Rather than able to mirrorcast livestreamed
been able to keep up with the high- just observing a broad-swath view performances via my Roku
quality demands of discerning of the full Dead & Company band Ultra from Billy Strings, the
listeners/viewers like ourselves. onstage, for example, there are aforementioned Dead & Company,
Since my last in-print deep times I prefer the lens to focus on Widespread Panic, and Tedeschi
dive, the nugs.net coffers have John Mayer’s hands and fretboard Trucks Band—something you can THE AUTHOR
only grown by encapsulating a activity during certain critical do using the official nugs.net app. Mike Mettler, a.k.a. The SoundBard, is
broader base of artists beyond the junctures of the livestreamed I’ve also been on a Wilco kick the music editor of Sound & Vision.
jam-band genre, and the site now shows on their current summer of late, seeing how their May 2022

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16 August September 2022 soundandvision.com

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wide
angle The Connected Life




Big Screen Duality




BY JOHN SCIACCA

When I began this series of columns earlier this year, I had no idea it would system with a motorized 115-inch UST projectors have specially
turn into a four-part, treatise on the evolution and current state of choosing screen concealed behind a valance designed optics and lenses that
a big screen TV for your media room or theater. For those who have hung that rolls down in front of the OLED. enable them to project a 100-inch
with me, a sincere thank you, and I hope you found the journey worthwhile! The projection experience (diagonal) or larger image from
For the rest, here’s a lightning recap of those previous columns to catch always feels more special and cine- a position that is very close to
you up. Part one, “Big Screen Decisions,” dealt with the emergence of matic because of the significant the screen—usually less than a
larger and more affordable big-screen displays and recent advances in jump in screen size. Further, having foot away. In a typical setup, the
performance that have resulted in 85-inch-and-larger sets being not only a “regular” display means I don’t projector sits below the screen and
affordable but commonplace. Part two, “Big Screen Design,” discussed sweat lamp hours on my projector fires nearly straight up. To maximize
ways to incorporate these new giant flat-panel displays into your room and or power cycling if my 6-year-old picture quality, UST projectors are
offered tips on how to avoid having a décor-killing black-hole up on the wall wants to watch YouTube, my o en paired with a screen that uses
when the TV’s not in use. Part three, “Big Screen Dilemma,” addressed the 15-year-old wants to play Xbox, or if a special ambient-light-rejecting
seemingly eternal quandary of whether a direct-view display or a projection I just want to flip on the set to check (ALR) material with a lenticular
system is the right choice for you. the news or weather. surface to ensure a bright image,
Another bonus with this option even in sunlit rooms with no light
Concluding this tetralogy, I am large family room totally open to is that you only need one audio control. The screens usually have
going to address two additional other rooms with an entire wall of setup for both systems. So instead lower gains (below 1.0) to avoid
solutions that straddle the divide windows. of having to double your audio hotspo ing and tend to deliver nice
between wanting a fantastic, Going with a dual display budget to assemble two systems— black levels. Higher performing
cinematic experience in a non- system—a large, direct view TV for or seriously compromise one of specialty screens are also available
dedicated/light-controlled room— regular “day” viewing, and a sepa- the two—you can invest in one from Stewart Filmscreen, Screen
options that don’t require the wallet rate cinematic projection screen really good system and enjoy the Innovations, and others.
melting budget you would need to that rolls down for event viewing— best sound regardless of which A/V cabinet manufacturers have
buy a new MicroLED video display gives the best of both worlds. display you’re using. Of course, also developed innovative options.
like Samsung’s The Wall or Sony’s In my home, I have a wall- having a receiver or processor that Salamander Designs makes
Crystal LED. mounted 65-inch OLED that is can handle dual display outputs a ractive UST model-specific
used for 90% of our viewing. It is (preferably both in 4K HDR) greatly cabinets that conceal the projector
OPTION 1: THE DUAL DISPLAY bright enough to compete with simplifies connections and opera- and all of your electronics. Aegis

This solution is close to my heart as ambient light during the day and tion and, fortunately, it’s a feature AV takes the idea a step further
it’s what I did in my home 14 years big enough for an enjoyable movie that’s becoming more common. with its customizable Andromeda
ago and I’ve never regre ed it! experience, but not so big that it The downside, of course, is you cabinet that conceals everything—
Say you’re like me; you’re dead- dominates the wall. But, when we are buying two video displays. But, including a motorized projection
set on having a large, cinematic want to enjoy a movie at night or for those want to have their cake screen up to 120 inches (diagonal).
sized experience, but just don’t host an event like a Super Bowl and eat it too, it’s a terrific option. To And for those who want to
have a room for it. In my case, a party, we have a video projection quote Ferris Bueller, “It is so choice. eliminate wall clu er, Elite Screens
If you have the means, I highly and others offer freestanding
recommend picking one up.” motorized screens that rise up
from the floor. (See our review of
OPTION 2: ULTRA-SHORT Elite's Kestrel system in this issue.)
THROW PROJECTION
A large screen ascends magically
Ultra-short throw (UST) projection on command, ready to grant
is a relatively new option in the your wishes for a terrific theater
world of home theater, but one that experience, and then disappears
has been steadily gaining traction. when the movie is over!
And with well-known projector
manufacturers such as Hisense,
THE AUTHOR
Samsung, LG, Sony, Epson, and
others offering models, there are For the past 20 years, John Sciacca
has worked as a custom installer in
plenty of price and performance
South Carolina. In his free time, he
options to choose from, including
enjoys drinking craft beer and
cu ing-edge features like high-
watching movies on his 7.2.6
dynamic range (HDR) and powerful surround system.
laser-light sources.

[
[
18 August September 2022 soundandvision.com

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wide
angle Q&A




Surround Strategy




BY AL GRIFFIN

Q I currently have a Dolby Atmos/DTS-X 7.1.4 speaker setup that
uses a Marantz SR7011 A/V receiver, which I’m interested in
upgrading to Auro-3D. Apparently you can use the receiver’s
subwoofer 2 output to connect the Auro-3D “Voice of God”
overhead speaker, which I plan to do. But before I take the $199 plunge
to upgrade my Marantz, I have a few questions. Can Auro-3D decode/
convert Atmos and DTS-X? I own around 200 Ultra HD Blu-ray discs and
none of them have an Auro-3D soundtrack. As for the ceiling speakers,
should I set them up the way Auro-3D suggests or leave them in their Dolby
Atmos recommended positions? (My home theater has a drop ceiling so
it’s no problem repositioning the speakers.) Thanks for whatever advice
you can give. A er reading several articles praising the immersive sound
quality of Auro 3D, I’m anxious to check it out.
DAVE DAVEY / MOUNT ARLINGTON, NJ

A I’ll admit upfront to website place the wall-mounted The answer to that is no—all three tion your speakers, the Atmos
As for how you should posi-
are separate and unique codecs.
having no hands-on
height speakers at a 30-degree
way or the Auro-3D way, in our
experience with Auro-
However, according to Marantz’s
angle targeting the area above the
3D, so any answers seated listener’s head, and the top documentation, the overhead test reports of Auro-3D-capable
provided here will be practical speaker placed directly above and effects in Atmos soundtracks surround-sound processors,
and theoretical rather than based firing down on the main seating decoded by your Marantz receiver Sound & Vision has had successful
on real-world listening. Auro-3D area. can be played back on an Auro-3D experiences playing both Auro-
typically uses a “three-layer” A typical Dolby Atmos speaker setup, but with the overhead 3D-encoded and Auro-Matic
speaker configuration, with setup, on the other hand, is quite effects information routed only to upmixed content on standard
a standard 5.1 or 7.1-channel different, with two or more over- the front height speakers. Stan- Atmos speaker configurations.
surround-sound setup augmented head effects speakers located in dard mono/stereo/5.1/7.1 content, Since you have the flexibility in
by four height speakers (L/R front (or on) the ceiling in front of and meanwhile, can be processed by your space to try out different
and L/R back) plus an overhead behind the main listening posi- the Auro-3D Auro-Matic Upmixer speaker positions, you should
top speaker (the “Voice of God” tion and no wall-mounted height in a receiver or surround pre/pro conduct listening experiments
unit you mentioned). Auro-3D’s speakers. Can Auro-3D decode/ for playback on all speakers in an with both setups and see which
setup recommendations on its convert Dolby Atmos and DTS-X? Auro-3D setup. one sounds best to your ears.



Q I am interested in listening to music from the Spotify service you will be able to extend your system’s reach and control everything
via a smartphone app.
using my older Pioneer Elite SC-07 A/V receiver. I tried
One thing to note about Spotify: that particular service is not
connecting my smart TV to the receiver via an optical digital
connection and then streaming using the TV’s built-in CD-quality. Rather, Spotify uses lossy compression to stream albums
Spotify app, but was disappointed with the sound quality. Will adding a and tracks, making it a lesser-quality option than other services like
network media player like the Marantz NA6006 to my system and using Tidal, Qobuz, Apple Music, and Amazon Music HD, which stream at
that to stream Spotify provide the CD-quality fidelity I am a er? CD-quality using lossless compression, along with offering a high-res
ROB PILESKI / BURLINGTON, WI audio option (up to 24-bit/192kHz).

A Adding a media server/streamer like the Marantz NA6006
(or a newer option like the $599 Bluesound Node shown
here) will bring both CD-quality and high-res audio
streaming capability to your system. It will also add up-to-
date features like Bluetooth and AirPlay 2 wireless streaming that your
circa-2009 Pioneer Elite receiver lacks. Along with Spotify, you will gain
access to lossless-quality music services like Tidal, and in the case of
the Bluesound streamer, Qobuz plus Roon compatibility. The Marantz
and the Bluesound both also use proprietary protocols for multiroom
music streaming (Heos on the Marantz, BluOS on the Bluesound), so



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20 August September 2022 soundandvision.com

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TALKING least flexible in terms of the way in S&V: What are the key advantages of
HDR10 is also the most basic and
HDR10+, looking first at HDR10 and
then the conceptually similar Dolby
which it addresses dynamic range.
HIGH It relies on static metadata, which Vision standard that’s been around
since 2014?
remains the same throughout a movie
Mandel: HDR formats were developed
or other program as the content is “tone
mapped” to the capabilities of the TV.
to deliver the full range of high dynamic
DYNAMIC This is in sharp contrast to the more range visual content. They allow both
flexible, higher performing approach to
the finer details in the darkest portions
of an image, as well the very brightest
dynamic range taken by Dolby Vision,
excursions, to be delivered and
the standard introduced in 2014, and
RANGE HDR10+, the standard established in reproduced far more accurately than
2017 as a direct extension of HDR10.
with standard dynamic range (SDR)
The benefit of having dynamic metadata
video. While static tone mapping [the
basis of HDR10] can be used to reduce
is a more lifelike rendering of contrast
because tone mapping is performed
continually throughout the program dynamic range in accordance with a
display’s capabilities, dynamic range
scene by scene and even frame by can vary scene to scene, resulting in an
Bill Mandel, co-manager at HDR10+ Technolo- frame. overall reduction of image brightness.
gies, provides an update on the HDR10+ format To learn more about high dynamic Dynamic metadata, the basis of
range and how it can take us a step HDR10+, was introduced to improve
BY BOB ANKOSKO closer to an experience more akin on HDR10’s static, “one-size fits all”
to looking through a window than of approach. It provides the display with
watching images on a TV or projec- specific data about each scene on a
LTRA-HIGH resolution 8K tion screen, we sat down with Bill frame-by-frame basis. With HDR10+
is in the wings but 4K Ultra Mandel, head of the Visual Solutions this enhanced image data enables
HD (UHD) is what most of Lab at Samsung Research America and a compatible display to know which
us watch day in and day out, co-manager of HDR10+ Technologies, picture details are the most important
whether we’re streaming a LLC, a consortium led by Panasonic and versus those that have only limited
movie over Netflix, spinning Samsung that develops specifications dynamic range—and where tone
a Blu-ray Disc, or watching and operates a certification program for mapping can be bypassed. All of
TV in one of its many forms. products that adopt HDR10+ tech- this allows consumers to experience
The splendor of 4K extends nology. more faithful image reproduction that
well beyond its 8 million-pixel captures the creative’s intent.
resolution, offering several S&V: Let’s start with some background In regards to the differences between
noticeable advancements and a li le history. Why was HDR10+ formats, the HDR10+ Technologies
in picture quality over standard high-definition (HD). Wide color introduced and what role did Samsung LLC’s rigorous testing and certification
gamut, or WCG, enables your 4K television to display a broader and others play in the launch? program ensures entertainment enthu-
pale e of colors, making images more vibrant and realistic. If Bill Mandel: HDR10+ was created to siasts that every HDR10+ hardware
you’re into videogames and action/adventure blockbusters or provide an easily accessible dynamic device or content platform meets the
sports, 4K’s higher frame rates make fast-moving images appear metadata system for enhanced HDR highest implementation standards
smoother and more lifelike. And then there’s high dynamic range content. Samsung led the initial stan- possible.
(HDR), arguably the most significant of the advancements, dardization efforts with the Society of
which brings images closer to real life by revealing a wider range Motion Picture and Television Engineers S&V: Let’s look at HDR10+ adoption,
of contrast on compatible TVs. (SMPTE) and the Consumer Tech- first hardware and then content.
Simply put, HDR enables the brightest areas of an image nology Association (CTA) and, along Mandel: HDR10+ enjoys a broad range
to look brighter and the darkest areas to look darker, while with Panasonic and 20th Century Fox of support today from over 130 compa-
allowing for more nuanced detail and gradations in dark areas, Studios [now 20th Century Studios], nies, both on the chipset level and in a
particularly shadows, and be er delineation of shapes and established a certification program to variety of displays, whether they be TVs,
objects. In more technical terms, HDR holds the potential insure a level of consistency in regards projectors, monitors, or mobile phones.
of enabling us to see not just highlights but the entire range to implementation. Amazon Prime Video HDR10+ technology is also utilized on
of dark-to-light tonal values, or what cinematographers and became the first streaming platform to a number of different devices, including
video professionals call “grayscale.” be certified as HDR10+ compliant in Chromecast, Fire TV, and Roku. Addi-
The thing is, like so many other wonderful A/V technologies December 2017, with the full certifica- tionally, key service providers such as
that have been introduced over the years, there is more than tion program being launched in June Amazon Prime Video, Hulu, and Para-
one HDR technical standard. HDR10, the standard announced of 2018. mount+ all provide HDR10+ enabled
by the Consumer Technology Association (CTA) in 2015, is the
most common form of HDR. With widespread support across a
broad range of industry organizations, content providers, and
devices—from TVs and video projectors to streaming media
players, PCs, and videogame consoles—HDR10 has evolved
into the de facto standard, due in large part to it being “open”
and free of licensing fees.

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[
22 August September 2022 soundandvision.com

content and YouTube accepts HDR10+
on any content that is uploaded to its
site. 4K UHD Blu-ray titles with HDR10+
are currently distributed by 20th Century
Studios, Universal Home Entertainment,
and Warner Home Video. A list of titles is
available at hd-report.com and, for more
information on HDR10+ adopters and
content, you can visit hdr10plus.org
1
S&V: Sony, LG, and other top brands are
missing from the HDR10+ list of adop- highlights. As of early May, 2022, 5,378 to accurately render game output
tees. Any hopes of ge ing them and devices had been approved. optimized for each consumer’s screen.
other holdouts to embrace HDR10+? This has led to many cases where a
Mandel: HDR10+ is already being S&V: Last year HDR10+ Adaptive was device (or the game itself) needs to
offered by such leading TV brands as announced to address the problem of include additional calibration controls
Hisense, Panasonic, Samsung, TCL, varying ambient light in home theaters for fine-tuning the game output. This,
and Vizio and we expect to receive and media rooms. How does the feature in turn, can create a scenario where the
additional support from other top work and why is it important? game ends up generating HDR that’s
brands shortly. (Editor’s note: Apple Mandel: HDR10+ Adaptive is very not matched to the screen, which can
has since announced that it will support Above: Bill Mandel. important when watching HDR content, cause a variety of artifacts.
HDR10+ with the tvOS 16 update slated 1] HDR10 tone given how the range of darks and HDR10+ Gaming was created and
for release in the fall.) mapping with static brights are greatly expanded. Some launched to allow the display’s perfor-
metadata (left) vs. programs may not appear at their best mance to be automatically matched
S&V: Can you walk us through the HDR10+ tone when viewed anywhere other than a to the source device, whether it’s a
HDR10+ certification process? mapping with dark room, so an HDR10+ Adaptive PC or game console, so the game can
Mandel: Sure. The certification dynamic metadata, display utilizes statistical metadata that be enjoyed at a level of performance
program consists of tests run by third- which provides the works in conjunction with its ambient the display was designed for. With
party Authorized Test Centers and there video display with light compensation feature. The display HDR10+ Gaming, the TV provides
are currently nine test centers located specific data about uses this information, along with its certified performance capability when
around the world. Other certifications each scene on a light-sensor measurements, to deliver a connected to an HDMI device, enabling
that test protocol compliance for set-top frame-by-frame basis more optimum viewing experience. the source to deliver HDR automatically
boxes (STBs) and other HDR10+ for more accurate without any manual calibration required. 
compatible devices are performed by image reproduction. S&V: HDR10+ Gaming was announced
the adopting company and the results 2] Shadow detail is at CES 2022. The press release says S&V: How has the gaming industry
are submi ed to HDR10+ Technologies “crushed” in the the format utilizes Source Side Tone responded?
LLC. The Display certification process standard dynamic Mapping (SSTM) for “more accurate Mandel: There is growing interest in the
consist of over a dozen tests that verify range image on the game output to compatible displays” gaming community to make certified
a number of performance parameters, left but significantly and includes automated HDR calibra- display performance available. We are
including 250 nits or more brightness preserved in the high tion. Can you explain the relevance of working with a number of stakeholders
at a minimum of 85% of the P3 gamut dynamic range (HDR) these features? to develop the type of engine and title
and tone mapping for preserving version of the image Mandel: The video game industry support necessary to accomplish this.
shadow detail in the presence of bright on the right. has made it very clear that they want Stay tuned for more details.






























2



[
soundandvision.com 23

THE ATMOS surprise, really, given how Wilson had already


taken broad strides in the way he mixed not only
his own January 2021 solo album The Future Bites
in Atmos (see “Steven Wilson Is a Hi-Res Man
BRANCH of the People,” April/May 2021, for more on how
that mix came to pass), but how he tackled Tears
for Fears’ February 2022 comeback album The
Tipping Point. Wilson feels the Tipping Point song
“Rivers of Mercy” is “a future classic,” but based
on what elements of that song appear in the
PORCUPINE TREE MUSIC and Dolby height channel in Atmos—such as the myriad
Porcupine Tree returns after a Atmos are nothing short of a mixing match of voices singing the title phrase—and how
made in heaven. To be more specific, the well they reflect the track’s inherent emotional
decade-long hiatus to deliver a post-progressive British collective and the complexity, I happen to think the future is now.
career benchmark, Closure/ burgeoning immersive surround format are a Not only that but, believe it or not, Wilson
Continuation. All three bandmem- match made in the height and side channels. also did an Atmos mix for Kiss and their March
bers give us the scoop on how it all Listening to Closure / Continuation (Music For 1976 blockbuster Destroyer, for inclusion in that
took root, and Steven Wilson takes Nations/Sony Music), Porcupine Tree’s first album’s 45th Anniversary 4CD/1BD Super Deluxe
1
album of all-new music in over 12 / 2 years by box set released in late 2021. “You’d never have
us inside the making of the album’s
way of its unabashedly mind-boggling Atmos expected me to do that one,” Wilson concedes.
truly stunning Dolby Atmos mix. mix—a mix courtesy of Steven Wilson, the “Honestly, it’s not a band I ever would’ve thought
band’s leading force and the unchallenged to do in surround or Atmos myself, but their
BY MIKE METTLER
king of 360-degree music-making and management came to me. And it sounds great!
music-mixing—one can’t help but marvel It’s fun. It’s a fun record.” I totally agree. Destroyer
at how this still-growing format now has an is a fun record, and you haven’t lived until you’ve
official milestone mix showcasing everything it can be, and more. heard “Detroit Rock City,” “God of Thunder,” and,
“Everyone is doing Atmos now, but we’re all still learning about it at the moment,” allows Wilson. yes, even “Beth” in Atmos.
“What works? What doesn’t work? Everyone has an opinion about what Atmos should be, but Given the breadth of Wilson’s handiwork and
obviously—and you know this, from talking to me about it many times before—I like to be quite other adventurous Atmos mixes readily available
aggressive with my use of the surround field. That was always the case in 5.1, and it’s only been in a number of historical box sets and select new
magnified now that I’m working with 7.1.4 in my studio. There are a lot of things to consider about releases over the past few years, as well as the
trying to keep a mix cohesive, whilst also making it an incredibly three-dimensional experience for ever-growing availability of Atmos choices on
the listeners.” streaming services like Apple Music, Amazon
With that statement, Wilson has succinctly described exactly what he’s realized in Atmos for Music, and Tidal, what you’ll hear when you cue Photo: Alex Lake
all 48 minutes of the seven songs that comprise the aforementioned Closure / Continuation (or up Closure / Continuation is only the beginning of
C/C, for short). This quantum aural leap beyond the outer limits of the Atmos stratosphere is no where Atmos mixes can, and will, go.

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24 August September 2022 soundandvision.com

Time Flies options, and C/C serves up just about You had a choice—if you’ve got a stereo
Before we delve deeper into the making any format you could imagine. To wit: sound, are you gonna put it in the front
of Wilson’s amazing C/C Atmos mix, C/C is available via a standard seven- speakers, or are you gonna put it in the
some facts do need to be laid down as song CD; 2LP 180-gram vinyl (in black, back speakers? That was pre y much
to how Porcupine Tree came back from white, gold, and silver); 3LP deluxe the decision you had—or somewhere
a state of limbo most people, myself 45rpm vinyl; 1CD/1BD deluxe edition between. And now, that ‘somewhere
included, thought was le behind a fully with the Atmos mix on Blu-ray plus between’ means you can put something
closed door. A er the band’s exhaus- instrumental versions and three bonus very discretely in these side speakers.”
tive 2010 world tour in support of their tracks on CD only (the jamtastic “Popu- Wilson gives an example from
sonically challenging September 2009 lation Three” is the best of the lot that’s another Atmos mix he recently
concept album The Incident, Porcupine not in Atmos); and, yes, there’s even a completed—one that must remain
Tree essentially called it quits. The four casse e. Full disclosure—I did indeed nameless for the time being, however.
core bandmembers—guitarist/vocalist buy the casse e purely for collection/ “I’ve been pu ing a lot of the piano in
Wilson, drummer Gavin Harrison, completion purposes, but I’ll never play the sides,” he details. “You tend to have
keyboardist Richard Barbieri, and it. (If, however, C/C ever comes out on the drums, bass, and the rhythm guitars
bassist Colin Edwin—began doing their reel-to-reel tape, then I’ll fire up the Akai kind of front-centric, and then the piano
own respective things in the interim, machine and report back accordingly.) just feels like it’s a li le bit more out into
some of them working together on each the space in the room. That works really
other’s solo projects and/or other occa- Of the New Atmos Day well—but there are no hard and fast
sional intersecting collaborations. One of Wilson’s personal mixing revela- rules. It’s whatever sounds good.”
Though the band never said they tions as he was working on C/C and That said, “whatever sounds good”
were 100 percent kaput outright, as other recent projects in Atmos was how is certainly a huge understatement
time went on, it was assumed Porcupine he was able to take full advantage of when it comes to the abject power
Tree was officially in the rearview mirror. both the height and side channels for a inherent in the Atmos mix of C/C’s
However, Wilson and Harrison had full 7.1.4 setup. As a result, he feels it’s opening 8-minute opus, “Harridan,”
already begun collaborating together a marked improvement upon what he which features dramatic volume swells,
on potential Porcupine Tree music as Left to right, page 24: was doing for years in “just” 5.1. “I’m a hard-hi ing proto-metal sequences,
early as 2011, albeit in a fashion very Porcupine Tree, Mach big fan of the side speakers,” Wilson strategic false o, and a free-form, slow-
much under the radar. “The drums are 2022— Barbieri, confirms. “If you don’t have them in your burn noodling section. In essence,
always the most complicated thing, so Wilson, and Harrison system, you’ll be hearing a phantom “Harridan” encapsulates the full
traditional band jams, writing sessions, collectively look to thing going on there, but I’m making promise of what Porcupine Tree fans
and some rehearsals over the years the future. Below: a lot of use of those side speakers. have come to expect over the years—
took place at my studio,” Harrison notes. Wilson, recording Obviously, 5.1 seems almost simple and beyond. “What you hear in that
“Steven would come around since we guitar parts for now—the decision-making process song particularly is something probably
live near each other, and I had a lot of C/C at AIR Studios that went on in 5.1, I mean—though it true of almost everything I’ve done,”
downtime to work on my performances. in London. seemed quite complicated at the time. Wilson assesses. “I don’t think I’ve ever
We had no deadline. We knew when the
songs were ready.”
Eventually, Wilson and Harrison
reached out to Barbieri so he could join
in and add his own signature keyboard
sauce to what they were laying down
together. “When I come in, I’m not there
to jam—I concentrate more on adding
the atmospheric and textural side of
things,” Barbieri affirms. It should be
noted that Edwin did not participate in
this band revival, so Wilson plays all the
bass parts on C/C himself, technically
turning Porcupine Tree into a power-
prog trio of sorts. (That said, the band
will be enhanced by guitarist Randy
McStine and bassist Nate Navarro
during the fall 2022 tour in support of the
new album.)

The Creator Has a Master Tape
Wilson and his PTree cohorts are no
Photo: Adam Taylor what they want when it comes to
strangers to giving their fans exactly

offering a myriad of collectible (and
mostly quite playable!) physical release

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soundandvision.com 25

made a record you can just throw on in Above: Barbieri considered, and he adds a great deal of ‘Chimera’s Wreck,’ which we wrote with
the background and not engage with surrounded by a beauty to things.” Adds Wilson, “I know me on acoustic guitar and Gavin on
it. Obviously, in careerist terms, that’s plethora of keyboards: Richard enjoyed making this record drums—but those tracks were both
been an Achilles heel because, how "When you walk into perhaps as much as any record we’ve developed with us face to face in his
do you sell music like that in today’s the studio with a ever made, because there was more studio, recording live.”
world—music that demands an awful synthesizer, nobody space for him to speak and commu- “Chimera’s Wreck” is also notable
lot from the listener? You’re asking for knows what it's going nicate what he does so well, with the because of the human elements evident
engagement on a fairly deep level, and to sound like—and guitars taking a slightly less-dominant in the way it ebbs and flows. “It isn’t even
you’re asking for them to give you their that's the beauty of it." role.” Concludes Barbieri, “I think what I played to a click track; it’s in free time,”
time to absorb it, listen multiple times, Page 27: A typically give to Steven to work with lends itself to Wilson catalogs. “It speeds up, and it
and decode all the various layers and intense Harrison, this immersive sound pale e of ours.” slows down. And that’s an old-school
things we’re pu ing into the music. looking up from his For his part, Harrison cites the way of recording—the two of us just
But I can’t make music any other way. drum kit: "Atmos and core album’s final track, the ultimately facing each other, le ing the track
That’s what I love to do—and that also surround mixes give explosive “Chimera’s Wreck,” as the speed up and slow down as we feel it.”
spirals into why I love Atmos and 5.1 so you a lot of space." breakthrough that unlocked everything. Within that special Wilson/Harrison
much. It’s another way to present all the “That’s the real epic,” he believes. “We push/pull were the keys to the entire
complexity—not in terms of the music, made waves with the shi ing tempos, to C/C kingdom. “To echo what Gavin said,
but complexity in terms of the amount the point where the lyrics would just fall when we had those two tracks down,
of layering and detail.” over these crests.” we knew we had something we could
Speaking of added layers, this is Wilson adds both “Harridan” and build on,” Wilson observes. “We knew
where Barbieri’s compositional exper- “Chimera’s Wreck” were the bedrock we had a way forward. The one thing I
tise comes to C/C’s fore, seeing as his tracks se ing the table for everything felt very strongly about is there would be
mastery at adding keyboard swoops that came therea er. “They’re both epic absolutely no point for Porcupine Tree
and swaths in all the right places is on tracks, and they both were essentially coming back with another record that
full display. As Harrison puts it, “Richard wri en with me on bass, and Gavin just felt like more of the same.” Consid- Photo: Adam Taylor
specializes in sound design. He’s not a on drums,” he reports. “The excep- ering the way the other five C/C cuts fill
‘come in and jam’ guy—he’s much more tion would be the opening section of out the track listing—the deceptively

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26 August September 2022 soundandvision.com

seem logical Wilson apply his magic Atmos
touch to other entries in the vaunted Porcupine
Tree canon itself. Since PTree’s September
2002 breakthrough In Absentia received a
3CD/1BD box set refresh in early 2021 with its
5.1 mix on Blu-ray, in turn making it something
he wouldn’t revisit right away, I felt March 2005’s
Deadwing would be the next best catalog
choice to get “Atmos-ized.” Wilson demurs
ever-so-slightly about whether he’s in the midst
of doing Deadwing or not, but he does commit
to a broader statement regarding the status of
much of the work he’s done in 5.1 throughout
the years. “I will be revisiting not only my own
records, but some other records I’ve mixed in
5.1 over the last 10 years that I’m now being
asked to do in Atmos—and I am doing some of
them,” he clarifies. “It’s great to have this whole
new way to present these albums, yet again.”


Even More / Even Less
The real unanswered questions, though, are
these: Does Porcupine Tree have any further
new music branches growing up their collective
sleeves? Is something already in the air, since
Closure is the word that comes first in the album
title, and Continuation comes second? Is the
door open to ge ing more as-yet-unheard
PTree music to come, earmarked for additional
glory in Atmos? “I hadn’t really thought about
it that way, to be honest,” Wilson claims. “The
order of the title is just the way it sounded—and
it sounded right to me. This is closure, but it
could also be continuation—and there’s an
implied question mark at the end of the title as
well. The reality is, we don’t know whether this
is going to be the last record we make. If it is the
last record we make under the name Porcupine
Tree, it’s a beautiful way to close the story—but
it may not be. I think people think we’re playing
with them—and of course we are, with the title.
We are playing with people’s expectations a bit,
but we genuinely, genuinely don’t know.”
The gist of that last answer brought to mind a
key passage I read in Wilson’s April 2022 auto-
biography, Limited Edition of One (Constable),
gentle approach to “Of the New Day,” the disap- wherein he freely admits to outright lying to
proving eye of “Rats Return,” the Mellotron journalists on many an occasion to suit the
melodrama of “Dignity,” the vengeful snarl narrative. I ask Wilson, point blank, to identify
of “Herd Culling,” and the Barbieri showcase how many times he’s lied to me in all the years
“Walk the Plank”—its release was never really we’ve known each other. “Oh, I’ve never lied to
in doubt. you, Mike. You’re the exception,” Wilson replies,
albeit accompanied with a slight Cheshire smile
Arriving Somewhere Beyond Here before adding the kicker, “But that could be a
Given how Atmos-centric Wilson’s mixing lie too.”
proclivities are these days—as alluded to Regardless of that semi-ambiguous final
earlier, he told me off the record he’s already serve and volley, one thing we can all agree
Photo: Derrick Bremner more) Atmos mixes for a number of historical- Continuation is indeed a new gold standard
completed (and will soon enough be doing
is not a lie is this: Porcupine Tree’s Closure /
for Atmos mixes, and it only portends greater
oriented collections to come from top-shelf
things ahead—and above, and off to the sides,
name artists, some of whom were respectively
and all around us.
prominent in different decades—it would only
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soundandvision.com 27

test report



EPSON LS12000 4K PRO-UHD LASER LCD PROJECTOR




RATING



PERFORMANCE

FEATURES
Laser LCD ERGONOMICS




VALUE
By Kris Deering
































































AFTER WHAT felt like a lifetime since The LS12000 has a nicely textured a mini-USB for service, an Ethernet
its last new home theater projector all-black chassis along with a detach- port, RS-232 for control systems, and
announcement, Epson recently able back cover plate that can be used a 12-volt trigger output. Interface
launched the LS12000 4K PRO-UHD to hide the back panel a er you’ve made bu ons are provided on the back to
laser model. Selling at the surprisingly all your hookups. Connections include a navigate Epson’s onscreen menus
low retail price of $4,999, the new Epson pair of 48Gbps HDMI 2.1 inputs (HDCP without a remote control. Surprisingly,
boasts serious chops when it comes 2.3) with one supporting eARC/ARC. Epson's laser light the LS12000 does not support 3D, so
to features and specifications, and I Both inputs also support a 4K/120Hz engine uses a new there’s no connection for a 3D receiver.
felt fortunate to have a review sample refresh for full compatibility with the laser diode array Up front you’ll find Epson’s
sent my way. Let’s dive in and see what latest gaming consoles—currently a with a claimed 15-element all-glass “VRX” lens, which
this new projector brings to the home rare feature in the projection world. brightness of is fully motorized for zoom, focus, and
theater game. You’ll also find two USB Type-A ports, 2,700 lumens. lens shi and has a 1.35-2.84 throw

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28 August September 2022 soundandvision.com

range. When the projector is
shut off, a powered door cover
slides out to protect the lens. The At a Glance
LS12000 also has a large number
of lens memories, making it easy Laser light engine
to store multiple presets for those HDMI 2.1-compatible
wishing to use the projector with (4K/120Hz)
wider aspect ratio screens. On
HDR10, HDR10+, and HLG
the chassis’ bo om you’ll find two Support
adjustable feet up front and a single
Not native 4K
bumper on back. This can make higher contrast levels. any projector I remember looking
proper alignment difficult if shelf- The new laser light engine is a at in recent memory. Menu options No frame-by-frame adaptive
mounting the projector. (I prefer traditional blue laser diode type, cover just about every facet of processing for HDR
adjustable feet at all corners.) so it still comes up short in color adjustment from picture se ings to No 3D Support
The LS12000 is not a “native” gamut coverage compared with operation, with nice info pop-ups
Price: $4,999
4K projector—Epson continues dual- or three-laser designs. It that appear to the right of each
to use 1,920 x 1,080 LCD panels also lacks any type of color filter se ing as it is highlighted. Like all (800) 463-7766
for imaging duties and combines to increase its native gamut size. Epson models, picture modes can epson.com
these with a shi ing optical While this isn’t a problem for be adjusted to your liking and then
element to produce an “on screen” HDTV’s REC.709 gamut, it falls saved to picture memories that
equivalent of 3,840 x 2,160 pixels short of even the DCI-P3 portion of can be called up via the remote the average user. As a calibrator,
with a dual-axis shi . This means the now-standard BT.2020 gamut control. This makes it easy to create I find Epson’s menu design and
the projector will not fully resolve used for 4K HDR content. In my customized picture modes for implementation very frustrating.
single-pixel 4K pa erns, but does opinion, DCI-P3 coverage (in the different room lighting conditions, For one, it uses very large text
provide near 4K quality from a BT.2020 container) should be the content types, or viewing and pop-ups that prohibit you
normal seating distance on most minimum color gamut a projector is preferences. from taking measurements at the
screens. It is a bit disappointing capable of without the need for any The LS12000’s brightest same time you are manipulating
that we haven’t seen Epson jump type of filter that will compromise mode was Dynamic. This offered values. (Most projectors let you
into the native 4K display space yet light output. an uncalibrated light output of select a se ing for adjustment and
with its consumer projectors. That The Epson does a great job approximately 2,600 lumens in the then present only that slider near
said, there are no other projector with overall noise in operation. projector’s shortest throw, which is the bo om of the screen, leaving
makers currently offering native 4K It’s extremely quiet at up to 75 very close to the advertised spec the main screen area clear for
models at this price point. percent output. At 80 percent and of 2,700 lumens. But the highest measurements.)
Epson’s laser light engine up I started to notice the sound output I could measure with a cali- Another complaint is the
uses a new laser diode array with of rushing air, but it was hardly brated white point (again in short completely random and arbitrary
a claimed brightness of 2,700 intrusive and would be nearly throw with the laser at full output) labeling of key image setup param-
lumens. That’s a lot of light to imperceptible with any other noise was 1,680 lumens. Bo om line: The eters such as gamma and color
work with for most consumer-size source in the room. Epson’s usable calibrated lumens temperature. Rather than using
screens. Light output is controlled are much lower than the advertised known labeling that represents
from the main menu, with the ability SETUP spec, and that should be taken into industry standards (like a color
to dim the laser from 100 percent account when looking to pair the temperature of 6,500K or a gamma
output to 50 percent output in 5 Se ing up the Epson will be fairly projector with an appropriate size/ of 2.2), Epson uses generic labels
percent increments. Even so, I wish straightforward if you plan on using gain screen. like -1, 0, 1, making you guess what
Epson would have included an its preset picture modes for the Regular S&V readers may know they are supposed to be based on
aperture for the lens, which would bulk of your viewing. The LS12000 that I work full-time as a profes- subjective impressions. Epson’s
have made it possible to tune the has an extensive menu system sional video calibrator. As a result, gamma adjustment also requires
light output through a combination (that may be pu ing it lightly), with I am a bit more critical of some you to use onscreen pa erns with
of laser and iris control to achieve more adjustments than just about aspects of projector design than arbitrary adjustment points. I hope
they can move to industry standard
labeling and allow for calibration
without onscreen interference in
future designs.
While the Epson supports the
HDR10, HDR10+, and HLG high
dynamic range (HDR) formats, I
was disappointed to find that a
separate HDR picture mode wasn’t
automatically triggered when the
projector detected an HDR input.
It does change its dynamic range
mode and provides 16 adjustment
steps for HDR tone mapping, but
that is all. (HDR requires higher

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soundandvision.com 29

test report



EPSON LS12000 4K PRO-UHD LASER LCD PROJECTOR


light output levels than standard
dynamic range content to prevent Test Bench
over-compression and allow for
more headroom in the tone map.)
With a dedicated HDR picture Measurements were taken in a variety of conditions, with the bulk of them using the Cinema
mode offering adjustments more picture preset. Calibration was performed with dynamic laser modes disabled. Contrast ratio
suitable for HDR playback (such measurements were done in various modes as noted. A 110-inch diagonal 1.78:1 Stewart Studiotek
as higher laser output, etc.) like we 130 (G4) screen (1.3 gain) was used for all viewing and measurements.
see on other projectors, the viewer
wouldn’t have to manually switch
to a different picture memory every Average Native Dynamic Dynamic
Display (Short throw) (Normal w/prolonged (Fast)
time they watch HDR content.
Luminance measurement)
As I mentioned above, Epson
offers 16 adjustment steps for
fine-tuning the projector’s onboard On/Off 3,436:1 13,963:1 18,190:1
HDR tone mapping. While that’s 1 Pixel 3,780:1 13,963:1 18,190:1
a useful tool, I was hoping to see 1% ADL 3,160:1
Epson progress to a true scene-by-
2% ADL 3,032:1
scene or frame-by-frame adaptive
4% ADL 2,700:1
tone map for HDR processing
with this model. This would take 5% ADL 2,554:1
a lot of the burden off the viewer 10% ADL 2066:1
to constantly fiddle with HDR 20% ADL 1281:1
se ings to maximize the projector’s
30% ADL 880:1
dynamic range depending on
content, or even on a scene-by-
Full on/off contrast was
scene basis. The LS12000 does
measured with a Minolta T-10
support the HDR10+ format, which
is dynamic in nature (the content meter approximately 1 meter
away from the lens face. I
provides metadata to the display
tested the projector in various
that determines the adjustments),
dynamic laser modes (Normal
but HDR10+ on streaming and disc
and Fast) for dynamic contrast
is currently limited. The far more
measurements. Refer to the
prevalent Dolby Vision HDR format
table for details on the contrast
offers similar dynamic advantages
results and measurements at
(more so, in fact) but is not available
different average display levels.
on any front projectors at the
Native sequential contrast
moment.
varied based on projector throw
with the peak reading of 5,266:1
CALIBRATION reflecting the longest throw. The
table lists the contrast in the
Even with the Epson’s menu
shortest throw in calibrated Cinema mode to represent the native contrast level of the projector’s
system ge ing in the way a bit,
LCD panels. I did not conduct ADL measurements for the different modes due to the nature of the
I was still able to get my calibra-
Epson’s dimming performance.
tion job done with great results.
Calibration reports were captured from a workflow in Portrait Displays’ Calman 2020 calibration
The Epson has numerous picture
software. SDR calibration was measured with REC.709 and a 2.4 gamma for targets.
modes to choose from, all of which
The BT.709 color gamut was marginal, with a peak Delta E (dE) of 7 and an average of 4.
push the color space or grayscale
Post-calibration results were much improved, with a peak dE of 2.6 and an average of 1 for the
in different ways to accommodate
grayscale/gamma, and a peak of 3.5 and average of 1.1 for color tracking. Red tracking at 75%
different viewing environments
and tastes. I chose to start my work saturation was non-linear compared to the rest of the gamut tracking and was the only point that
exceeded a dE of 3. The rest of the luminance and saturation values throughout the inner gamut
from Cinema mode. The grayscale
were much better. Grayscale/
in Cinema was a bit heavy on blue
and colors were slightly over- gamma before calibration had an DIMENSIONS (W x H x D, inches): 20.5 x 7.6 x 17.6
average dE of 6.2 but an average WEIGHT (pounds): 28
saturated, but it appeared to be the
of 1 after calibration with no level Specs VIDEO INPUTS: HDMI 2.1 (2, 1 w/eARC, 48Gbps)
most accurate preset of the bunch.
exceeding a dE of 3. Overall, this OTHER: USB type-A, mini-USB (service only),
To calibrate for best HDR
is very good performance and in- LAN (Ethernet), RS-232C, 12-volt trigger output
results, you would need to create
line with other projectors at this ILLUMINATION METHOD: Laser array
different image modes for different
price point.–KRD RATED LIGHT SOURCE LIFE: 20,000 hours (all laser levels)
content brightness levels since
there is a large variance in peak
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30 August September 2022 soundandvision.com

brightness information with HDR. projector in my bat cave a bit jarring in the tone mapping solutions I have on
The Spears & Munsil UHD HDR to evaluate. Overall, rapid jumps from full hand. Lower-nit level HDR content
Benchmark disc provides a wide the dynamic range black. (See Test Bench like Blade Runner 2049 also looked
variety of pa erns mastered at with most content was for peak contrast a bit drab unless I rode the HDR
different clipping points along with exceptional; it was only measurements and se ings. As I said earlier, you will
great demonstration montages; when I started looking more related info.) likely need to adjust on a per-
those pa erns would be useful for at the darkest of clips Epson does offer content basis or rely on multiple
se ing up custom modes, while the that the limitations more aggressive laser custom picture memory modes
montages could be used to fine- of LCD’s overall dimming if you chose with the Epson. The HDR Optimizer
tune them to taste. Keep in mind, contrast performance the Dynamic picture technology in Panasonic’s Ultra
though, that the montages on the would show up. For preset. As mentioned HD Blu-ray players would help
Benchmark disc are mastered at instance, full blackouts before, this is the here, but that will only apply to disc
very high average picture levels— had a more grayish projector’s brightest playback.
much higher than what’s seen on appearance, and some mode, but also the most My only other gripe with the
most films and TV programs. They of the content I use inaccurate. With laser LS12000 was noticeable banding
represent a bit more of a “worst to stress-test black dimming enabled in artifacts, especially with HDR.
case scenario” for video playback performance looked a Dynamic, you can get This was apparent in some of the
at different nit levels. So, if you use bit washed out. the laser to fully shut off. montages on the Spears & Munsil
them to adjust the Epson’s HDR The LS12000 offers Based on all the testing UHD HDR Benchmark disc. (There
se ings, you can probably get a dynamic contrast system with I did looking for improvements in is a whole sequence on this disc
away with allowing a li le bit of Normal and Fast modes that black performance while remaining designed to reveal bit-depth issues
highlight clipping since that’s not modulates the laser output to sensitive to transition artifacts, I that may result in banding.) Epson
likely to be seen in more typical help with black-level perception. would recommend just using one lists HDR processing as 10-bit and
video content. In my recent review of JVC’s new of the more accurate picture modes video processing as 12-bit, so I
DLA-NZ9 projector, I had a lot like Cinema along with the Normal was surprised to see the banding,
PERFORMANCE of misgivings about the laser dynamic dimming mode. an artifact I’ve also noted on the
dimming: gamma modulation was Overall, most images looked last few Sony SXRD projectors I
Before I started in on measure- far too aggressive, doing li le to fantastic on the Epson. I use the reviewed. I didn’t see this again
ments or calibration, I made a point help black levels while revealing opening sequences from the Ultra during the rest of my time with the
of just viewing with the Epson obvious clipping artifacts on HD Blu-ray of the animated Farma- Epson, so it’s unlikely it will pop up
using its out-of-box se ings on a highlights. The effect of this was to ggedon to evaluate mixed contrast much during normal viewing.
110-inch 16x9 Stewart StudioTek reduce the subjective contrast of with a darker overall average
130 G4 screen (the 16x9 masked- most content I viewed. picture level (APL). The movie CONCLUSION
in portion of my larger 140-inch Epson takes a much more subtle starts with some panning through
diagonal scope setup). I did some approach with the LS12000. The space and then ends up with night- Epson’s LS12000 4K Pro-UHD
cursory laser output adjustments to Normal dimming mode is very slow time photography in an English laser projector delivers fantastic-
dial in a brightness level I liked, and to lower the laser level and is limited town and forest. Here, image depth looking images. You will be
then made a few cursory adjust- to about a 4x multiplier when and detail, along with black levels, hard-pressed to find another
ments to some of the enhancement lowering the black floor. Native held up nicely. A er the darker model that offers the same level
se ings. contrast measured offscreen in opening, the film transitions to a of performance and features at
The Epson impressed me in my calibrated viewing modes was daylight sequence on a farm with its price point. And while I would
nearly every image quality param- about 4,500-5,000:1. Normal amazing detail and plenty of color like to see Epson move to a native
eter right off the bat. Sharpness dimming mode moved that to eye candy. This looked fantastic as 4K LCD panel, resolution was
was excellent, with incredible about 11,000:1 quickly and then well, even when using the Epson’s completely satisfactory on the
fine image detail and depth. LCD on prolonged blackouts would default HDR se ings. The image content I viewed. I would also
tends to have a slightly lower fill slowly improve to about 20,000:1 reminded me a lot of what I’ve seen like to see more manufacturers
factor compared to other display peak. This basically means the from higher-quality DLP projector start to offer true dynamic tone
technologies including the LCOS Epson will likely never reproduce offerings, but with slightly be er mapping to increase performance
projector I use as my reference, the lowest black level in content, blacks. with the more common HDR
but the lower fill factor and slightly but it also means you won’t see The Epson does struggle with formats. Outside of that, I was fully
higher pixel gap can also create any “pumping” artifacts. I viewed higher APL and lower APL HDR impressed by the bright and vibrant
a slightly more “digital” look that some clips that transition in and out images. Two great examples of the images the LS12000 put out and
comes across as sharper at times. of black frequently (the opening former are The Meg and Starship enjoyed my time with it.
Colors showed strong saturation credits of the film Lucy is great for Troopers on Ultra HD Blu-ray,
and images overall looked natural this) and with the slower fade in and when I adjusted the HDR
and not overcooked. Normal mode, there was almost level to reduce clipping artifacts The Verdict
I was very curious to see how no visual benefit, even when the on both, the resulting gamma
the new Epson would fare when image went to full black. balance robbed the image of Offering great image punch, clarity,
it came to dynamic range. I have Switching to Fast mode, peak its visual punch. This was pre y and good contrast, Epson’s LS12000
become accustomed to the contrast was still limited to around obvious even without a reference impresses with most content,
typically higher contrast ratios of 20,000:1. Viewing the same to compare against, but really bad though its HDR performance is
LCOS designs, and it had been a opening sequence from Lucy, I when I compared it to some of the hindered by the lack of dynamic
while since I’ve had an LCD-based saw pumping artifacts that were dynamic frame-by-frame HDR tone mapping.

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soundandvision.com 31

test report



PRIMARE A35.8 8-CHANNEL POWER AMPLIFIER




RATING



PERFORMANCE

FEATURES
Power Play ERGONOMICS




VALUE
By Daniel Kumin






































LET’S FACE IT, amplifiers are a neces- refinements, to provide eight channels misplace the supplied power cord: the
sary evil. Unless you’re listening to a of power, each capable of dumping many you have in your junk closet won’t
crystal radio through a flesh-colored up to 150 wa s into 8-ohm loads (or work (ask me how I know).
earphone, you’re not going to hear 400 wa s into 2 ohms), from a chassis Each of the aforementioned channel
much of anything without at least one that’s smaller and lighter—though at 33 groupings comprises an unbalanced
amplifier between the music and your pounds, not exactly featherweight— RCA input, a balanced-line input (XLR
ears. than many a stereo power amp. (Hypex male), and a speaker output on heavy-
The amplifier’s job is pre y simple: is a Dutch firm, founded by Mister Class gauge multi-way posts, unfortunately
“make bigger but don’t change D, Bruno Putzeys. Putzeys is ex-Philips, spaced too widely for dual-banana
anything.” But that doesn’t mean it’s where he developed the technology plugs. (I believe this is due to a Euro
easy. Audio designers have been upon which Ncore amplifier modules safety regulation that aims to prevent AC
wrestling with amplifier types and and subsequent versions are based.) power from being accidentally applied.
topologies for more than a century, The 35.8 is a plain but handsomely Lord, protect us from ourselves.) Each
balancing power, size, weight, heat, and finished black slab (also available in grouping also gets two mini-toggle
cost in near-endless iterations. Then brushed silver), unadorned on the switches. One selects either the unbal-
along came class D, which upended front except for a pilot LED and etched anced RCA or balanced XLR input; the
the juggling match, combining new Primare logo, which cleverly encircles other chooses among three modes:
highs (power) and potential lows (all the the power bu on. The rear panel more Bridged, Channel, and “Bridged +6dB.”
rest) in one small package. And don’t than makes up for the fascia’s austerity, Channel is the baseline, supplying
call it digital, ’cause it’s not—there’s no teeming with eight channel groupings, 150 wa s (8 ohms) to the channel in
quantization per se—but that’s a story plus an RS-232 serial port (for custom- question. Bridged combines adjacent
for another time. system control and comms), 12vDC odd- and even-numbered channels for
Exhibit A: the new A35.8 power ampli- trigger input and output on minijacks, The A35.8's eight a claimed 740 wa s (8 ohms, at 1 kHz),
fier from Sweden’s Primare. It employs and an IEC AC inlet. The power inlet is channels are wherein you connect your speaker wire
an octet of Hypex Ncore (NC500) the seldom-seen 20-amp variety with bridgeable and each to the even-numbered channel’s “+”
class-D modules, with Primare’s own three horizontal blades in place of the deliver 150 watts terminal and the odd-numbered chan-
power-supply, input, and heat-sink more familiar vertical ones, so don’t into 8 ohms. nel’s “–” terminal. “Bridged +6dB” does

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32 August September 2022 soundandvision.com

exactly the same but compensates To power the odd-man-out So, unsurprising to me, during
for the 6dB increase in input-sensi- (le rear) height channel, I used its unbridged two-channel
tivity bridging engenders, allowing one channel of my everyday 7 x workout, the Primare sounded At a Glance
a mix of bridged and unbridged 150-wa amplifier. For the record, I indistinguishable from my everyday
speakers to remain aligned in level. reverted to regular ol’ unbalanced amp, a conventional class-A/B Fault-free sound quality
Bridging provides the flex- RCA connections for the surround design that’s about 6 years old Flexible, with bridged-
ibility to accommodate a number setup—I only have four high- and also rated to deliver 150 wa s mode, balanced options
of different system layouts, with quality XLR cables. into 8 ohms. On even the most
As much as 740 watts on
or without an additional amplifier demanding program material, the tap in bridged mode
(such as Primare’s two-channel PERFORMANCE amp effortlessly drove my Energy
A35.2). Using the A35.8 alone, for 2.2 speakers to their useful limits, High quality fit and finish,
quiet Scandinavian looks
example, you could bridge three That’s a lot of build-up for what filling my room with sparkling,
pairs of outputs to drive the front is in its essence a very short dynamic sound. Did the Primare 8 channels (as opposed to
le , center, and right speakers report: Primare’s A35.8 is a fully have an edge in top-volume 7 or 9) not ideal for some
home-theater systems
in a 5.1 system and use the two transparent, totally competent, clarity and punch? I think so, but
remaining outputs to drive the rear and, depending on the load and such evaluations are tricky. First, Expensive
surround speakers. For a 5.1.2 configuration, immensely powerful because A-B comparisons are
Price: $5,995
(Atmos) or 7.1 setup, you would amplifier. Regular readers may impractical, and second, because
primare.net
bridge one pair of outputs to drive recall that I ascribe nearly all as we plumb the upper potential of
the center speaker and use the reports of power amplifier “sound” most amplifiers we are also probing
remaining six outputs to power the to either inferior design—usually the nexus of loudspeaker limits
rest of the speakers. For systems input or output impedances that (although despite their age, the its four-channel, bridged mode,
with more speakers, such as my induce substantial frequency- Energy 2.2’s can absorb prodigious creating individual channels spec’d
5.1.4 Atmos setup, you will need an response errors from component amounts of clean power) and what I to deliver 740 wa s into 8 ohms.
additional amplifier, which may be interactions—or to subtle (or think of as hearing overload (where A er a brief invocation—offering
a stumbling block for some. All of not-so-subtle) non-linearities that the ear-brain system — mine, up 700-plus wa s to the Energy’s
these scenarios, of course, assume occur when an amplifier reaches anyway — rebels at unnatural loud- 1-inch tweeter/2-inch midrange
a powered subwoofer. its limits or is approaching its limits ness with distortions of its own). combo is not to be taken lightly
when “protection” circuits kick in. When I rewired the A35.8 for a since I can’t exactly pick up
SETUP (Of course, some amp “sounds” bridged workout and created two replacements at RadioShack—I
surely fall to pure subjectivity. And channels out of four, I can’t say I set up each speaker for bi-amp
Primare obligingly sent along then there’s the host of amplifier detected any change. With nearly operation and removed the
a sample of its Pre35 Prisma designs, o en tube-based, that three times the power potential, jumpers between its low- and
preamplifier/streamer, which has don’t a empt modern-design the Primare amp wasn’t working as high-pass-inputs, allowing one
balanced outputs optimized for its transparency at all, but strive for hard but, then again, its unbridged amp channel to drive the mid/
sister amp, so I dutifully connected euphonic variation—I hesitate to abilities were already more than tweeter array and the other the
it up with the A35.8 for my initial use the word “distortion.” But that’s sufficient for my needs. woofer. I crossed my fingers as I
stereo listening. With eight chan- a whole ‘nuther rant.) Next, I reconfigured the amp in fired up one of the most dynamic
nels on the table, I divided my recordings I know—the Sheffield
listening into four sessions. First, Drum Record—and listened while
with two of the amplifier’s eight my aging Energy 2.2’s explored
channels (3 and 5, if it ma ers) their ultimate potential.
driving my Energy 2.2 three-way, The sound was electrically
stand-mount speakers full-range. charged as I gingerly probed
Next, with two sets of channels drums playing at lifelike volumes.
(3-4 and 5-6) bridged, once again And when I turned to a long-
running full-range stereo. Third, favored SACD of Mahler’s first
with all eight channels bridged symphony, selecting the two-
into four 700-plus-wa channels channel layer I usually skip over, I
driving the Energys in a bi-amped reveled in the magisterial sound of
configuration with one über- dynamically unrestricted orchestral
channel feeding each woofer or reproduction. The sound was
midrange/tweeter complement. comparable with—though perhaps
Lastly, for multichannel incrementally be er than—what I
music and movie soundtracks, I heard during the previous bridged
switched back to my own preamp- expedition.
processor, using all eight of the But was all this power overkill?
A35.8’s channels to drive eight of Well, an orchestra playing late
the nine speakers in my 5.1.4 Dolby romantic-era music can crest
Atmos setup with the Energy 2.2s 110dB SPL (sound-pressure level)
in the front L/R positions (all of on stage and get close to 100dB
the additional speakers were of at the front row. With speakers like
the two-way cone/dome variety). my Energys in the sub-85dB/1-

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soundandvision.com 33

test report



PRIMARE A35.8 8-CHANNEL POWER AMPLIFIER


meter sensitivity range, and with
a listening distance of more than
3 meters, the math suggests, “not
by all that much.” Having 12dB or
so of headroom above 20dBw
(100 wa s) is generous but not
unreasonable. Whatever the case,
the Energys never sounded be er
playing in two-channel. (And I
didn’t blow anything up!)
For the final act, I shi ed to
surround sound and connected
eight unbridged channels to
my everyday pre-pro using
unbalanced RCA connections. The Primare gets credit for, of course).
A35.8 breezed through The Black Again, my system never sounded POWER OUTPUT (all at 1 kHz): 8 x 150 wa s (8 ohms),
Keys’ multichannel-music romp so good. 8 x 300 wa s (4 ohms), 8 x 400 wa s (2 ohms); 740
“It Ain’t Over” (streamed in Dolby One final observation: The Specs wa s into 8 ohms, 750 wa s into 4 ohms, 450 wa s
Atmos over Tidal), propelling the A35.8’s signal-to-noise perfor- into 2 ohms (bridged channel pair); <0.005% THD +
bass and drums with delightful mance (and thus real-world N, 20Hz-20kHz, 10 wa s AES 17 at 8 ohms
impact and arching the dense dynamic range) is superb. With AUDIO INPUTS: Unbalanced RCA (8), balanced XLR
choruses up, over, and around the program paused with both (8) selectable via mini toggle
without breaking a sweat. balanced and unbalanced connec- AUDIO OUTPUTS: Multiway binding posts (8 pair)
The same was true for movies. tions, I walked around the room ADDITIONAL: 12v trigger in/out; RS-232 control interface; fused IEC
I watched a selection of favorite pressing my ear to the tweeter (or power inlet; Bridged and Bridged +6dB modes
scenes at THX theatrical (loud!) midrange driver) and heard only DIMENSIONS (WxHxD, inches): 17.2 x 5.8 x 16
levels, and streamed the full length the barest of whispers from the WEIGHT (pounds): 33
of Dune (2021) over HBO-Max with midrange and, even then, it was
praiseworthy results: there was only discernible from a distance
never a hint of any power shortfall of a half inch or less. It’s also worth amplifier, I explored most of spend two or even four times as
with the system playing without a noting that I never once saw them. At no point did Primare’s much per channel and, at least in
subwoofer in my 3,000-cubic-foot any of the A35.8’s eight clipping eight-channel design fall short in my opinion, gain nothing—except
room. Even more impressive was indicators (which blink through the quantity or quality of amplification, bragging rights.
the “rain” clip from the original cooling grilles in the top cover) light making ”bigger without change”
Dolby Atmos Blu-ray demo disc up in any mode. and without complaint, no ma er
with its 360-degree presentation of what I sent its way. That earns this The Verdict
mostly so wind and rain, punctu- CONCLUSION power amplifier a straight “A” in my
ated by distant thunder, which book (for an “A+,” Primare will need Eight channels of unimpeachable
rolled believably across all nine There are many uses for power, to add that ninth channel). Yes, the Class D power in a fairly compact
channels (only eight of which the and in my months with the A35.8 A35.8 is expensive, but you can and very flexible package.





































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34 August September 2022 soundandvision.com



test report



LG 65G2PUA OLED ULTRA HDTV




RATING



PERFORMANCE

FEATURES
As Good As It Gets ERGONOMICS




VALUE
By Thomas J. Norton
































































LG’S NEW G2 OLED evo Gallery Edition only a slim wall-mount bracket but LG the U.S. market are made in Mexico, but
is the replacement for last year’s G1 and offers a conventional tabletop stand for the sample LG shipped to us said Made
the flagship offering in LG’s 2022 OLED $100 and, if you want a full-on Louvre in Korea on its rear panel.
lineup—excluding the $100,000 OLED vibe, an easel-like Gallery Stand for an
R(ollable) model, which sits in a class all extra $350. FEATURES
by itself. Like the G1 we reviewed in the The G2 series is currently available
December 2021/January 2022 issue, in four screen sizes: 55, 65, 77, and 83 The “evo” technology introduced in
the G2 is designed to hug the wall and inches. A 97-inch model was shown some of LG’s 2021 models has been
features a Gallery mode that, if selected, at the 2022 CES in January, but LG has The G2 is brighter further refined for 2022. While both
can display a revolving range of still yet to announce pricing or availability. than any previous the C2 and G2 series claim enhanced
images and artwork when it’s not being According to the spec sheet for the LG OLED TV we brightness over LG’s 2021’s OLEDs,
used as a television. The set ships with 65-inch model we tested, G2s sold in have tested. only the G2 adds an aluminum heat

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36 August September 2022 soundandvision.com

sink to the back of the display Dolby Vision, and HLG (Hybrid switch it on, the TV’s alpha9
panel, which increases the set’s Log Gamma) high dynamic range processor continuously analyzes
thickness to an inch. The sink (HDR) formats and provides a user- the program and does this conver- At a Glance
draws heat away from the panel selectable Dynamic Tone Mapping sion on the fly to minimize clipping
and, when combined with LG’s control to improve the performance and retain bright image detail that Full P3 color
newest intelligent processor (the of HDR10-based content. HDR might otherwise be lost. When I Inky blacks
tongue-twisting alpha9 Gen5 sources are mastered with a range turned Dynamic Tone Mapping on
High brightness
AI Processor 4K), enables it to of peak white levels (don’t ask… while HDR10 content was playing,
be driven to higher brightness it’s a long story). If a display can’t the improvement was dramatic, Cluttered WebOS
without the risk of permanent handle the peak white levels in a particularly on sources with peak eARC usability inconsistent
burn-in with stationary images. given HDR source, those peaks will white levels above 1000 nits—just
Price: $3,000
(The usual caution against leaving be clipped, resulting in a potential a shade higher than the G2’s own
bright, fixed images on screen for loss of detail in bright scenes. To maximum peak output. Of course, (847) 941-8182
extended periods of time, however, address this reality, all HDR content the Dynamic Tone Mapping feature lg.com
is still solid advice with any OLED is mastered with metadata that isn’t available with Dolby Vision
TV.) Our measurements (and eyes) gives the display the information it content because the metadata is
confirmed the claim of increased needs to minimize this clipping—a already dynamic. you’re likely to be watching).
peak brightness over any previous process called “tone mapping.” LG also provides a picture I found the G2’s audio more
LG OLED TVs we’ve tested (see In the case of HDR10, which is se ing called AI Picture Pro, than respectable. It also offers a
Test Bench). the most common of all the HDR which is said to employ a “vast Dolby Atmos option in the Advance
In addition to using heat mitiga- formats, the metadata is static—it database of visual data points” Se ing’s Audio menu. No, you can’t
tion to lower the risk of burn-in, stays the same throughout the and use a deep learning algorithm achieve a full Atmos experience
the G2’s Support menu provides a program—which leads to inevi- to recognize content, remove when all of channels originate from
“Logo Luminance Adjustment” to table compromises in how HDR is noise, and optimize picture quality. loudspeakers squeezed in to the
minimize temporary image reten- rendered on screen. To improve There’s also a new Scene Detection TV’s chassis, but the Atmos mode
tion by reducing the brightness of HDR performance, the Dolby Vison feature that analyzes the type of was effective in freeing music and
objects that remain stationary in and HDR10+ formats (the la er of scene being shown to “improve atmospheric sounds from the box
otherwise moving images, such as which is not supported by LG) are the picture accordingly.” Similar AI and moving them out into the room
scoreboards in sports and video mastered with dynamic meta- Sound Pro features are available for a bit. The effect was never jaw-
games. The effect is relatively data that changes constantly in the set’s audio. In both cases, these dropping but on the right material
subtle. response to the program material, automated routines are performed it added ambient frosting to the
The G2 is equipped with a allowing HDR highlights to be tone by LG’s alpha9 processor and can audio experience.
“NextGen” TV tuner for receiving mapped to the display’s capabili- be turned on or off in the AI Service Even though I’m not a gamer,
ATSC 3.0 over-the-air broadcasts, ties frame by frame. menu. Interestingly, the menu I’m well aware of LG’s reputation
including those in 4K (where avail- LG’s Dynamic Tone Mapping notes that the AI features will not as a company that aims to please
able), and has four HDMI inputs, control effectively converts function with copyrighted program the gaming community. In addition
all specified as HDMI 2.1 with one HDR10’s static metadata into material (which means it won't to its four HDMI 2.1 ports, the G2
also spec’d for eARC (enhanced dynamic metadata. When you work with most of the sources is G-Sync compatible and offers
Audio Return Channel) function-
ality. There’s also an optical output
that can pass lossy multichannel
Dolby Digital audio (but not DTS)
from the TV to an AV receiver or
soundbar. An eARC connection
can do the same for Dolby Digital
and DTS (including Dolby Atmos if
it’s in the source). I used an Oppo
Ultra HD Blu-ray player, connected
directly to the LG via HDMI, and
made a separate HDMI connection
between the LG and a Denon AVR-
X6700H receiver’s eARC-enabled
HDMI port. LG suggested the
additional step of se ing the Digital
Sound Output to Auto or PCM in
the TV’s Advanced Se ings menu,
which I did, but the Oppo never
sent more than two discrete chan-
nels of audio back to the Denon.
I did, however, get full surround
using the G2’s own built-in apps,
including Netflix.
The G2 supports the HDR10,

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soundandvision.com 37

test report



LG 65G2PUA OLED ULTRA HDTV



Test Bench




For the control settings used here go to soundandvision.com. The
measurements were made using CalMAN measurement software
from Portrait Displays, together with X-Rite i1Pro3 Plus and
Klein’s K-10A color meters and a Fresco 6-G pattern generator
from Murideo.

SDR/HD full field white pattern, with
no obvious sign of the “dirty
FULL-ON/FULL-OFF CONTRAST
screen effect.”
RATIO: Unmeasurable
Delta E is a figure of
In the Filmmaker Picture Mode, merit that indicates how
with the OLED Pixel Brightness closely a display adheres to
at 80, Adjust Contrast at 85, the color standard. Experts
Auto Dynamic Contrast and generally agree that at levels
Peak Brightness Off, Gamma at below 3.0-4.0 (most argue
2.4, and Black Level at 51, the for 3.0) the result is visibly Function—roughly the gamma white levels, with luminance
peak white level was 70.1 foot- indistinguishable from perfect for HDR) was a nearly perfect windows of varying sizes,
Lamberts (240 nits) and the tracking. Delta E values may match to an ideal result. measured 925 nits from 1% to
black level 0.000 foot-Lamberts, be used to characterize the Before calibration the 10%, 400 nits at 25%, 275 nits
rendering the full-on/full-off accuracy of either white grayscale Delta E’s ranged at 50%, and 170 nits at 100%.
contrast ratio unmeasurable. balance (grayscale), or color. from a low of 0.25 at 20% to a On an HDR Color Checker
With no changes to the high of 1.25 at 60%. test (sampling a wide range
set’s out-of-the-box White HDR10 Before calibration the of real colors and not just the
Balance controls (all in their maximum Color Delta E (at primaries and secondaries),
FULL-ON/FULL-OFF CONTRAST
zero default settings), the 50% stimulation) was 2.7 in the G2 averaged a Delta E
RATIO: Unmeasurable
Filmmaker mode’s grayscale red and a minimum 0.7 in of 1.28 (1.97 maximum) with
Delta E values ranged from In the HDR10 Filmmaker blue. As with the SDR results, luminance included and 0.93
a low of 0.39 at 30% to a Picture Mode, with OLED no adjustments to the color (1.99 max) without luminance.
high of 1.57 at 90%. The pre- Peak Brightness at 100, calibration controls were P3 and BT.709 saturation
calibration color Fine Tune Adjust Contrast at 100, needed to achieve these sweeps inside BT.2020 ranged
Delta E values ranged from a Screen Brightness at 50, results. I have some thoughts from good to very good.
high of 2.2 in red to a low of Auto Dynamic Contrast as to how or why our G2 was The LG G2 measured 74.6%
0.30 in blue. Both the White Off, HDR Tone Mapping Off so pristine out of the box in coverage of BT.2020 color and
Balance and Color Fine Tune (turned back on in normal use both HDR and SDR, but won’t 99.2% of P3 (using the 1976
out-of-the-box numbers above following calibration), and speculate on that here. But it standard). The P3 result here
were remarkable, and required Peak Brightness set to High, does suggest that even if your is close enough to support a
no adjustments to any of the peak brightness was 925 sample isn’t as near-perfect as claim of full P3 coverage. No
the calibration controls—the nits and the black level 0.000 ours, it should offer a range of consumer source material
results were already first-rate. nits. The LG G1 we measured control needed to make it so by as yet exceeds P3, and we
A Rec.709 Saturation Sweep, last year, under roughly the a skilled calibrator. know of no movement in that
analyzing all primary and same conditions, produced The HDR 100% peak direction.—TJN
secondary colors at saturation 744.5 nits. That makes this
levels from 20% to 100%, year’s G2, with its upgraded
produced excellent results evo panel and new heat sink, DIMENSIONS (WxHxD, inches): 56.7 x 32.3 x 1.0
with all Delta E values below 180.5 nits brighter for an (without stand), 56.7 x 34.6 x 9.6 (with stand)
2.2. On a color checker test, increase of 24%. The HDR Specs WEIGHT (pounds): 50.3 (without stand), 59.5, (with
which samples dozens of real black level measured 0.000 stand)
world colors for accuracy, the nits, making the full-on/full-off VIDEO INPUTS: HDMI 2.1 (4, 1 with eARC), RF
maximum Delta E was 3.0 contrast ratio unmeasurable. Antenna)
and the average 1.2. The G2 In these settings, the HDR AUDIO OUTPUTS: Optical digital
had excellent uniformity on a EOTF (Electro Optical Transfer OTHER: USB 2.0, LAN (Ethernet), RS-232C (mini-jack)



game-centric features such as also puts all of your game controls 79.9ms in Filmmaker mode and G1, which had a measured input lag
FreeSync Premium, VRR (Variable and se ings in one place for quick 19.7ms in Game mode. The la er is of 12.4ms.
Refresh Rate), and ALLM (Auto Low reference. Using the 1080p Bodnar higher than the best we’ve seen on LG includes its wand-like “Magic
Latency Mode). A Game Optimizer meter I measured input lags of other displays, including last year’s Remote” for operating the TV using

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38 August September 2022 soundandvision.com

bu ons or voice commands via switched on, so I le TruMotion off finally released later this year). now vintage, LG E7. And as with
Google Assistant, Amazon Alexa, for all of my calibrating and critical One of my favorite films is Anony- OLEDs in general, the G2 continues
or the voice control system built viewing. Filmmaker mode boots mous, a visit to the Tudor England to offer dark-scene detail and abso-
into the remote. The remote has up with TruMotion turned off, but that gave us Shakespeare. Visually, lute blacks that no other affordable
never been one of my favorites you’ll need to turn it off manually in it’s mostly a very dark film, heavily type of display can currently match.
because it isn’t backlit, making it Dolby Vision. overlaid with the sepia tones As officer K and Deckard face off in
too easy to hit the wrong bu on All of the G2’s Picture Modes common to period movies. It was a the showroom of a gone-to-seed
in the dark, though I’ve become offer 2-, 10-, and 22-point White difficult film to optimize on the LG. Las Vegas hotel, the bright lights
accustomed to it over time. I’m also Balance adjustments plus LG’s I had to do a li le post-calibration of holographic performers flash
not a big fan of LG’s WebOS Smart Fine Tune color-management juggling with some of the G2’s intermi ently around them. And
TV platform but it’s serviceable se ings. Out of the box, the LG various Brightness adjustments when K confronts a replicant in the
and, like the remote, I’ve become G2 measured so close to ideal that to minimize crushed blacks. This la er’s shack, I was able to follow
used to it even if I’ve never grown no active calibration was required included increasing the gamma the action even in the scene’s near
to love it. for either SDR or HDR10. That was se ing to 2.2 from the usually darkness.
totally unexpected—a first for us, recommended standard, BT.1886. But no disc I watched showed
SETUP in fact—but I wouldn’t assume that I eventually arrived at se ings that off the HDR capabilities of the
every sample will test as well. See made the film’s extensive shadow G2 quite as strikingly as Encanto.
A variety of picture modes are Test Bench for more on this. The detail and many candlelit scenes Packed with vivid color and
available on the G2, including ISF program material referenced below believable. sparkling highlights, it would take
Expert Bright, ISF Expert Dark, and was on either standard Blu-ray or Moving to A Knight’s Tale, a very a review far longer than this to
Filmmaker, which I used for viewing Ultra HD Blu-ray. different medieval film, brought a describe how impressive this film
standard dynamic range (SDR) and major leap in video performance. looks when viewed on a display
HDR10 content. The Filmmaker HD/SDR PERFORMANCE A story of jousting matches and as accomplished as the G2. It can
and ISF modes are not selectable finding your way, the film makes no do justice to the bright highlights
for Dolby Vision sources, so I used I was never a big fan of Avatar pretense to period accuracy but without compromising deep blacks
the default Cinema Home: Dolby (it’s basically Dances with Wolves nonetheless is brilliantly photo- and shadow details. The gloom
Vision Select for those. with a bit of FernGully: The Last graphed and in some ways supe- of Bruno’s “room” was dark and
Like its G1 predecessor, the G2 Rainforest thrown in), but no one rior to Avatar, which was saddled foreboding, while the sparkling
includes LG’s TruMotion feature, has ever said it’s a visually boring with having to mix live action with gold of the casita’s magic doors
which offers several se ings film—it popped beautifully on the 2009 CGI (no ma er how bril- shone brilliantly.
through a sub-menu that’s easy to LG. The fun starts with a bright liantly it was done). I experienced
miss (you have to scroll down to at spaceship travelling against a dark gorgeous imagery from begin- CONCLUSION
the bo om of the Clarity menu to a star field. Star fields have always ning to end without having to futz
get to it). There you’ll find se ings been eye grabbers on OLED TVs around with controls. The picture As I commented in last year’s
for De-Judder and De-Blur, both and this one was no different. was bright, crisp, naturally colorful, review of LG’s G1, it’s ge ing harder
individually adjustable, and The exceptional resolution of the and detailed throughout. And the to discriminate between today’s
Cinema Movement, which is G2 occasionally underscored colors were dead accurate, particu- flagship Ultra HD OLED TVs. But
said to reduce motion blur while the film’s 2009 CGI origins, but larly green foliage and skin tones, with the G2’s increase in available
minimizing the infamous Soap never enough to be off-pu ing. where it’s easy to spot errors. brightness, particularly in HDR,
Opera Effect that makes 24fps film- The planet Pandora was brilliantly OLED has reached another level.
based content look like video. I’m captured on the LG. The dark night UHD/HDR10 PERFORMANCE Yes, there will always be new
sensitive to the effect, which was scenes, in particular, were rich, advances. I had an uncle, back in
still visible with Cinema Movement deep, and clear, with brilliantly Blade Runner 2049 is a favorite the day, who put off buying a color
glowing foliage suggesting that for evaluations and was ideal for TV “until they perfected it!” I’m not
Pandora was at its visual best a er showing off the LG G2’s capabili- sure he ever bought one. There are
dark—apart from the occasional ties. I’m normally averse to features competing technologies today that
pack of snarling, toothy wolves. such as the Auto Dynamic Contrast can exceed the G2’s higher bright-
The LG never shortchanged any of control in the G2’s Advanced ness, but not its black levels and
this. (Why has this film never been Se ings > Brightness menu. But off-center viewing. No display is
released in 4K/HDR? I suspect as with last year’s G1, the HDR10 perfect, but the LG G2 comes pre y
we will find out when the sequel is images on the G2 looked a li le darn close.
crushed at first, a problem I was
able to correct by turning the
Auto Dynamic Contrast to Low The Verdict
(and sometimes Medium, though
the la er looked only marginally With its upgraded evo technology
different than Low). and new heat sink, the G2 Gallery
With that done, Blade Runner Edition punches through the bright-
2049 was a treat on the G2. The ness limitations associated with
movie is full of bright highlights OLED displays while retaining the
that really pop with the higher peak vivid color, stunning blacks, and
brightness the set offers over most off-center viewing that have long
earlier OLEDs, including my own, been the prime appeals of OLED.

[
soundandvision.com 39

test report



ELITE SCREENS KESTREL TAB-TENSION 2 CLR 3 SERIES PROJECTION SCREEN




RATING



PERFORMANCE


SETUP
Vanishing Act VALUE




By Al Griffin

































































PLENTY OF custom solutions have Screens designed for UST projectors, turned off and not being used.
been developed to house ultra-short on the other hand, are for the most The Kestrel Tab-Tension 2 CLR 3
throw (UST) projectors, a category part fixed-frame designs that occupy ($2,320-$2,905) is Elite Screens’ answer
designed to beam bright, living-room a large amount of wall area, especially to the UST black hole dilemma. A tab-
friendly images from a position just a the 120-inch diagonal format commonly tensioned rollable material housed in a
few inches away from the bo om edge used for UST setups. Given that such motorized case, the Kestrel rises from
of the projection screen. The main ones screens typically have a dark gray the floor at the flick of a switch to full
are furniture-grade cabinets with an surface, anyone using them needs to Elite's Kestrel screen height for movie or TV viewing, and then
interior compartment for stowing away contend with having the equivalent of rises on command retracts back into place when you’re
the projector so it remains out of sight a big black hole (okay, a dark gray rect- and then disappears done. It’s a simple, elegant solution for
both in use and when powered off. angle) on their wall when the projector is when not in use. UST projector owners seeking a screen

[
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40 August September 2022 soundandvision.com

that disappears when it’s not in commands to raise and lower the percent so—I noted a slackness
use—and one that doesn’t require Kestrel synched with your projec- that caused a slight rippling at the
any installation prowess beyond tor’s power on/off cycle, though I bo om of the screen on either At a Glance
positioning the case on the floor was unable to get this to work with side. While this was something
and plugging it in. the Epson LS-500 model I used for that caught my a ention at first, Screen fully retracts when
Elite Screens shipped me a my evaluation. and was visible when I displayed not in use
101-inch version of the Kestrel The CLR 3 (ceiling light- full-field gray test pa erns, it wasn't IR and RF remote controls
in a white housing (there’s also a rejecting) screen material used distracting during regular viewing.
Very good value
121-inch screen size and a black by the Kestrel has a gain of 0.8 The screen is also bordered at the
Slight slackness at screen’s
case option). Both sizes are only and is spec’d for a 170-degree bo om by black masking material
bottom edges when
available in a 16:9 aspect ratio. A viewing angle. Like other materials that helps enhance contrast and
extended
cardboard shipping container that designed specifically for use with provide a neat, finished look when
arrived at my doorstep containing UST models, it features an optical fully extended. Price: $2,320
the Kestrel was a bit over 9-feet coating that is aligned to filter out (562) 483-8198
wide, making ge ing it into the light coming from above the screen SETUP elitescreens.com
house a two-person job, but while reflecting light coming from
once inside, I was able to unbox a projector positioned below (this When I said the Kestrel Tab-
and position the screen’s 97 x 4.5 accounts for the screen’s dark Tension 2 CLR 3 doesn’t require go-rounds also proved the action
x 6-inch case on my own. The gray appearance as noted above). any installation prowess, I wasn’t to be consistent—the Kestrel is an
case is constructed from sturdy Black backing on the back surface, kidding. To get up and running, impressively sturdy and well-made
aluminum and features rubber feet meanwhile, blocks out any light I simply placed it on a pair of low product for its price.
for installation on a wood floor. In coming from behind the screen speaker stands to provide suffi-
operation, an equally sturdy cross- when it’s extended. cient elevation for alignment with PERFORMANCE
rising spring scissor mechanism While the CLR 3 does an the Epson LS-500 UST projector
emerges from within to raise the impressive job of filtering out I had set up on a 19-inch-high TV Before diving into viewing, I first
screen up to the desired height, overhead light, it doesn’t have stand. Next step: plug it in. (A more drew my windows’ blackout shades
and then folds back on itself when the same effect on light hi ing typical installation would have the and shut off the room lights to
retracting. An aluminum panel the screen from the le and right screen case positioned directly on perform some measurements.
sits on top of the mechanism and sides—something that regular the floor.) Pulling out the RF remote, With a 0.8 gain, I wasn’t expecting
serves as a “lid” when the case is ambient light-rejecting (ALR) I raised the screen to roughly match the CLR 3 to deliver crazy levels of
fully closed up. screens are designed to do. the image beamed by the projector brightness (a screen with a gain
There are multiple ways to For this reason, to get the best and manually repositioned the spec below 1 is reflecting less
operate the Kestrel once it’s performance out of your setup, Epson to dial in geometry and light than what’s beamed at it by
plugged into a power outlet. The you’ll need to make sure windows focus. That’s it! the projector, primarily to increase
most basic is a switch located on in your viewing room can be One thing I was concerned contrast) but the 22.7 footlamberts
the le side of the case that lets adequately blacked out, and that about before setup was that the ( -L) peak white I measured in SDR
you manually raise, lower, and stop any lamps to the sides of the screen screen wouldn’t be plumb with mode using the Epson LS-500 was
the screen. Two remote handsets are switched off or dimmed. the projector’s lens surface once sufficient for dark-room viewing,
with similar functions provide RF The tab-tensioned aspect of extended. But that didn’t end up and the 30.8 -L it managed with
(radio frequency) and IR (infrared) the Kestrel is a simple yet effective being the case at all: the spring the projector in HDR mode made
wireless control, respectively. design where a pair of taut strings scissor mechanism in back raises things even brighter and be er.
Another option is a wireless RF run through perforations on the up perfectly flat, allowing for Brightness uniformity was very
trigger dongle that plugs into your screen material’s le and right easy alignment of the projector good: I measured a maximum
projector’s USB port and sends out edges. Effective, but not 100 and screen. Multiple raise/lower deviation from the screen’s center


































[
soundandvision.com 41

test report



ELITE SCREENS KESTREL TAB-TENSION 2 CLR 3 SERIES PROJECTION SCREEN


of around 6 -L at the bo om le , end—showed excellent detail in
while most of the other measured the shots of craggy mountains and
zones were closer to the center old stone buildings, and colors and
target. Color uniformity was also skin tones looked as natural and
very good, with the maximum pure as I expect them to be. There’s
deviation from a 6,520 K center nothing overly dazzling about No
measurement being 6,766 K at the Time to Die’s 4K/HDR transfer,
screen’s bo om right corner. but it does have a solid, visually
How did all that play out in pleasing quality from start to finish.
real-world viewing? With lights off Watching it on the Kestrel screen,
and windows blacked, the image I had no complaints, and found
montage from the Spears & Munsil myself wanting to se le back and
UHD HDR Benchmark disc revealed continue watching.
a slight degree of color tinting at the While Elite Screens’ versatile
corners of the screen in the early Kestrel proved to be a fine option
shots of white sheep and winter for dark room movie viewing, most Test Bench
landscapes, but I can’t say I noticed people use UST projection setups
it again outside of that torture-test for watching stuff like sports in
Measurements were made with a 100 IRE white test pattern
footage. Later shots of a honey more well-illuminated environ-
displayed via an Epson LS500 projector calibrated using Calman
dipper, peacock feather, and cacti ments. The Red Bull TV streaming
measurement software from Portrait Displays (www.portrait.
against a solid black background channel offers a seemingly infinite
com) together with a Photo Research PR- 650 color meter. A
revealed well-saturated colors, but variety of footage of athletes and
Minolta LS-100 luminance meter and a Murideo/AVPro (Fresco
the background was more of a dark daredevils in motion. Watching an
Six-G) test pattern generator were also used during testing.—AG
gray than a true black. (To be fair, extended clip of a gravity-defying
the Epson UST projector, which group of skateboarders doing their
has good, but not mind-blowingly thing in a small Central American Color Luminance
Screen
good, contrast was partially city with my room’s overhead lights Target Point Temperature (K) (ft-L)
responsible for this shortcoming.) on, the image looked satisfyingly
Shadows looked deeper in more bright and punchy, and colors Center 6520 22.7
intricate nigh ime drone footage of the vividly painted buildings
Center Left Side 6544 18.2
of urban skyscrapers, though I still retained their richness. For non-
Center Right Side 6771 19.4
wasn’t seeing a true black. fussy viewing of content of this sort,
Switching to movies on Ultra HD the picture quality of the Epson Center Top 6432 23.0
Blu-ray, I watched a few scenes UST/Elite Screens combo in a well- Left Top 6483 17.8
from Dune that make good use of lit room was be er than acceptable. Right Top 6687 18.0
HDR highlights. These popped It literally looked great. Of course, I
Center Bottom 6584 20.4
fairly well on the Kestrel screen, did have my windows blacked out,
Left Bottom 6738 17.0
and there was good detail in the and when I later un-shu ered them
shadows. Guardians of the Galaxy to see how the screen would fare, Right Bottom 6766 17.9
Vol. 2 has some scenes with vivid, the picture immediately became
trippy colors, particularly the ones washed out. command and then fully retracts Available in
that take place on Ego’s planet. into a compact and visually unas- 101- and 121-in
These came across as rich and CONCLUSION suming case. Like other screens Specs (diagonal)
dynamic on the Kestrel screen, and designed for use with UST projec- sizes, 16:9
the green and blue hues of certain The Elite Screens Kestrel Tab- tors, the Kestrel requires a degree aspect ratio
characters’ skin also had a vivid Tension 2 CLR 3 well exceeded my of lighting control for best perfor-
look. expectations with its solid build mance, but once that was taken
Tossing No Time to Die into quality, versatility, and perfor- care of, I was impressed with the want to deal with the black hole
my Oppo player, early scenes mance. There is something very image quality I was ge ing with my dilemma that a huge, wall-mounted
from Daniel Craig’s final hurrah as cool—magical, almost—about a room’s overhead lights switched fixed projection screen poses, I’d
James Bond where he vacations in screen that rises up from the floor on or off. If you’re interested in a strongly recommend considering
Italy—a trip that comes to an abrupt in response to a remote control UST projection setup, and don’t the Kestrel Tab-Tension 2 CLR 3.




The Verdict

The Elite Screens Kestrel is a well-
made, reasonably-priced, and easy-
to-set-up option for those who want
their projection screen to disappear
when it’s not in use.

[
[
42 August September 2022 soundandvision.com

This will













cause some














trouble.

























Our new award-winning Reserve Series
sounds so amazing you’re going to want to
buy new speakers.
Did we mean to make speakers that
sound so good they have reviewers
raving? Absolutely. Our engineers can’t
help it. They’re rock star scientists. Dig
into Reserve’s Turbine Cone, Pinnacle Ring
Radiator Tweeter, Power Port or any of
the tech we pulled into Reserve from our
flagship Legend line, and you’ll understand.
Funny thing is that none of this tech is
particularly expensive. It just sounds good.
Which gave us a choice—sell the Reserve
Series at a price much more reasonable
than the competition, or do what the
competition does and ask for top dollar.
Sadly for our competitors, we opted to take
care of you.

Everyone deserves great sound. So while
we are sorry that we made other brand’s
gear suddenly feel overpriced, for those of
you looking for speakers that sound even
better but cost less…You’re welcome.


W i n n e r

PolkAudio.com/Reserve

Reserve
Series

(speakers not
to scale… sorry)


EXPECT GREAT SOUND

test report



BOWERS & WILKINS PANORAMA 3 SOUNDBAR




RATING
Atmos with a PERFORMANCE




FEATURES
Touch of Grace ERGONOMICS




VALUE
By Rob Sabin






























































BOWERS & WILKINS has developed With this introduction, B&W’s line can be achieved with a pair of small,
a solid name in the soundbar category now consists of two bars, the other integrated drivers.
for premium products that reflect the being the futuristic Formation Bar priced Visually, the Panorama 3 is
brand’s longstanding philosophy of at $1,299. Unlike that bar, to which you a rectangular column with so
pu ing respect for the music above all can add the Formation Bass subwoofer concave sides and rounded corners;
else. This doesn’t mean their soundbars ($1,199) and Formation Flex wireless it communicates class but tends to
don’t make sonic compromises, only speakers ($499 each) for rear surround disappear in the decor. At 47.6 x 2.6
that those compromises tend to be channels, the Panorama 3 is take it or x 5.5 inches (WxHxD) it is wider than
more careful and measured than we see leave it. It’s an all-in-one solution that many soundbars but not terribly tall,
elsewhere. As B&W’s first soundbar to creates an immersive sound bubble with The Panorama 3 and a wall mount may leave it poking
offer Dolby Atmos playback and its least the magic of upfiring Atmos drivers and uses 13 drivers to out past a thin TV. At 14.3 pounds, it
expensive soundbar to date at $999, the foregoes the standalone subwoofer, create a 3.1.2 Dolby feels substantial. The cabinet is made
Panorama 3 embodies this philosophy. instead pushing the boundaries of what Atmos system. of sturdy ABS plastic, braced internally

[
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44 August September 2022 soundandvision.com

with thick walls and crossmembers sure the system is operating in its B&W Zeppelin (April/May 2022).
to add stiffness. optimal range for maximum volume Like the Zepp, the Panorma has
The bar’s front and sides are with minimal distortion. no remote and is configured and At a Glance
wrapped in continuous black grille Audio processing in the controlled using the Bowers &
cloth, while the flat top is a metal Panorama 3 is Dolby Digital up Wilkins Music App. Once installed Audiophile sound for music
grille broken only by a dark-glass to TrueHD Atmos quality (no and booted on iPhone or Android, and movies
touch panel and LED status bar DTS), and it’ll decode hi-res up to the app automatically connects Atmos height effects
at the center. Waving your hand 24-bit/192kHz from the streaming with the soundbar and guides you
Good bass
above the controls wakes up the services available through B&W’s through the process of naming it,
Integrated high-res music
backlight. There’s a multifunction music and control app, which engaging Alexa voice control, and
streaming
bu on used for Bluetooth pairing I’ll describe below. Straight hooking it up to your TV.
and selecting sources, volume up/ two-channel stereo is processed On that last front, the ideal No expandability for
down, play/pause, and a bu on as 3.1 channels—with bass, but no connection is HDMI eARC surrounds or sub
that can wake up Alexa without a height channels—and Dolby 5.1 (enhanced Audio Return Channel), No voice-boost or height-
voice prompt or turn off the built-in soundtracks are upmixed to 3.1.2. which is required for passing channel adjustments
mic. Around back is a connection discrete Dolby Atmos signals and Price: $999
panel with an HDMI eARC port, an SETUP allows volume control through
optical input, an Ethernet port (for your set-top box or TV remote bowerswilkins.com
use in lieu of Wi-Fi), and a USB-C The setup procedure for the (via HDMI-CEC protocol). If you
port for service. Panorama 3 was familiar following don’t have eARC, plain ARC will
The Panorama 3 uses 13 drivers my experience reviewing the latest do with the limitation that Atmos soundtracks will be downmixed
to create a 3.1.2 Atmos system. to 5.1, though you’ll still get up
Nine of those drivers are config- to TrueHD lossless sound along
ured in three front-channel arrays with the aforementioned remote
with two upfiring drivers reserved compatibility. If you get stuck using
for height channels and two for the optical input, you’re limited to
bass duties. Each front-channel basic Dolby Digital or DD+, but
array mates a 0.75-inch titanium- the Panorama 3 has the ability to
dome tweeter with a pair of 2-inch learn your TV remote’s volume
woven glass-fiber midrange/bass commands.
drivers in its own sealed chamber; The B&W Music App is a rac-
the tweeters are positioned at the tive, intuitive to use, and offers
far le or right edge of the baffle integrated access to several
for the respective channels, while premium music services: Tidal,
the central tweeter is sandwiched Deezer, and Qobuz for CD-quality
between the mids. The two height or be er streams, plus Tune-In,
drivers are also 2-inch woven Last.fm, NTS, SoundCloud, and
glass-fiber cones, each in its own Dash; Amazon Music and Pandora
sealed chamber, that fire up at an are expected to be added in
angle from behind the top grille at the future. Spotify is supported
either end of the soundbar. through Spotify Connect and, if
Bass comes from a pair of you’re an iPhone user, services
shallow 4-inch woven glass-fiber not supported in the B&W app
woofers that fire up from the are accessible when streaming
cabinet and load into a sealed via Apple’s AirPlay 2 platform. The
chamber that runs across three app also supports aptX Adaptive
quarters of the soundbar. Here’s Bluetooth for on-the-fly streaming
the kicker (pun intended): the at resolutions up to 24-bit/48kHz
substantial volume of that chamber, and offers some excellent curated
coupled with dynamic equalization playlists culled from its integrated
(EQ) controlled by the unit’s digital services, which might include
signal processing (DSP), allows hi-res playback if your subscrip-
for a respectable claimed low- tions support that.
frequency limit of 43Hz—without a Finally, the Music App is
subwoofer. envisioned to be the control hub for
The system is powered by 400 any B&W wireless speaker in your
wa s of class-D amplification: home, with multiroom functionality
40 wa s goes to each woofer, 40 promised later this year. In the
wa s to each height driver, 40 meantime, you can use the app
wa s to each pair of mid/bass to access and control individual
drivers (so, 40 wa s per front speakers, which in the case of the
channel), and 40 wa s to each Panorma 3, includes adjusting
tweeter. The dynamic EQ makes volume, selecting inputs, and using

[
soundandvision.com 45

test report



BOWERS & WILKINS PANORAMA 3 SOUNDBAR


sliders to tweak bass and treble. 8 feet from the listening position
DRIVERS (all woven glass-fiber cones except for the
Despite all of this functionality, and the room’s ceiling is a touch
tweeter): 2-inch midrange (6), 0.74-inch titanium-
there are still a few common higher than normal at 8.5 feet. Specs dome tweeter (3), 2-inch full-range height driver (2),
soundbar features missing that I Starting formal evaluations with
4-inch woofer (2)
would have welcomed. One is a music, I played a variety of familiar
AMPLIFIER: Class-D, 400 wa s (midrange drivers,
classic loudness contour switch CD-quality tracks from my Tidal
40 wa s per pair x 3; tweeters, 40 wa s each x 3;
or preset EQ curve that adds more reference playlist. Not surprisingly,
height drivers, 40 wa s each x 2; woofers, 40 wa s each x 2)
fullness to the upper bass region. the Panorama 3 delivered highly
CONNECTIONS: HDMI eARC, optical digital input, USB type-C
In the absence of a subwoofer, that palatable audiophile sound. Hey,
(for firmware/service), RJ45 Ethernet
can be a good thing depending on it’s a B&W.
WIRELESS: Apple AirPlay 2, Spotify Connect, Bluetooth (aptX
room acoustics and the content As previously noted, with
Adaptive), Wi-Fi
playing. Also missing: voice EQ or a stereo music playing only through
ACCESSORIES: HDMI cable, power cord, steel mounting bracket
center-channel level control to help the soundbar’s forward facing
DIMENSIONS (WxHxD inches): 47.6 x 2.6 x 5.5
bring out dialogue in instances drivers—no height channels—the WEIGHT (pounds): 14.3
where it’s competing with surround Panorama 3 cast a respectably
effects—something I experienced wide image that extended slightly
more than once. A level control for beyond the edges of the bar, performance sounded dirty and Panorama’s musical forte. Goosing
the height channels that lets you though it would have been nice to muddled once the band got going, the bass added impact to the tom
optimize spatial effects would also have a surround-music mode that though the voice cha er and wind toms and bass drum kicks that
be a nice addition. With no side- engaged the height drivers for a bit ba ering at the mics before they start this track, but you can’t expect
firing drivers and no surrounds, more front-to-back depth. Even so, started playing came across with miracles with loud rock or EDM.
you’re counting on the height pu ing aside the spatial limita- you-are-there authority. Despite the claimed 43Hz
speakers to create an immersive tions you should expect with most A be er sounding-track was low-end limit, test tones showed
environment. Sometimes the soundbars, the Panorama presents “Bad Guy” by Billie Eilish, which that the bar started to drop off
default se ing was enough, but a superb and engaging listening had enough bass energy to set quickly below 60Hz in my room and
sometimes I yearned for more. experience. things shaking in the credenza that was down about 10dB by 50 Hz.
In selecting a track from one supported the soundbar. Eilish’s With the bass slider at its maximum
PERFORMANCE of those B&W playlists, I learned vocals were big and clear, and +6dB position, there was additional
very quickly how capable this the detail in percussion, including energy starting around 125 Hz and
I auditioned the Panorama 3 in my soundbar is at exposing less than some crisp finger snaps, was stretching down to where it still had
den, where it sat on the credenza ideal recordings. Sorry to say that outstanding. Still, bass-heavy some impact around 40Hz. But
below my eARC-equipped The Beatles playing “Get Back” music like this or “Give Me Back bass was still about 20dB down
55-inch TV. The screen is about live during their famous roo op My Girl” by Fiction Family is not the from its peak at that point. Still,

















































[
[
46 August September 2022 soundandvision.com

M O D E L C O L L E C T I O N




































































The New Shape Of Sound







Introducing The New KLH Model Five Acoustic Suspension Speaker System


Widely celebrated as the best-selling loudspeaker of its era, 'UHVVHG LQ JHQXLQH ZRRG YHQHHUV DQG FDVW DOXPLQXP VSHDNHU
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klhaudio.com

test report



BOWERS & WILKINS PANORAMA 3 SOUNDBAR


any usable bass below 60Hz in a emanated from above. The mix for
standalone soundbar should be Taylor Swi ’s “This Love” (Taylor’s
viewed with awe. Version) intentionally placed the
Dynamics were excellent but vocal high up in the stage and
also ultimately limited. Musical slightly out into the room; her
peaks maxed out around 99dB sweet, syrupy delivery floated
and, despite the excellent digital above the bar. And another jazz
processing, you can definitely track, “Moanin’” by Art Blakely
hear strain if you lean hard on the and the Jazz Messengers, took full
volume. Fortunately, there’s plenty advantage of the height channels
of loudness to enjoy within the by expanding the recording space
soundbar’s considerable limits. around the instruments and pu ing
On the other side of the coin, the you in the room with the musicians.
Panorama 3 was right at home with Once again, the natural timbre of
jazz. “You Look Good to Me” by the instruments—trumpet, sax,
the Oscar Peterson Trio starts with piano, cymbal taps—helped make
unadorned piano scales, delicate this track even more convincing.
triangle dings, and the very slow You can get lost listening to
and resonant pulls of a bow on music with the Panorama 3—
the double bass. Aside from the something I don’t o en say about a
modestly compressed soundstage soundbar—but it was also superb
width and depth, it sounded as with TV and movies. Disney’s
good as I’ve heard it. Instrument Jungle Cruise is a charming live-
positions were distinct with action caper set during World
Peterson’s piano at center stage, War II that stars Emily Blunt and
drums and percussion at the le , Dwayne Johnson; think equal
and the bass slightly right of center. parts Indiana Jones and African
The detail and timbre were dead Queen. It proved an excellent test stove (ouch!), a troop of screaming $899 Sonos Arc I reviewed in 2020.
on and goosebump-inducing. I of the Panorama 3’s me le. The monkeys, the mechanical pumping Though it doesn’t quite have the
could easily hear into the ra le on Dolby Atmos soundtrack on the of the boat’s steam engine, the B&W’s pedigree and finesse with
the brushed snare drum and, as the Disney+ stream was outstanding, explosion of a torpedoed building, music, it remains a fine audiophile
track evolved into a boogie woogie filled with snappy dialogue, all and the whining of metal as the soundbar with side-firing drivers
riff, I heard Peterson use the piano’s manner of jungle sounds, gunfire, submarine runs aground. that can take advantage of room
pedals to dampen the decay of explosions, fist fights, and an I was astonished at the reflections to help spread the
notes. Likewise, the tapped cymbal adventurous orchestral score. convincing detail and cleanliness front image wider than what the
kept its shimmer throughout the The bar delivered a big image that of it all, the fine dynamics, and the Panorama 3 can achieve on its
song and the Panorama offered stretched only slightly beyond its excellent timbre of the horn-driven own. Plus, you can add surrounds
beautifully rich and well-defined physical boundaries but went up to score. My only complaint, and it is and a subwoofer, albeit at
plucked bass. the ceiling, placing the occasional a small one, is that the soundtrack considerable cost. As a standalone
Pop ballads were another strong effect out in the room. As an and effects could sometimes bar, the Arc delivered comparable
suit. Adele’s cover of Bob Dylan’s example, rain falling in the jungle overwhelm the dialogue in this bass performance that also started
“Make You Feel My Love” rendered provided a nice broad canopy of and other scenes throughout the to fall off below 60 Hz in my room.
a huge and pure vocal that sat ambience—nothing like the deep movie. I turned up the treble and Still, it’s impressive to see how
forward of a luscious and equally coverage you would get with rear bass to bring out more definition in the Panorama 3 stays true to its
large piano that emanated from surround speakers, but reasonably the voices and add a touch more audiophile roots and commit-
behind Adele and seemed to enve- omnipresent and lifelike. he to the bo om end, which ment to simplicity while delivering
lope her. The subtle dynamic build One of the movie’s high points despite its limitations was more sonics of this caliber, all without
of her voice on the crescendos was a prolonged scene in which than passable by movie-watching a subwoofer or surrounds. Short
was well-tracked, with only slightly Blunt and Johnson’s characters standards and more than you of adding those extra speakers,
more compression than I’ve heard escape a tiny Brazilian harbor town would normally expect from a I’m not sure you could get be er
on be er systems but with the and set course down the Amazon standalone soundbar. Still, a voice- performance from such a trim and
emotion still intact. And when the a er a dynamic foot chase through boost bu on would be a welcome elegant soundbar.
strings joined in, they sounded the village and pursuit on the water addition—and one that would
natural and textured. by a German U-boat. Over a period enhance performance.
I sampled some of Tidal’s of 8 minutes, viewers experience a
extensive Atmos playlists. The flock of flapping parrots, punches CONCLUSION The Verdict
Atmos version of The Doors classic and kicks in hand-to-hand combat,
“Riders On The Storm” was a the clang of a pot on one unfor- It’s hard to end a review of B&W’s Atmos-enabled Panorama 3
great test track, with its rain and tunate pursuer’s noggin and the the Panorama 3 without delivers music with audiophile
storm sound effects providing thunk of a coconut on another’s, acknowledging its primary quality and excellent movie sound
an immersive backdrop as they the sizzle of a hand forced onto a competition in this price range, the without a sub or surround speakers.

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48 August September 2022 soundandvision.com

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Now we’ve just reinvented them










“The best subwoofer I’ve encountered in two decades of audio product reviewing.”

- David Vaughn, Sound & Vision, June 2022





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remarkable speed and agility” - Steve Withers, HCC 2022































































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test report



MARANTZ MODEL 40N STREAMING INTEGRATED AMPLIFIER




RATING



PERFORMANCE

FEATURES
Modern Marvel ERGONOMICS




VALUE
By Howard Kneller






















































I ATTENDED a launch event for the Word of the unique design got around, tics, Bowers & Wilkins, Classe, Defini-
Marantz Model 40n a few months prompting Marantz to build 100 units, tive Technology, Denon, and Polk.  
ago and marveled at just how far the which he quickly sold for $153 apiece. Like the Model 1 preamp, the
iconic brand has come since founder Before long sales of the Audio Conso- Marantz Model 40n also contains a
Saul Marantz took his first steps as an le e had exceeded 400. phono stage designed to work well
audio pioneer way back in 1945. In true Mr. Marantz knew he was onto some- with almost any record. It also houses
hobbyist fashion, he modified his car thing, so in 1953 he formed the Marantz an integrated amplifier and dedicated
radio so he could listen to it at home Company to manufacture and market headphone output as well as something
and, once it was up and running there, the Audio Console e, which launched Saul Marantz probably couldn’t have
continued tinkering with it to improve its the following year as the Model 1. The imagined—a music streamer.
performance. rest, as they say, is history.
By the early 1950s, Mr. Marantz Since those early days, Marantz has FEATURES
was busy working on a preamplifier produced a steady stream of highly
for his own use. He called it the Audio regarded audio components, earning Weighing in at almost 37 pounds, the
Console e and, unlike other preamps its rightful place in the annals of hi-fi Model 40n is a mid-tier member of
of the day, its phono stage incorporated history as an innovator. Today, Marantz Marantz’ integrated amplifier lineup. It
multiple equalization curves to ensure is owned by Sound United, steward of derives inspiration, both inside and out,
optimal playback of virtually any record. such iconic brands as Boston Acous- from the company’s Model 30 ($2,999),

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50 August September 2022 soundandvision.com