although that component doesn’t 30 integrated amp has a phono supported on Android, iOS, and
contain a streamer. Like all of stage that accommodates moving Kindle-based mobile devices and
Marantz’s top products, the 40n coil and moving magnet cartridges, enables the 40n to play the same At a Glance
is manufactured at the company’s the Model 40n supports only or different songs in multiple zones
Shirakawa Audio Works factory, moving-magnet cartridges but around the home. Heos can also Spacious, rich sound
115 miles northeast of Tokyo. does so with two amplification grab music from a home server via Gorgeous aesthetics
Many of today’s streaming stages, which is said to lower gain a UPnP (Universal Plug and Play)/
Tank-like build quality
amplifiers have a digital preamp and distortion. DNLA share and “broadcast” audio
stage and use class-D amplifica- Stepping into the digital received via its phono or digital Feature-packed
tion modules sourced from third realm, the Model 40n uses an inputs to Heos-enabled devices Small display
parties. Not the Model 40n. In a ESS ES9016 digital-to-analog around the home.
Limited wired connectivity
nod to the old school, it’s all analog converter (DAC) to process PCM The Heos platform provides
options
and boasts a traditional class-AB up to 24-bit/192kHz and DSD access to a number of streaming
amp section that relies on four up to 5.6MHz (Double DSD), the services, including Amazon Music Lacks room correction
output transistors per channel to la er when streaming through the HD, Apple Music, Deezer, iHeart Price: $2,499
deliver 70 wa s a side into 8 ohms. Heos platform (more on that in a Radio, Pandora, Sirius XM, Spotify 800-654-6633
It’s also equipped with a 100-step moment). (which is controlled via Spotify’s
electronic volume control, permit- The Model 40n offers a choice own app), Tidal, and TuneIn marantz.com
ting the use of a variable gain of two digital filters. The default internet radio. Wireless connec-
se ing at the preamp-level, which se ing is Filter 1, which exhibits tivity is also available via Apple
optimizes signal-to-noise ratio, a short impulse response said to Airplay 2, Spotify Connect, Blue- says switching off the display (as
according to Marantz. reduce pre- and post-echo, while tooth, and Wi-Fi. A USB type-A port well as the USB-Type-A port and
A pair of proprietary Hyper- allowing for the flow of a large allows the Model 40n to play audio Wi-Fi and Bluetooth functions)
Dynamic Amplifier Modules amount of audio information for files stored on an external USB or reduces noise.
(HDAM) sit between the volume improved stereo imaging and Network A ached Storage (NAS) Below the display is a row of
a enuator and amplification. soundstaging. Filter 2 is said to drive over the Heos network. knobs for selecting an input,
Marantz credits these tiny circuits achieve more analog-like sound by The Model 40n is Roon Tested, turning on the source-direct mode
with not only lowering noise and invoking an asymmetrical impulse which means it has been profiled (which defeats the tone controls),
distortion but expanding dynamic response that results in a post- for compatibility with Roon music- and adjusting bass, treble, channel
range and frequency response echo that’s slightly longer than the management/streaming so ware, balance, and volume. To the le of
over traditional operational ampli- pre-echo. but there’s no collaboration the center plate is the power bu on
1
fiers (“op-amps”). HDAM circuitry is There’s also a Lock Range between Roon Labs and Marantz. and to the right a / 4 -inch head-
also used for the 40n’s headphone feature which, according to The 40n also supports Control4’s phone jack. The LEDs that create
output, which provides adjustable Marantz, improves the perfor- smart-home control system the so glow around the edges of
gain se ings to accommodate a mance of digital streams by and voice control through the the center plate can be turned off,
wide variety of headphones. reducing ji er. Three se ings are Siri, Alexa, Google, and Josh.ai dimmed, or even synced to the
Marantz says the Model 40n is available: narrow, medium, and platforms. brightness of the display.
a good match for speakers that are wide, the last of which is the default Striking is how I would describe Moving to the rear panel,
difficult to drive thanks to the use of se ing. Narrow is said to provide the Model 40n’s front panel with which is made of steel and do ed
a linear power supply, clearer sound, though the se ing its backlit aluminum center plate, with copper-plated
featuring a large, can expose unwanted operational textured plastic back plate, and screws, there’s a
double-shielded noise if the quality of the incoming 2-inch round display, which shows centrally located
toroidal transformer signal is poor. operation status and contains stereo set of speaker
built to deliver high Heos, the wireless streaming a remote-control sensor and terminals, which
current on demand. platform developed by Marantz protection-circuit indicator that accept bare wire
Whereas the Model sister company Denon, is natively blinks if something is awry. Marantz or banana/spade
[
soundandvision.com 51
test report
MARANTZ MODEL 40N STREAMING INTEGRATED AMPLIFIER
connectors. Otherwise, connec- correction so ware, a USB-type-B
POWER OUTPUT: 70Wpc (8 ohms), 100Wpc
tions are mostly grouped on the port for use with a computer, or a
(4 ohms); 5Hz-100kHz, 0.2% THD
le side and include HDMI ARC display area big enough to show Specs AUDIO INPUTS: HDMI ARC, optical and coaxial
(Audio Return Channel), which album art. It also lacks support for
digital (1 each), stereo analog RCA (3, incl. recorder),
facilitates audio playback from a the Master Quality Authenticated
moving-magnet phono, stereo power amp
TV or gaming console, coaxial and (MQA) file format and skips some
AUDIO OUTPUTS: Stereo analog RCA (recorder),
optical digital inputs, the previ- of the more esoteric connectors
1
subwoofer pre-out, speaker level (2 paralleled multiway), / 4 -in
ously noted USB type-A port, and and data transfer protocols such
headphone
four stereo sets of RCA analog as XLR and AES/EBU. And while
WIRELESS: Apple AirPlay 2, Spotify Connect, Bluetooth, Wi-Fi
inputs for connecting a turntable the 40n sports ARC and Bluetooth
STREAMING: Via wired Ethernet or Wi-Fi (UPnP-DLNA equivalent);
(with signal ground), two analog functionality, it doesn’t provide the Amazon Music HD, Apple Music, Deezer, iHeart Radio, Pandora, Sirius
sources, and a tape recorder (with latest versions of those features—
XM, Spotify, Tidal, TuneIn internet radio, Roon Tested
a corresponding stereo output eARC (enhanced Audio Return
HIGH-RES AUDIO: Up to 24-bit/192kHz (AIFF, ALAC, FLAC, WAV) and
for monitoring a recording in Channel) and aptX HD-enabled 5.6MHz DSD
progress—another nod to the old Bluetooth, both of which can
ADDITIONAL: LAN (Ethernet), USB Type-A (media playback), remote
school). potentially deliver be er audio
control input/output
There’s also a stereo “power quality (though eARC doesn’t
DIMENSIONS (WxHxD, inches): 17.4 x 5.1 x 17
amp in” for connecting a provide an advantage over ARC in
WEIGHT (pounds): 36.8
preamplifier, which allows the 40n a two-channel se ing).
to be used as a power amp, and a Even so, the absence of one or
subwoofer output with a selectable all of these features is, to my mind, 40n in my bedroom, I was stunned mini. The app discovered the 40n
crossover se ing (40, 60, 100, and nowhere close to a dealbreaker. by the unit’s weight and superb fit and guided me through several
120 Hz). Remaining connections Despite the absence of a USB- ’n finish. Even its speaker terminals easy setup steps, such as updating
include an Ethernet port, in/ type-B port, audio files stored on are impressively large and robust. the app and the 40n’s firmware,
out remote-control jacks for a a computer can be accessed over This gorgeous beast makes entering my Wi-Fi and music
compatible Marantz component, Wi-Fi via Heos, and a large display most similarly-priced streaming streaming service credentials, and
antenna connectors for Bluetooth may not be necessary since most amplifiers seem anemic. Even opening a Heos account.
and Wi-Fi, and, on the far right side, listeners will sit a fair distance from so, I detected a hint of compro- Using the remote control to
an IEC power inlet and bright red the Model 40n and peruse album mise, which is inevitable on any access the Model 40’n’s menu
firmware reset bu on. art via an app on their mobile $2,500 component. Although the system, I configured the digital
The Model 40n’s side panels device. Also, while some manu- control knobs are constructed of signal se ings, which are o en a
are made of aluminum and its top facturers include eARC support aluminum, they don’t turn quite ma er of personal preference. In
and (double-layer) bo om panels on stereo streamers, Marantz and as luxuriously as those on other, this case, I selected Filter 2, which
are made of steel with a generous others feel it is only needed for mostly higher priced, components. sounded fuller, but created a
amount of the real estate used to multichannel components. A er a aching the power cord slightly more diffuse stereo image
dissipate heat. and Wi-Fi and Bluetooth antennae, than Filter 1. I also selected the
Finish options are black or silver/ SETUP I connected the Model 40n to a “Narrow” Lock Range se ing. At
gold and the Model 40n comes pair of Bache Audio Sonata EX2 no time did I experience unwanted
with Marantz’s he y RC005PM In the box with the Model 40n were, ($2,800/pair) passive monitors. noise.
wand-type remote, which can among other things, a quick start Later, I also connected a JL Audio I generally used the Source
also control a Marantz CD player. guide, a power cord, the remote Dominion d-110 subwoofer. To Direct se ing to bypass the tone
The handset is a ractively styled control, and screw-on antennae for test drive the unit’s ARC feature, I controls. However, I sometimes
and fi ed with a finger groove that Bluetooth and Wi-Fi. An exhaustive connected its HDMI port to an LG found it handy to use those
makes it easier to hold. 114-page owner’s manual is OLED TV. controls to dial back the bass, thus
No all-in-one streaming ampli- available on the Marantz website Once the Model 40n was cabled helping to minimize low-frequency
fier contains every possible feature. for those who want to delve into the up, I connected a USB thumb drive distortions inherent in my acousti-
So, although the Model 40n is rich 40n’s inner workings. loaded with music files and down- cally untreated room. When using
in features, it does not have room- Preparing to set up the Model loaded the Heos app to my iPad the subwoofer, I set the low-pass
filter to 80Hz. Here again, the
appropriate se ing is arguably
subjective.
I found the Heos app to be
robust, intuitive and easy to use,
though it’s not as rich in features
as several competing apps,
including the one for Bluesound’s
BluOS platform. Unlike some of
those competing apps, Heos
doesn’t support the Qobuz music
streaming service or enable
hardware features such as room
[
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52 August September 2022 soundandvision.com
correction, Dolby Atmos, bass award winning, was good enough
management, and wireless that I wasn’t shaking my head as
surround sound. Still, I found it hard many such outputs make me do.
to complain because the Heos app The output’s real strength was
is very user-friendly and works well. the way in which it placed voices
and instruments, each in a distinct
PERFORMANCE space surrounded by plenty of air.
As is the case with most competing
It didn’t take more than a track or products, the 40n’s headphone
two to discover the Model 40’s output doesn’t deliver true audio-
sonic personality, which empha- phile sound but it will more than
sizes large soundstaging, solidified suffice for casual listeners.
images, warmth, and harmonic
density. With the Who’s “Magic CONCLUSION
Bus,” from The Who, Live at Leeds track from Billy Cobham’s Total as allied troops scurried about
(16/44.1 FLAC, Tidal), the band was Eclipse album (16/44.1 FLAC). on nearby boats was deep and Don’t let the Model 40n’s respect
placed on an expansive and airy Bear in mind that while the NAD gut-wrenching. And when fighter for the old-school components
soundstage. When Keith Moon C 399 and other competitors that planes crossed over the screen, the fool you. Combine the ability to
sets the song’s meter, tapping use class-D amplification, such sound of their propellers was huge tweak the incoming digital signal to
together a pair of Latin American as Cambridge Audio’s Evo 150 in scale, detailed, and visceral. improve performance and suit indi-
claves, the Model 40n reproduced ($3,000), o en favor linear sound While some streaming amplifiers, vidual taste with a robust amplifier,
the sound with a rich, woody timbre that is clean, pristine and detailed, including those that use class-D beefy power supply, and brawny
and clean transient pops. Pete they also tend to lack the 40n’s very amplification, are rated to deliver build, and you have a thoroughly
Townshend’s intervening electric appealing fullness and harmonic more power than the 40n, I never modern beast of a streaming
guitar sounded full-bodied and it density. In particular, while the C felt as though more wa age was machine that will woo you with its
was easy to hear those notes rico- 399 has its charms—its bass is needed. large scale, harmonically dense
cheting off the venue’s le wall. slightly more extended and linear I didn’t test the Model 40n’s sound. Add to that a reasonable
Alexis Cole’s “Something So than the 40n’s—it didn’t muster the internal phono stage, but I spent price, and the Marantz Model 40n
Right,” from The World’s Greatest 40n’s alluring midbass. That’s not time with its headphone output. All is easy to recommend.
Audiophile Vocal Recordings, to say one approach is right and the too o en, these types of outputs
Volume 2 (16/44.1 FLAC), sounded other wrong—only that it will likely are included to check a box on a
sophisticated and gorgeous. Cole’s come down to a ma er of personal list of features rather than sound The Verdict
voice, backed by the warm sound preference. good. Switching between the
of Marvin Sewell’s guitar strings, To audition the Model 40n’s Apos Audio Caspian and Audeze The Marantz Model 40n is a thor-
came across as relaxed and liquid ARC feature, I watched the 2017 LCD-1 headphones, the output was oughly modern music streaming
with beautiful midrange bloom. World War II movie Dunkirk. able to adequately drive both sets machine that sounds great and
All of the sonic images were large Throughout the film, the sound of cans, while producing sound delivers a robust set of features
and solidly planted against a quiet of German bombs and artillery that was listenable without being without losing sight of the brand’s
background. At the same time, shells exploding on the water grating. Transparency, while not storied past.
the high-frequency glissando of
Sewell’s fingers sliding between
notes was cleanly reproduced
without being grating, a common
failing of components that don’t
cost an arm and a leg.
If pushed to identify a minor
quibble I had with the Model 40n’s
sound, it would be that it produced
a smidgeon less detail than some
of its competitors. NAD’s C 399
integrated streaming amp, which
I reviewed for the June/July 2022
issue and still have in-house, repro-
duced Sewell’s guitar strings on
“Something So Right” with slightly
more vibrational spring, though
the difference was subtle and
would likely go unnoticed without
a contemporaneous comparison.
Indeed, absent such a comparison,
the long and metallic low-level
dynamics of cymbal decays
seemed fully resolved on the title
[
soundandvision.com 53
test report
MONOLITH BY MONOPRICE BELT DRIVE TURNTABLE
RATING
PERFORMANCE
FEATURES
Play it Again, Sam ERGONOMICS
VALUE
By Michael Trei
around $200, and include an adjust-
able tonearm and a replaceable phono
cartridge. This allows you to dip your toe
in the vinyl waters for minimal outlay and
then improve things a step or two at a
time if decide you like what you hear and
want more. The Monolith by Monoprice
Belt Drive Turntable slots right into that
market position.
The turntable comes in two versions.
The basic $200 model is equipped
with the ever-popular Audio-Technica
AT-3600L moving-magnet phono
cartridge. While this serviceable
cartridge is a big step up over the cheap
heavy tracking ceramic cartridges they
stick in those suitcase players, it’s not
exactly going to get an audiophile’s
juices flowing. But when you move up to
the $250 Monolith under review, you get
the Audio-Technica AT-VM95E phono
cartridge, perhaps the best cartridge
you can buy today for less than $100
and one that provides a very easy
upgrade path.
That $50 price difference pre y
much correlates with the difference in
cost between the two cartridges, so it’s
money well spent. Besides the cartridge
upgrade, the only difference between
the two models is that the $250 version
is offered in a walnut vinyl (Monoprice
model 600046) or gloss-black finish
(600047), while the $200 version is
available only in gloss black (600045).
AS SOMEONE who works with turn- vinyl records over the last few years, There was a time when all turntables
tables almost every day, one question I there has also been a huge boom in the would output a low-level signal (directly
get pre y frequently is, “How much do I equipment needed to play them—from from the phono cartridge) to feed the
need to spend to get a real taste of what $50 suitcase players that appeal mostly phono input on an amp or receiver.
the buzz with vinyl is all about?” Defining to kids all the way up to rigs that can cost But these days a lot of people want to
the entry level for record players can be as much as a house. connect their turntable to something
tricky. Spend too li le and you’re prob- For me, an entry level turntable has other than an old-school amp or
ably going to be disappointed and lose to be able to play records safely without receiver, so newer budget turntables
interest pre y quickly. Spend too much damaging them and must sound good The Monolith tend to provide several connection
and you’re likely to dismiss playing out of the box, while also offering some turntable provides options. The Monolith is no exception.
records as just another overpriced sort of an upgrade path. What I tend wired and wireless A Phono/Line switch on the back of
fad. With the great surge of interest in to think of as “real” turntables start at hookup options. the turntable lets you select a low-level
[
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54 August September 2022 soundandvision.com
At a Glance
Quality turntable at a
budget price
Excellent pre-mounted
cartridge
Versatile hook up options
Setup is a bit fussy
Inaccurate speed as
shipped
No analog cable or leveling
feet included
Price: $250
monoprice.com
phono output or switch in the turn- The phono cartridge is a li le more restricted than usual, It’s a li le fiddly to a ach, but works
table’s onboard phono preamp, which is probably due to somewhat well once in place.
which outputs a line-level signal comes pre-installed stiffer than normal internal wiring. To complete the turntable setup
(both delivered via standard RCA and aligned. This makes it a bit tricky to find the you lower the pla er onto the main
jacks). The la er option is the way “zero gram” balance point for the bearing and stretch the belt into
to go if you’re connecting to a set of arm so I checked the tracking force place over the motor pulley. It took
powered speakers or a soundbar. ence (it does), but could prove using an external scale to ensure a few a empts to get the belt to ride
You can also use the turntable’s confusing for someone trying to an accurate se ing. Azimuth and between the pulley’s two flanges
built-in Bluetooth to connect align a replacement cartridge using arm height are not adjustable and without sliding up, but once it was
wirelessly to powered speakers the two-point paper protractor there was a noticeable downward correctly seated it stayed firmly in
or headphones—a convenient Monoprice supplies. The good slope from the tonearm pivot to place. The Monolith’s electronic
option for sure but why anyone news is you can upgrade the the cartridge. This is not such a big speed switching means that, unlike
would want to cram a beautiful pure AT-VM95E cartridge with a simple deal with the AT-VM95E’s elliptical with some turntables in this price
analog signal into a compressed stylus swap, so there will be no stylus, but is worth bearing in mind class, you won’t have to manually
digital wireless connection is need to change to a different if you want to upgrade to one of move the belt to switch between
1
beyond me. Finally, there is a USB cartridge in most cases. the finer stylus profiles. The anti- 33 / 3 and 45 rpm playback.
output, allowing you to connect the Se ing the tracking force is skating adjustment uses a hanging Speaking of speeds, a check
turntable to a computer, so you can done using the normal “static weight with a monofilament line with a strobe disc revealed that the
make a digital copy of your record; balanced arm” method outlined in that you a ach to one of four Monolith as received was running
Monoprice recommends using the owner’s manual. I noticed that notches on a rod on the back of the noticeably fast, with a speed error
the popular free recording app the vertical motion of the tonearm arm and loop over a wire hangar. of around 2%. There is no official
Audacity to do this.
SETUP
Out of the box the Monolith
turntable comes partially set up,
with the fiddly tasks of mounting
and aligning the cartridge already
completed. Curiously, I noticed that
the cartridge wasn’t si ing parallel
to the sides of the headshell that
supports it, but a check with my
alignment protractor showed that
both the angle and the overhang
were set accurately. (I suspect the
built-in offset angle of the detach-
able headshell Monoprice is using
was originally designed with a
longer tonearm in mind, requiring
a li le more offset for proper align-
ment in the shorter arm.) This isn’t
really a problem as long as the
alignment accounts for this differ-
[
soundandvision.com 55
test report
MONOLITH BY MONOPRICE BELT DRIVE TURNTABLE
user adjustment for speed so I clarity of turntables that aim a bit
TYPE: Belt drive
cheated and removed the cover higher, but the overall impression PLAYBACK SPEEDS: 33 / 3 , 45 RPM
1
over the motor where I found two was engaging and enjoyable. Specs WOW AND FLUTTER: < 0.15%
adjustment screws in the base of To explore this impression
RUMBLE: –55dB
the motor—one for 33 1/3 and one further, I played Depeche Mode’s EFFECTIVE TONEARM LENGTH: 218.5mm
for 45. With these, I was able to Violator album (Mute Stumm 64), a
TONEARM OVERHANG: 18.5mm
correct the speed but it’s not clear much denser sounding recording.
ANALOG AUDIO OUTPUT: Phono- and line-level RCA
if making this unofficial tweak will The Monolith did a pre y cred- DIGITAL AUDIO OUTPUT: USB, Bluetooth
void the warranty. The good news ible job of unraveling this thicker
DIMENSIONS (WxHxD, inches): 16.5 x 4.9 x 14.2
is that the turntable is powered production, spreading out the WEIGHT (pounds): 9.7
by a 12-volt DC power supply, layers of sound in an easy to follow
which means you're unlikely to get way. The synth bass was able to dig
zapped in the process. pre y deep while remaining tuneful
The Monolith is supported by and tight, adding to an overall
three footers which is great for sound I would describe as slightly
stability, but they aren’t adjustable, so and warm.
so you’ll need to make sure your Pitch stability can be a difficult
shelf is level, or stick a beer coaster area for budget turntables, so I put
or two under the feet if things aren’t on a recording of Willhelm Kempff
perfectly plumb. The final step is playing Beethoven’s “Moon-
to slide the nice quality dust cover light” piano sonata (Deutsche
onto the hinges a ached to the rear Grammophon 136 227). Here the
of the plinth. shortcomings of the Monolith’s
For most of my listening I low-mass pla er and humble drive
connected the analog RCA outputs system became more evident, not
to my Denon AVR-X8500H A/V so much as a clearly identifiable
receiver, switching between the loss of pitch stability, but more as a
phono preamp in the turntable and loss of the solidity and power you
the one built into the receiver. Curi- hear behind each note with more
ously, Monoprice includes a USB ambitious turntable designs. This a $4,000 flagship receiver. In the and never harsh or rough. It brings
cable for the computer hookup but is a very dynamic recording, and context of keeping cost down, you a somewhat downsized but
no RCA cables for making this far while the turntable may not have it probably doesn’t make a lot of clear window on why people like
more common connection. While been able to muster that all of that sense to worry about switching to records, and is a perfect gateway
most of us will have a suitable cable power and stability, the Monolith/ an outboard phono preamp, but if into the world of vinyl. If Monoprice
stuck away in a drawer somewhere, AT-VM95E combo never had any the one in the amp or receiver you can sort out the issues I expe-
keep in mind that you’ll also need trouble following Mr. Kempff’s plan to use sounds be er, great. rienced with the factory speed
to come up with a ground wire if hammering on the keyboard and se ing and arm height, it would
you plan to use an outboard phono did so without so much as a whiff CONCLUSION become an even greater value.
preamp. Hey Monoprice, you’re the of the dreaded mistracking or inner
low-cost cable people. How hard groove distortion. No $250 turntable is going to be
would it be to include a set of RCA In the final analysis, the perfect, but it’s generally prefer- The Verdict
cables that 95% of users are going Monolith’s built-in phono preamp able if a product’s limitations are
to need? performed reasonably well, though in its ability to give you the whole While it is possible to spend less, the
it was outshined by the Denon’s picture, rather than by adding some Monoprice Monolith turntable marks
LISTENING onboard phono preamp in terms of distortions or color of its own. The a perfect entry point for a turntable
image scale, focus, and dynamic Monolith turntable stays on the that sounds good, offers a host of
I kicked off my listening with the punch, which is not surprising right side of this equation, always hookup options, and has a clear
song “Laura” from The Poll Winners considering the AVR-X8500H is sounding enjoyable and engaging upgrade path.
album Straight Ahead (Contem-
porary S-7635). I normally expect
budget turntables to sound a bit
thin and wimpy with music like
this, but on the Monolith the sound
was surprisingly full-bodied, with
a nice rich tone from Ray Brown’s
acoustic bass and a clean yet
vibrant tone from Barney Kessel’s
electric guitar. The general sonic
balance leaned a bit toward the
warm and so side of neutral,
lacking some of the crystalline
[
[
56 August September 2022 soundandvision.com
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test report
JBL SYNTHESIS SDR-38 16-CHANNEL A/V RECEIVER
RATING
PERFORMANCE
FEATURES
Extreme Receiver ERGONOMICS
VALUE
By Thomas J. Norton
UP UNTIL a few years ago, the SDP-58 pre-pro ($6,900) and main speakers, four Atmos height The SDR-38 can process up to 16
heart of a JBL Synthesis installa- SDR-38 AVR ($8,550). The only speakers, and one or more channels but only provides
tion was the brand’s Synthesis obvious change from their prede- powered subwoofers) you’ll need power for 7 of those channels.
SDP-75—basically a rebadged cessors is the addition of HDMI 2.1 to add two outboard amplifier
Trinnov Altitude surround connectivity, making this newer channels driven by two of the JBL’s
preamp-processor. But in 2017, pair compatible with 8K video at preamp outputs. The la er are 2 is also compatible with sources
JBL’s parent company Harman 60Hz and 4K at 120Hz. Both these rated for a peak level of 5Vrms, offering high resolution audio and
International bought British audio benefits (4K/120Hz in particular) which should be enough to drive up to 4K video.
manufacturer Arcam, and the are currently significant only for a any outboard amp. The JBL’s amplifiers are all
lights went on. Could they take limited selection of video games Along with the SDR-38’s seven class-G. This is not digital ampli-
the already well-regarded Arcam and consoles. speaker-level outputs it has RCA fication but rather class-A/B with
line of AVRs and A/V processors, preamp outputs for all chan- two voltage supply rails, one low
alter their cosmetics, maybe add a FEATURES nels, but as with other AVRs, no and one high. In normal use, the
bit of Synthesis secret sauce, and balanced preamp outputs. Also lower rail provides sufficient drive
rebadge them as JBL Synthesis The SDR-38 can process up to similar to most other AVRs, the for most loudspeakers, but the
models at prices dramatically lower 16 channels (to accommodate SDR-38’s onboard channels can’t high voltage rail is also engaged
than the nosebleed-level Trinnov? speaker configurations such as be re-assigned. So, while you can when more power is needed. The
In 2019, JBL Synthesis 9.1.6), but only provides seven add a more powerful three-channel SDR-38 doesn’t run abnormally
answered with the introduction channels of on-board amplifica- amp for the front three speakers if hot, but you should nevertheless
of the SDP-55 preamp-processor tion. I find the lack of at least nine desired, the internal amps intended allow for adequate ventilation.
($6,000) and SDR-35 A/V receiver internal amp channels to be a for those channels will remain There’s a small exhaust port in the
($7,500). A couple years later, the notable omission in an AVR at unused. The AVR can feed two rear, though I never heard a fan
brand released updated versions this price. For the most common operating zones. We’ll deal with operating.
of those original products, the type of Dolby Atmos setup (five only the main zone here, but zone A large volume control plus
[
[
58 August September 2022 soundandvision.com
an aux input and 32-ohm head- The remote control that comes for surrounds and the other for front
phone output are located on the with the SDR-38 is adequate, but overhead effects.
front panel along with a range of as with all remotes designed for The SDR-38 includes all of At a Glance
bu ons for navigating menus. A near-universal operation, it has Dirac Live’s features at no extra
large display screen shows the its quirks. For instance, when cost. These include either full or Excellent A/V performance
volume level plus information on you change inputs you must hit limited range equalization plus Processes up to 16 channels
the currently playing source. It also the AMP bu on again to unlock the newest Dirac Live feature:
HDMI 2.1 connections
shows the setup options (when access to the setup menus (though Bass Control. According to Dirac:
support 4K/120, 8K/60 video
selected). The la er are far too the main volume se ing remains “Dirac Live Bass Control lever- pass-through
small to read at more than a foot or usable at all times). Many of the ages all-pass filters, plus machine
Expensive
two from the screen, though most bu ons access useful features, learning and artificial intelligence,
Synthesis system installations will but those features are typically to calculate gains, delays, and all- Complex Dirac Live setup
offer be er readability plus control unrelated to the label on each of the pass filters for each subwoofer. In Onboard amplification
on an external computer, smart- bu ons. this way, the Dirac solution ensures limited to seven channels
phone, or tablet. Most AVRs offer a selectable that low frequencies add up so that
Glitchy operation
The SDR-38 includes the usual volume adjustment range of either not only the average is controlled,
suspects under the hood—and 0-99 or –79.5 to +18. The zero but most importantly, seat-to-seat Price: $8,550
some not so usual ones as well. se ing in the la er is Dolby refer- variation is minimized as we can (888) 691-4171
All A/D and D/A conversion is ence, making it perhaps the most now achieve a level of control in
jblsynthesis.com
performed by 24-bit/192kHz ESS popular volume adjustment option. multiple locations at once.” Dirac’s
Sabre 9028 Pro devices. The JBL is The JBL’s volume range is 0-99, Bass Control can also enhance
also compatible with HDMI eARC with volume steps limited to 1dB, bass performance, particularly with
(enhanced Audio Return Channel), not the finer-resolution 0.5dB steps more than two subwoofers. (As or “low S/N ratio” warning. The
though I was unable to engage it that many AVRs offer. This differ- noted earlier, for this review two uncalibrated microphone included
with a connection to my older but ence will perhaps be irrelevant SVS subs, while separately posi- with the JBL also aroused my
still excellent LG E7 OLED. This for many users, but to me it’s a tioned, were here driven together suspicions as a possible cause
issue is as likely to be TV-related as significant omission, particularly at as a single bass source.) of the poor initial results. Dirac
it is to be JBL-related, however. this price. Unlike its more widely available recommends a fully calibrated mic,
The most widely used object- I was unable to connect the JBL room EQ competitors, Dirac Live such as the relatively affordable
based surround modes, Dolby to my home’s Wi-Fi, but I’ve had adjusts for both amplitude and miniDSP UMIK-1, but JBL doesn’t
Atmos and DTS:X, are fully serviced similar issues with other AVRs so I phase (time domain). It performs include one—likely because
for up to 16 channels. More basic can’t blame the SDR-38. For Dirac calculations in the Dirac Live most SDR-38s will be set up by
audio sources, such as lossy or Live setup I used a Wi-Fi link from app running on your networked professional installers.
lossless 5.1- or 7.1-channel Dolby my computer to my router, and computer, either a Mac or a PC. You With further help from JBL I was
Digital and DTS, can be upcon- an Ethernet connection from the can either create your own target able to swap out the included mic
verted to a simulation of object- router to the AVR. Apart from that curve, use a built-in target curve, for the calibrated microphone
based surround via JBL’s Harman I was able to reliably stream music or accept the la er and modify it. from my Dayton Audio Omnimic
Logic 16 processing. The la er can wirelessly from my iPhone using Once done, you export the result measurement system. A er
be selected for any source, even either Bluetooth or AirPlay 2 (no to the AVR, which can store three another difficult round or three
mono, with the upmix routed to surprise that the la er sounded different Dirac setups plus bypass. with those dicey level se ings, the
all the system’s installed chan- distinctly be er). To shorten a very long story, system finally clicked into place.
nels. Auro 3D is also supported, a er much weeping and gnashing I achieved a good, usable setup
along with IMAX Enhanced. SETUP of teeth (including a needed beginning with the selectable
Wireless streaming is possible update to a more recent OS for my Harman target curve, adding a
via Chromecast built-in, Apple My listening “room” is an open area MacBook, plus lots of help from small bump-up in the bass below
AirPlay 2, Harman’s Music App, and in a very large acoustic space. It’s JBL), I was finally able to engage 100Hz (rising to a maximum of
Bluetooth aptX HD. The SDR-38 is moderately live, though not overly the Dirac Live program to generate about 4dB at and below 30Hz), and
also Roon Ready, MQA-compat- so, and dialogue intelligibility has a room EQ curve that looked prom- moved it into one of the JBL’s three
ible, and features built-in DAB and never been an issue. Sources ising—the basic target curve with Dirac memory slots.
FM radio reception. JBL’s AVR also consisted of a Marantz UD-7007 a 5dB bump-up below 100Hz. But The result was worth the long
includes Dirac Live, one of the disc player and an Oppo BDP-203 the results sounded awful: wooly slog. A er making some minor
most highly regarded consumer Blu-ray player (the Marantz for bass, including a peak of over 10dB tweaks via the tone controls—
room correction systems. I’ll have stereo music via a coaxial digital at 20Hz (above a reasonable level seldom more than +1dB in the
a lot more to say about Dirac Live connection, the Oppo for movies at 30Hz) and rolled-off highs. treble and –2dB in the bass
further on. via HDMI). Speakers were Monitor The following days were a (perhaps that bass bump-up I
The SDR-38 features support Audio Silver 10s at the le and whirlwind of failed setup a empts dialed into the target curve was a
for Dante with two Dante Ethernet right plus a Monitor Audio Silver and ergonomic gotchas, such bit too much) the sound in my room
ports. A new and relatively rare C350 center and two SVS PB-3000 as Dirac’s channel-level setup ended up being exceptional.
feature, Dante can replace a multi- subwoofers, driven together as menu, which is designed to set
tude of audio connections using one. To keep the main channel each channel’s gain to a level that PERFORMANCE
Ethernet cables and a computer count at seven, the limit of JBL’s Dirac can deal with. These se ings
network. It wasn’t used for this internal amps, I used four small PSB were sensitive and didn’t always I started out my evaluation
review. Alpha Series P3 speakers, one pair work without flashing a “clipping” with Dirac Live disabled. In my
[
soundandvision.com 59
test report
JBL SYNTHESIS SDR-38 16-CHANNEL A/V RECEIVER
listening space, the main issue A er finally achieving a
POWER OUTPUT: 120 /200 Wpc (8 ohms/4 ohms,
I need to address is excessive successful Dirac Live calibration 2 channels driven, 20Hz - 20kHz, <0.02% THD);
response from 100-200Hz, and a (plus some minor tweaking of the Specs 100/180 Wpc (8 ohms/4 ohms, 7 channels driven,
combination of tweaking the JBL’s JBL’s bass and treble controls),
1kHz, 0.2% THD)
bass control, adjusting the total I listened to some of my favorite AUTO SETUP/ROOM EQ: Dirac Live
level of the subwoofers, and fine- stereo music cuts with Dirac
VIDEO PASS-THROUGH: HDMI 2.1/ HDCP 2.3 (up to
tuning the on-board EQ controls enabled. Deep bass in classical
4K/120, 8K/60)
of the SVS subs, achieved an organ music, electronica of all VIDEO INPUTS: HDMI (7)
excellent measured result. sorts, and percussion-heavy cuts
AUDIO INPUTS: Coaxial digital (4), optical digital (2); analog line-level
Following that, I began my sounded consistently right at any
L/R stereo (6)
serious pre-Dirac listening with volume my ears could tolerate. VIDEO OUTPUTS: HDMI (3 including eARC and Zone 2)
Oblivion, a movie with a Dolby I won’t say that all (or even
AUDIO PREAMP OUTPUTS (RCA): 21 (including Zone 2)
Atmos soundtrack I’m very familiar seven) veils were li ed by Dirac WIRELESS: Wi-Fi, AirPlay 2, aptX HD Bluetooth
with. Following the opening Live, but details I’d never noticed ADDITIONAL: RS-232, 15V trigger (4), Ethernet, Dante (2, on Ethernet),
narration, the title hits the screen before were revealed on some of
headphone out (front), aux input (front), USB (rear, for updates), FM
accompanied by a huge musical my favorite test recordings. (Yes, antenna, Wi-Fi and Bluetooth antennas
crescendo. The JBL didn’t disap- that claim has previously been
ON-BOARD DAC: Hi-res capable up to 24-bit/192kHz
point here, filling the room with made by too many reviewers in
DIMENSIONS (WxHxD, inches): 17.1 x 16.8 x 6.8
explosive power and immediately too many reviews of too many WEIGHT (pounds): 39.8
validating that its onboard amps products.) But the masking of detail
were up to the task. in recordings by room anomalies
The hits continued throughout (most of them in the mid and upper ra led the walls of my room and with the SDR-38: On my last day
Oblivion, and not only in the bass) is a real thing, and Dirac Live continued as agent K went on his working on this review I made
loudest bits. Dynamic punch succeeded in removing those. mission to “retire” a fellow replicant. a final a empt at a Dirac Live
was never in doubt, but it was the Switching to movies, Oblivion The atmosphere was enveloping, calibration using Wi-Fi, but his
quiet moments where the SDR-38 sounded every bit as good as whether K searched the bowels of time didn’t go past the microphone
impressed me the most. To be fair, before and perhaps just a li le an abandoned factory for a model setup page as I was merely
I’ve never been disappointed when more open due to Dirac’s precise horse (accompanied this time by checking for a connection. But
watching this movie with other rendering of the midbass, while a now groaning, ominous bass), later when I looked back at the
good A/V receivers, but the result the opening foot stomps from or fought another adversary in setup menus, all three of the Dirac
here was certainly up there with the bleachers in The Greatest an old Las Vegas nightclub while calibrations I had previously saved
the best of them—and perhaps Showman were deeper and tighter surrounded by an audio-video in memory (including the good
marginally be er. with Dirac than without. In the hologram of an old Vegas show. one) were gone! That’s something
The Greatest Showman is Jenny Lind concert scene, the One troubling flaw kept that shouldn’t happen.
another frequent visitor to my 4K cha er of the audience before her cropping up both with and without
disc player, and it sounded every performance was now audible as Dirac. The SDR-38 would mute CONCLUSION
bit as impressive with the JBL, separate voices, and her voice was the opening fraction of a second
though in a different way. Music clear and clean (though nothing of sound on the first track of a You can spend a lot less than the
is a dominant element on both can save a 21st century pop tune recording, and a millisecond or so $8,550 JBL Synthesis charges
these films, but while it’s heavily from sounding anachronistic in a of sound would also go missing for the SDR-38 and get a feature-
atmospheric on Oblivion, it’s more mid-1800s se ing!). if I manually selected a different packed AVR that offers admirable
generic here. The musical numbers Blade Runner 2049 is among the chapter or track. Hopefully, this is performance. Also, the SDR-38’s
sounded spectacular, with solid, best Atmos soundtracks, if not the something JBL will be able to fix in a oddities and possible bugs need to
deep bass, uncolored vocals, and best. Aided by Dirac, the crisp bass firmware update. be addressed before I can recom-
silky, clean highs. transients in its opening scene I had one other troubling issue mend it without reservation. Having
said that, when things were going
well, the SDR-38’s overall perfor-
mance le me deeply impressed,
and its Dirac Live processing
counts among the best room EQ
solutions available.
The Verdict
The JBL SDR-38 is expensive, but
offers exceptional A/V performance.
The effects of its Dirac Live room
EQ are rewarding, though the
setup process can be frustratingly
complex.
[
[
60 August September 2022 soundandvision.com
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test report
TRINNOV AMPLITUDE16 16-CHANNEL POWER AMPLIFIER
RATING
PERFORMANCE
FEATURES
Sweet Sixteen ERGONOMICS
VALUE
By David Vaughn
LAST YEAR I had the good fortune of
reviewing Trinnov’s Altitude16 surround
processor and loved it so much it
became a permanent fixture in my A/V
system. At the time, I raved about its
performance and, a er more than a year
of daily use, I can honestly say that this
16-channel pre-pro is one of the best
upgrades I’ve ever done in my theater.
So you can imagine how thrilled I was
to have the opportunity to mate this fine
specimen with Trinnov’s Amplitude16,
a striking 16-channel power amplifier
the company describes as a “perfect
companion” to the Altitude16—a match ICEPower class-D modules, which have relatively light, but there are still 16 of ’em
made in heaven, aesthetically and come a long way since Karsten Neilson in there.
electrically. The components share an invented the technology behind them The front panel of the amplifier is
almost identical brushed aluminum front back in 1999. clean and simple with only a power
panel and, as Trinnov points out on the The virtues of the design are bu on in the bo om le corner and
product page, the amplifier’s input sensi- embodied in the ICEPower label, a spacious LED display to the right of
tivity has been matched with the pre- which stands for Intelligent, Compact, center. The Trinnov icon at the bo om of
pro’s output level to “maximize dynamic Efficient, and Power(ful). Though the display changes color to indicate the
range and signal-to-noise ratio.” the details of how class-D amplifier state of the amplifier: red is off, waving
Designed in partnership with technology works is beyond the scope green means the unit is booting up, and
Denmark’s ICEpower, the Amplitude16 of this article, suffice it to say class-D white means the amp is powered up and
manages to squeeze two custom power is way more efficient than traditional ready to rock. Above, there are 16 LEDs
supplies and 16 class-D modules in class-A, -B, and -AB amplifier designs arranged in two rows of eight that show
a rack-mountable chassis about 5 in addition to running cooler and being the current state of each channel: white
inches tall. In my case, this one box can much smaller and lighter, all of which is normal operation, red indicates clip-
replace the two ATI amps (also class-D explains how Trinnov was able to fit so ping, and blinking red means the amp’s
but of the Hypex Ncore variety) I use many amp channels into a relatively protection circuits have kicked in.
to power nine of the 12 channels in my compact package. Even so, when the The Amplitude16 The rear of the amp is simple—and
7.1.4 Dolby Atmos setup. In case you’re Amplitude16 arrived, I was surprised the squeezes 16 class-D unique. First off, there are two AC
wondering (as I was) how they can fit 16 box weighed less than 50 pounds—I power modules into power inlets, both of which are required
channels in a more or less standard size expected it to be at least 100 pounds. a standard-size whether you’re running a single amp
component, the credit goes to those Sure, class-D amps are small and component. channel or all 16 of them. Second, there
are no RCA or XLR inputs. Instead,
Trinnov provides two multipin DB-25
connectors (a.k.a. Tascam pinouts),
which makes wiring the amp a breeze
(more on that in a moment). Then you
have the 16 speaker outputs, organized
in eight odd/even channel pairs that
run across the entire width of the back
panel, a 12-volt trigger input/output
and an LED switch to turn off the front
display. Finally, there’s a removable plate
covering the slot for an audio-over-IP
[
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62 August September 2022 soundandvision.com
input board that will be offered as SETUP works out to a respectable $781 per
an option in the future. channel, which is in line with other
Each output grouping has four Over the years I’ve go en quite high-end multichannel ampli- At a Glance
binding posts (plus and minus good at swapping components in fiers. But since I’m only using 11
for each channel) and a bridging and out of my A/V rack and I always channels, cost per channel jumps Convenient one-chassis
switch that combines the channels use the opportunity to do a good 45% to $1,136, which hurts the design
for a serious bump in power when dusting and make sure the cables value equation. Bridging channels Superb dynamics and
it’s moved to its BTL position; the aren’t tangled. For this review, I does, however, provide a way to soundstage
binding posts accept bare wires, removed both of my ATI power maximize the value equation. You Channels can be bridged
spade lugs, or banana plugs. amps and put the Amplitude 16 in could, for example, create three to double the output
A white band in each grouping the space previously occupied by bridged channels to power the
Amp runs very hot
highlights where to connect the the seven-channel amp. Strikingly, front, center, and le speakers
speaker wire when channels are that amp outweighs the Trinnov by and still have 10 channels le to No legacy inputs
bridged: the plus connector from nearly 20 pounds even though it power four surround speakers and Price: $12,500
the odd channel and the minus has fewer than half the channels. six overheads in a Dolby Atmos or
310-572-1070, 860-833-4400
connector from the even channel. To make the connection DTS:X setup.
When two channels are bridged, between the Altitude16 processor trinnov.com
the front panel display shows a and Amplitude16 power amp, PERFORMANCE
solid line running between the Trinnov sent me two eight-channel
LED for each channel to indicate DB-25 cables (ACC-SUBD25- I lived with the Amplitude 16 for past—they generally don’t get
they are paired. In bridged mode, XLRF1.5M), which are 1.5 meters a few days of casual listening above 110 degrees. Thinking that
single-channel output jumps from long. Hookup was a breeze, though before jumping into my full-scale maybe my rack didn’t have enough
200 to 800 wa s into 8 ohms or I only needed to use 11 of the 16 evaluation. The first thing I noticed airflow (even though it’s actively
from 400 to 1,000 wa s into 4 available channels to power my is this amp gets hot—really hot. cooled with multiple PC fans), I
ohms with less than 0.1% THD+ N speaker setup, which includes Granted, we were having a 100+ pulled the Amplitude16 out of my
at 1 kHz. Mighty impressive! three M&K S-150 speakers degree heatwave in California rack and placed it out in the open
Cable-management is across the front, four M&K SS-150 during my evaluation, but my with no obstructions. This helped a
challenging under the best of surrounds, and four Atlantic theater room never gets above 77 li le with the temperature dropping
circumstances, especially if you’re Technology IC6-OBA height degrees. Anyway, a er watching to 140 degrees—still higher than
using bulky XLR balanced cables, speakers in the ceiling. a few TV shows, I grabbed my IR I’m accustomed to.
so Trinnov chose a different path This got me thinking about thermometer and got a reading of I performed an audio calibration
for some of its products. If you’re cost per channel. At $12,500, the 145 degrees at the vent that expels using Trinnov’s Setup Wizard
mating the 32-channel version of Trinnov isn’t cheap by any stretch the heat. This is not the experience and se led in for some serious
the Altitude processor (Altitude32) but when you break it down, it I’ve had with class-D amps in the listening, starting with the opening
with the Amplitude16 amplifier,
the connection for each group of
eight channels is a simple ma er
of running a single cable with a
male DB-25 connector on either
end between the components.
(I can’t even imagine trying to
corral 32 XLR cables!) Sadly, the
Altitude16 in my setup doesn’t have
a DB-25 output so I had to se le for
a hybrid solution using two sets of
eight-channel cables with female
XLR connections on one end (the
processor side) and a male DB-25
connector on the other (the ampli-
fier side), which still greatly simpli-
fied hookup on the amplifier end.
(Trinnov sells these cables for $200
apiece.) As far as I’m concerned,
DB-25 connections should be
standard on all audio products.
To prevent the mighty Ampli-
tude16 from overheating, a pair
of temperature-activated fans
move air across the array of power
modules as needed to help keep
them running cool. A series of
vents on each side panel allow air
to flow in and out of the amp.
[
soundandvision.com 63
test report
TRINNOV AMPLITUDE16 16-CHANNEL POWER AMPLIFIER
sequence of Netflix’s The Adam thunderous roar of the Batmobile
POWER OUTPUT: 200 wa s (8 ohms), 400 wa s
Project. While I generally find enveloped the room. I’ve watched
(4 ohms), 800 wa s bridged (8 ohms), 1,000 wa s
the audio on streaming services this scene nearly a dozen times Specs bridged (4 ohms), one channel driven (1kHz, <0.1%
to be lacking, this Dolby Atmos and the Trinnov with its ICEpower
THD+N); 2,800 wa s total output, all channels
soundtrack seems to be the modules did not disappoint,
driven
exception. The film starts with handling the mayhem as well as my
AUDIO INPUTS: DB-25/Tascam analog pinout (2)
Adam Reed (Ryan Reynolds) reference ATI amplifiers.
AUDIO OUTPUTS: Multiway binding posts (16 pair)
fleeing Earth in his spaceship Concert Blu-rays were every bit
ADDITIONAL: 12v trigger in/out; dual power inlets; audio-over-IP
to The Spencer Davis Group’s as impressive. John Williams Live
input option
“Gimme Some Lovin.’” The in Vienna showcases the work of
DIMENSIONS (WxHxD, inches): 19 x 5.2 x 17.8 (including rack ears)
action-packed scene put every one of the most accomplished
WEIGHT (pounds): 45.3
speaker in the room to work, music composers of our time, and
including my four subwoofers. (The hearing the Vienna Philharmonic
Altitude16’s sub output feeds a with world-class violinist Anne-
Dirac miniDSP 2x4 HD processor Sophie Mu er playing iconic theme
that treats the subs as one, hence songs from Star Wars, Harry Po er,
the 7.1.4 designation.) Though the Jurassic Park, and Indiana Jones in
Amplitude16 ran hot, its ICEpower Atmos was quite a treat. With my
modules handled the sequence eyes closed, it was as if I had been
with ease: the overhead speakers transported to one of the finest
came alive as the spaceship concert halls in the world.
zoomed through the screen. My “being there” experience
Reynolds’ sarcastic dialogue continued with a sampling of
was clear and fully intact and the FLAC music files as the amp drove
backing music was appropriately my speakers to reference levels
powerful and dynamic. without ever sounding harsh or
Next up, The Batman on UHD fatiguing. Female voices and
Blu-ray. This latest incarnation of string instruments, in particular,
the caped crusader’s adventures sounded natural and clean, leaving
has an exception Atmos me with no reservations about the
soundtrack. The freeway chase Amplitude16’s ability to convey the
scene (Chapter 9) with its discrete power and nuance of music.
effects, wide dynamic range, and
copious amounts of deep-digging CONCLUSION a tribute to Trinnov’s engineering Amplitude16 power amplifier is
bass sounded spectacular and prowess but there is a trade-off a solid performer that deserves
proved that the Amplitude 16 Traditionalists may scoff at class-D in the abundance of heat that serious consideration.
was more than up to the task of amplifier technology, but I’ve needs to be dissipated from its
powering my home theater. Rainfall been a fan of the design for nearly cramped enclosure. Still, the
was authentic and the crack of 15 years and have found well- amplifier performed up to my high The Verdict
gunshots was crisp and real as the engineered class-D amplifiers to expectations and never once
equal, and sometimes surpass, the shut down or faltered during my Trinnov’s Amplitude16 packs 16
performance of the best class-AB many listening tests. If you’re in channels of serious power in a stan-
Trinnov calls the Amplitude16 amplifiers on the market. Such is the market for up to 16 channels dard size component and brings
power amp a “perfect compan- the case with the Amplitude16. Its of amplification and are a li le music and movie soundtracks to life
ion” for its Altitude16 processor. unique 16-channel architecture is tight on rack space, Trinnov's in a thrilling way.
[
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64 August September 2022 soundandvision.com
reviews in ultra high definition
REFERENCE
EXCELLENT
entertainment GOOD RATINGS
FAIR
POOR
THE BATMAN or social media comments on the sides, meanwhile,
remain sufficiently clear. At times the style is almost
Hitchcockian in the way it uses the point of view of
disturbed individuals and manipulates focus in the
foreground and background. Sunlight is limited, with
much of the movie taking place at night and indoors,
and even daytime exteriors are o en rainy. Thankfully,
the shadows are full of appreciable detail, while the
darkness is pierced by headlights, streetlights, flash-
lights, and fire—all dramatically bright in Dolby Vision.
The Dolby Atmos mix is enveloping from the
opening moments and you can almost feel the
Riddler’s conspicuous breathing on the back of your
neck as he studies his prey. Later, when Selina radios
Batman, her voice is dispersed around the room
instead of being localized in one spot (Bat’s radio)—
an interesting but weird surround effect. Frequent
rainfall keeps your speakers active, creating a sense
of envelopment during outside scenes, though rain
is also heard indoors as a pa ering from above. The
soundtrack really comes alive through the thumping,
all-encompassing dance beats in a packed nightclub
and beefy rumble of the rocket-assisted Batmobile,
which is enough to make bad guys scurry, not to
mention the mighty explosions that rock the city. This
is an aggressive track that, unlike Batman, never pulls
its punches.
There are no extras on either the 4K or HD movie
Batman movies keep evolving, changing and—surprisingly—ge ing be er with each reboot, in discs, but a separate Blu-ray bonus pla er contains
one way or another. Director Tim Burton’s Batman relied heavily upon its extreme art deco design two deleted scenes, the longer famously featuring
to sweep away the goofiness of the Adam West TV incarnation, before that film series quickly the Joker, a.k.a. “Unseen Arkham Prisoner,” both with
descended into its own absurdity. Christopher Nolan’s Dark Knight Trilogy was the cure, finding optional director commentary (but none for the movie
ways to make believable the exploits of a vigilante dressed as a itself…?) There are also nine feature es, which dissect
flying mouse fighting a clown and a scarecrow, owing in large the production in topic-specific fashion (start with my
part to inspired casting choices. Although he never headlined favorite, “Anatomy of the Car Chase”), and an almost
his own solo movie, Ben Affleck’s Caped Crusader was a hour-long documentary, Vengeance in the Making,
highpoint of his recent DC Extended Universe team outings, but is particularly illuminating on the scripting process.
now Robert Pa inson has donned the cowl and armor for a more The scannable Movies Anywhere code unlocks a 4K
expressive, heart-on-his-cape take on the hometown hero. He’s digital copy along with all of the supplements and an
a deeply damaged man devoting his life and routinely risking it additional behind-the-scenes clip.
on a lonely quest to protect his beloved Gotham City, and what a The Batman on 4K Ultra HD Blu-ray is an easy
city it is. Gotham is practically its own character, a fully realized recommendation, an extremely enjoyable entry in
world teeming with unabashed criminals and a citizenry in dire the Caped Crusader’s long and varied canon, and a
need of saving. demo-worthy disc to boot. O CHRIS CHIARELLA
Director/co-writer Ma Reeves pays homage to a lot of other
movies here, perhaps none more so than David Fincher’s Se7en.
ULTRA HD BLU-RAY
Similar to his Oscar-winning approach to Dune, director of photog- STUDIO: Warner, 2022
raphy Greig Fraser shot the The Batman digitally and transferred it ASPECT RATIO: 2.39:1
to film, before switching back to digital to create the final master. HDR FORMAT: Dolby Vision, HDR10
AUDIO FORMAT: Dolby Atmos with
The original capture was in pristine 4K or above, and in this case a
TrueHD 7.1 core
35mm interpositive was created, accentuating the golden/orange LENGTH: 176 mins.
hues and adding a layer of grain to further evoke the mood of DIRECTOR: Matt Reeves
crime thrillers past and to be er immerse us in the carefully cra ed STARRING: Robert Pattinson,
Zoë Kravitz, Jeffrey Wright,
environment. That grain structure is definitely visible, but subtly so,
Paul Dano, Colin Farrell, Andy Serkis
imparting subconscious grit.
Custom anamorphic lenses yield striking sharpness in the
center of the 2.39:1 frame, falling off at the edges, to really draw Warner
your eye where they want you to look. Occasional text overlays
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66 August September 2022 soundandvision.com
THE UNBEARABLE WEIGHT
THE NORTHMAN OF MASSIVE TALENT
IN THE UNBEARABLE WEIGHT OF MASSIVE TALENT, co-wri en and
THE NORTHMAN is a stylish, brutal, and satisfyingly well-made film about directed by Tom Gormican, Nicolas Cage plays “Nick Cage,” a fictional-
a Viking prince named Amleth whose uncle murders his father and ized version of himself. Facing mounting expenses, dried-up roles, and
kidnaps his mother. He swears vengeance against his uncle and a er struggling to take care of his daughter and estranged wife, the aging actor
locating him years later, devises a plan to exact his revenge, even though is forced to take a million-dollar gig in Mallorca, Spain to a end a birthday
all is not as it seems. Writer-director Robert Eggers’ is also the man behind party for superfan Javi (Pedro Pascal). Javi turns out to be a dangerous
the critically acclaimed psychological thriller, The Lighthouse, which can mobster also trying to sell his screenplay and wanting to collaborate with
be challenging to watch at times. Though The Northman is a li le less Cage. All of which leads to the Oscar winner being enlisted by a CIA agent
disturbing and more accessible to squeamish viewers, the film still has its (Tiffany Haddish) to go undercover and spy on Javi to help the govern-
fair share of gory violence and frightening imagery. ment bring down his criminal enterprise.
In addition to an intriguing plot, the performances are excellent as you The filmmakers created the perfect role for Cage who slides effortlessly
might expect from a cast that is stacked with talent. The visual style is into this hyperbolic persona, while channeling his over-the-topness in the
sometimes stark and jarring but, like the content itself, is balanced with pursuit of justice. Massive Talent mixes multiple genres, from indie family
some truly gorgeous shots of Northern Ireland’s landscapes, a substitute drama in the opening scenes to actioner to straight up comedy.
for the story’s Icelandic se ing. Much of the rest of the film is darkly lit, but The film was shot on a variety of Arri Alexa cameras at 4.5K resolution
exhibits good detail, avoiding black crush and having mostly muted colors and uses a 4.5K digital intermediate mastered with Dolby Vision. HDR10
that don’t really pop, even with Dolby Vision HDR. The 1080p version of the metadata shows a MaxLL (Maximum Content Light Level) of 423 nits and a
film included on a standard Blu-ray disc looks almost as good, except for the MaxFALL (Maximum Frame Average Light Level) of 231 nits. Dolby Vision
loss of detail, especially in those very dark scenes. doesn’t raise brightness much but there are some good specular highlights
One of the opening CGI shots of Viking ships looks a li le artificial, that add significant pop to headlights, flashlights, and lamplights. Colors
but once the camera zooms in on a young prince Amleth, the detail in his have more gradients, such as the beautiful azure water on the seaside in
herring-bone-pa erned red tunic and Mallorca or the shimmering pool in Javi’s
slightly freckled complexion look u erly enclave. Though the movie has a pleasing
natural. Shot on 35mm film and mastered in appearance overall with excellent detail, it
4K, the gray atmospheric look of the outdoor lacks that organic, filmic character, tending
shots perfectly captures the unforgiving instead toward the unnuanced look of
conditions of Iceland’s landscape. And comedies that don’t provide the best visual
the film’s unique visual style is superbly on aesthetics.
display when the Berserkers raid a village, a The Unbearable Weight of Massive Talent
scene captured in one continuous shot (the packs a Dolby Atmos audio mix with a
technical feat is explained in the extras). TrueHD 7.1 core but it is not a soundtrack
The sound design is a stunner with deep that will give your home theater system
bass, a wide, enveloping soundstage, and a real workout. Dialogue is clear and the
a rousing orchestral score by Robin Carolan mix is subtle, with low-level foley effects in
ULTRA HD BLU-RAY ULTRA HD BLU-RAY
and Sebastian Gainsborough. At times, the the surrounds and some stagnant effects
STUDIO: Universal, 2022 STUDIO: Lionsgate, 2022
soundtrack is subdued but then springs to ASPECT RATIO: 2.00 ASPECT RATIO: 2.39:1 in the height channels. And while the
life with pounding drums and the sound of HDR FORMAT: Dolby Vision, HDR10 HDR FORMAT: Dolby Vision, HDR10 bass certainly isn’t bombastic, there are
ba le emanating from all of the speakers AUDIO FORMAT: Dolby Atmos with AUDIO FORMAT: Dolby Atmos with a few scenes that offer a chance for your
TrueHD 7.1 core TrueHD 7.1 core
in every direction as in the Berserker raid subwoofer to ra le things a bit.
LENGTH: 137 mins LENGTH: 107 mins.
scene. DIRECTOR: Robert Eggers DIRECTOR: Tom Gormican Lionsgate has provided an audio
The extras are presented in standard STARRING: Alexander Skarsgård, STARRING: Tom Gormican, commentary by Gormican and co-writer
HD on both discs and include deleted and Nicole Kidman, Claes Bang, Nicolas Cage, Pedro Pascal, Kevin E en, a must-watch Q&A from the
Anya Taylor-Joy, Ethan Hawke, Tiffany Haddish, Sharon Horgan,
extended scenes plus six feature es and SXSW Film Festival featuring both writers
Willem Dafoe Paco León, Neil Patrick Harris
audio commentary by Eggers. The standard and the cast, and several “making of”
Blu-ray version includes the fantastic Dolby feature es. An HD Blu-ray of the movie with
Atmos soundtrack and a digital code for Universal Lionsgate bonus features is included along with a
downloading or streaming. O ROGER KANNO Digital Copy code. O BRANDON A. DUHAMEL
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soundandvision.com 67
SHAFT
ALONG WITH Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song,
Sha helped launch the Seventies era of so-called “blaxploitation” films
that would dominate the world of Black entertainment for nearly a decade.
Directed by prominent Black photographer Gordon Parks with Richard
Roundtree in the title role and featuring a sizzling soundtrack by Isaac
Hayes, Sha didn’t quite fit the mold of its subsequent ilk. Sure, it was a
crime drama that explored the dregs of society, like pimp Bumpy Jonas
(Moses Gunn), whose daughter is kidnapped, but there’s a key difference:
Sha himself is not a criminal. He’s not a pimp or a drug dealer like the
main characters of Super Fly or Black Caesar—he’s a private detective,
hired to find the Bumpy’s daughter. In 1971, Sha was like a superhero to
the Black community, a Black man who took no guff, dressed sharp, and
THE UNTOUCHABLES talked back to the cops, outperforming them while he was doing it.
Sha arrives in a 1.85:1 digital transfer created in 16-bit 4K from the
original camera negative and mastered with Dolby Vision. Sections too
THOSE SEEKING an accurate account of notorious gangster Al Capone’s
downfall should continue their search elsewhere. But anyone wanting
two hours of thrilling, fact-influenced entertainment need look no
further. Director Brian De Palma’s artful take on Eliot Ness and his squad
of incorruptible treasury agents on a quest to clean up Prohibition-era
Chicago blends hard-hi ing dialogue and career-best performances in an
almost operatic tale of good versus evil. The heroes are brave, imperfect
men making tough choices in order to take down the vilest of criminals.
Kevin Costner’s Ness begins his assignment as straight-arrow as they
come, but discovers along the way just how much he doesn’t know and
how far he’s willing to go to get the job done. His character arc is at the
heart of this gripping story—a transformation driven by violence, loss, and
constant danger.
Every facet of the film design flaunts a nigh-insane level of intricacy, such
that I would argue The Untouchables has never looked quite right on video
until now. Costumes were deliberately textural to help them stand out on
mid-Eighties film stock and the sets emphasized period accuracy above
all else. Though the overall image is slightly darker compared with past
editions, the detail is notable with refreshed color, revived clarity, and a nice damaged were replaced with a duplicate negative in which the original
balance of brights and shadows, courtesy of Dolby Vision. On the other yellow, cyan, and magenta were separated and independently scanned
hand, the cinematography is seldom razor-sharp, which makes the faint before being recombined. The presentation on Ultra HD disc is grainy, which
video noise more noticeable and the curious edges of De Palma’s trademark is not surprising, but an abundance of textural information in close-ups
split-focus diopter shots plain to see. and backgrounds helps resolve the grain
Meanwhile, the Dolby Atmos remix adds structure naturally. By comparison, the
a subtle new dimension to the original regular Blu-ray disc included in the set
soundtrack, with appropriately utilized doesn’t resolve the grain quite as well and
overhead channels, smart placement of therefore looks a bit coarser and gri ier.
effects (a knock, a typewriter), and credible Dolby Vision’s wide color gamut also adds
directionality across the soundstage. Voices a touch more pop to specular highlights
echo quietly in the surrounds, bringing and brings out the camel tone of Sha ’s
the city to life, while complementing the turtleneck, even if the 4K presentation is a
well-cra ed period exteriors that make the tad darker overall. That darkness exists on
environment believable. Ennio Morricone’s the HD Blu-ray as well but without the inky
magnificent score is rich with emotion, blacks and wider dynamic range, and with
making sad parts sadder and triumphant colors that look just a li le fla er.
ULTRA HD BLU-RAY ULTRA HD BLU-RAY
moments even more jubilant, the former Sha includes the original mono mix
STUDIO: Paramount, 1987 STUDIO: Criterion Collection, 1971
aided by a foreboding harmonica, the la er ASPECT RATIO: 2.35:1 ASPECT RATIO: 1.85:1 and a stereo remix. Both are LPCM 2.0 and
by resonant drum beats. The low-end was, HDR FORMAT: Dolby Vision, HDR10 HDR FORMAT: Dolby Vison, HDR10 sound great, providing clean dialogue and a
however, underwhelming and largely absent AUDIO FORMAT: Dolby Atmos with AUDIO FORMAT: LPCM 2.0 mono/ nice boost in the midrange and low end that
TrueHD 7.1 core LPCM 2.0 stereo
in the many gunshots and explosions. strengthens the film’s soulful musical score.
LENGTH: 119 mins. LENGTH: 100 mins.
No new extras are supplied for the 35th DIRECTOR: Brian De Palma DIRECTOR: Gordon Parks Criterion Collection gives Sha the usual
anniversary. Instead, mostly lackluster STARRING: Kevin Costner, STARRING: Richard Roundtree, deluxe treatment with a slate of fantastic
2004 feature es are cobbled together from Sean Connery, Robert De Niro, Moses Gunn, Charles Cioffi, bonus features, including a second Blu-ray
Andy Garcia, Charles Martin Smith, Christopher St. John, Gwenn
past interviews. Though it’s not the home disc with the 1972 sequel Sha ’s Big
Patricia Clarkson Mitchell, Lawrence Pressman
run I was hoping for (Capone liked a good Score! and its own array of bonus features.
baseball analogy), the picture and sound Additionally, there is a booklet with an essay,
are undeniably the best yet for this mob Paramount Criterion interviews with Gordon Parks and Isaac
classic. O CHRIS CHIARELLA Hayes, and more. O BRANDON A. DUHAMEL
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68 August September 2022 soundandvision.com
A FISTFUL OF DOLLARS
ON THE way to cooking up the all-time great spaghe i western, Sergio
Leone began here with Rawhide star Clint Eastwood, eager to break out of
his “white hat” TV persona and take his cra and career to the next level.
Together they birthed an anti-hero who would become known as The Man
with No Name, indelible and ultimately at the center of For a Few Dollars
More (also new to 4K) and The Good, the Bad and the Ugly (released last
year). While neither are direct sequels, rather tonally similar vehicles for
their so -spoken, steely-eyed creation, this unofficial “trilogy” is defined
by its originality, brutality, and a protagonist who is ruthless yet strangely
fallible. Fistful has an esteemed pedigree, essentially a remake of Akira
Kurosawa’s Yojimbo, the story about a town controlled by two rival gangs
and the stranger who gets in the middle, stirring up trouble to achieve his
own ends. Saddle up for a wild ride and a crucial chapter in genre history.
LICORICE PIZZA
OSCAR-NOMINATED for best picture, direction, and screenplay, Licorice
Pizza is a story of first love between a 15-year-old kid and a woman of
25 who’s working at his high school. From their first conversation, Gary
(Cooper Hoffman) pushes for a date, which Alana (Alana Heim), resists
aggressively, but having already become a minor TV and film star and
successful entrepreneur, he’s soon able to charm her. Given his age,
though, she just wants to be his friend; he, on the other hand, recog-
nizes his future wife. From this conflict, an awkward romance emerges
in adventures involving memorable appearances by Sean Penn, Tom
Working with the restoration provided by Italy’s L’Immagine Ritrovata, Waits, Bradley Cooper, and John Michael Higgins, each playing an older
Kino Lorber Studio Classics brought dozens of hours of new shot-by-shot absurdly macho/sexist type.
color grading to the 2.35:1 picture. Fistful was originally a low-budget ‘60s Wri en and directed by Paul Thomas Anderson, Pizza is set in the
production set in a bleak locale, so the results are not particularly pre y or San Fernando Valley of 1973 and echoes movies from the late Sixties and
especially colorful, with substantial grain that can lead to occasional flicker. early Seventies in mood, episodic style, and visuals—the most obvious
Blacks are crushed, but I’ve seen worse. Where the image excels is in the being Harold and Maude. There are also nods to Bob & Carol & Ted &
increased detail, right down to the fibers of Clint’s poncho. I must mention Alice, Bu erflies Are Free, The Goodbye Girl, and even direct quotes from
that the movie is presented in standard dynamic range, likely due to the The Graduate and Taxi Driver. Recreations of the era’s godawful fashions,
limited quality of the original film elements that yielded this 4K master. haircuts, and furnishings are authentic and convincing in a way that takes
The movie’s soundtrack has been available in rechanneled 5.1 before, you back to the Seventies.
and it’s a fine option with its wider sound Blacks are deep and whites are bright thanks to good contrast and detail,
field, but it’s not showoff material. More which also allows the period’s dreadful pa erns to remain distinct amid the
interesting is the new, correctly synced muddy browns and yellows that abound in wallpaper, sofas, carpets, the
DTS-HD Master Audio 2.0 mono soundtrack. plentiful pastels and occasional primaries in
This synchronization is particularly important clothing, and the puce-, lime- and mustard-
as spaghe i westerns used the “Tower of colored telephones.
Babel” approach where each member of Pizza’s score kicks off with a glorious
the international cast spoke in his/her native recording of Nina Simone performing
language with English dubbed in later during “July Tree.” Sound comes at you from all
post-production. The dialogue matches the channels in an unusual, shiver-inducing
actors’ delivery as best it can, and there is mix that finds Simone’s shimmering voice
a clean precision overall, particularly in the emanating from the rear surround channels
whistling. Likewise, Ennio Morricone’s score with the orchestra up front. The rest of the
displays outstanding fidelity. soundtrack is a powerful and well-balanced
The 4K disc offers two expert audio jukebox of music from the likes of Bing
ULTRA HD BLU-RAY
commentaries, one old and one new, while Crosby, Todd Rundgren, Paul McCartney
STUDIO: KL Studio Classics, 1964 BLU-RAY
the HD Blu-ray disc adds a vast archive of ASPECT RATIO: 2.35:1 STUDIO: Universal, 2021 and Wings, Stephen Stills, and Blood,
interviews, feature es, and other curiosities HDR FORMAT: N/A ASPECT RATIO: 2.39:1 Sweat & Tears that never interferes with
AUDIO FORMAT: DTS-HD Master AUDIO FORMAT: DTS-HD Master
from Fistful’s storied past. O CHRIS CHIARELLA the film’s crisp, sonorous dialogue. The
Audio 2.0 mono Audio 5.1 Wings performance of “Let Me Roll It” was
LENGTH: 100 mins LENGTH: 133 mins.
DIRECTOR: Sergio Leone DIRECTOR: Paul Thomas Anderson particularly stirring and expansive as sound
STARRING: Clint Eastwood, STARRING: Alana Haim, Cooper moved out into the room.
Gian Maria Volontè, Marianne Hoffman, Bradley Cooper, Joseph Extras include a reel of fluff material
Koch, Wolfgang Lukschy, Cross, Benny Safdie, Anthony and unused takes, a deleted scene, a fake
Sieghardt Rupp, Joseph Egger Molinari, Sean Penn, Tom Waits commercial for Fat Bernie’s waterbeds, and
KL Studio Classics Universal a collection of stills and videos from the
set—charming but disappointingly thin a er
such fun. O JOSEF KREBS
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soundandvision.com 69
1776
LONG BEFORE Lin-Manuel Miranda set the American Revolution to music,
playwright Peter Stone and composer/lyricist Sherman Edwards gave
us an entertaining history lesson of their own, set in 1776. An unpopular
John Adams, poetic Thomas Jefferson, and impish Ben Franklin are
focused on a future free of British oppression, despite the danger of such
a declaration, but when the decision is made that such a vote must be
unanimous, the challenge becomes much more difficult. While a far cry
from the hip-hop beats of Hamilton, the songs here do a remarkable job of
conveying facts and weaving a compelling story that’s worth telling again
and again.
The film was treated by some as a redheaded stepchild (reportedly
Richard Nixon didn’t like its themes, which prompted producer Jack L. TRUE ROMANCE
Warner to order some painful cuts), and its physical elements had fallen into
disrepair over the years. Significant restoration was required to create the
four different versions of the movie offered in this three-disc set. The long- THESE DAYS, you’re not likely to see a Quentin Tarantino script directed
MIA 1992 laserdisc version, cobbled together with limited resources at the by someone else, but there was a time when the young filmmaker-
time, is presented in standard definition with Dolby Digital stereo audio and, cum-video-store-clerk was raising funds to make his directorial debut
at almost three hours, is the longest. The original theatrical cut, the shortest (Reservoir Dogs) and sold True Romance, which was ultimately helmed by
Top Gun’s Tony Sco . The movie took a few years to find its audience—
and current cult status—but is now hard to see as anything but inspired
and uniquely entertaining.
Minimum-wage kid Clarence (Christian Slater) meets Alabama (Patricia
Arque e), a hooker with a heart of gold, and they fall madly in love. Things
get really complicated really fast as they discover hitherto untapped poten-
tial and flee Detroit for sunny L.A. with a suitcase of missing drugs and the
mob on their trail.
Sco ’s films have a conspicuous visual style, which is celebrated in the
beautiful 4K restorations of both the theatrical and unrated cuts, the la er
boasting snippets that intensify the film’s violence, notably in the sequence
when mob enforcer Virgil (James Gandolfini) confronts Alabama. Deep,
organic blacks are nicely balanced against Dolby Vision-enabled highlights,
and the clarity of the 4K transfer is striking, despite the constant presence
version, is presented in high definition with a DTS-HD Master Audio stereo of light film grain and an occasional mushy shot that risks spoiling the fun.
soundtrack. There’s also the “Extended Cut,” a bit of a kitchen sink with Most memorable are the vibrant candy colors of Los Angeles, a far cry from
extra verses of songs and an additional gag thrown in here and there—not the gri iness of the Motor City.
particularly seamless but not terribly jarring either. The 5.1-channel mix positions music—vintage needle drops and Hans
The star of the show, however, is Peter Hunt’s director’s cut, presented in Zimmer’s compositions—squarely within the soundstage. The low-end is
4K with upgraded Dolby Atmos sound and respectable and the movie has a welcome
two archival commentary tracks. Faces and spaciousness, though the overall volume
costumes, which favor finely pa erned prints, is considerably higher than most of the
are the main beneficiaries of a transfer also discs I’ve been watching lately, requiring
notable for its bright colors. Though some some adjustment. An uncompressed stereo
noise and video compression are evident, track from the original 1993 release is also
there is also a slight but undeniable boost included.
in sharpness, notably in the brick facade of This “Limited Edition Deluxe Steelbook”
Independence Hall, when compared with of True Romance (one of several different
the HD Blu-ray disc, which appears to be the editions) is the latest in Arrow Video’s
2015 release with new artwork and is likely wave of fan-favorite 4K releases, which
born of the same 4K master. includes John McNaughton’s prurient Wild
A male chorus belting out dramatic and Things. It arrives with two discs in a metal
ULTRA HD BLU-RAY ULTRA HD BLU-RAY
sometimes funny tunes makes for a powerful case housed inside an impressive box
STUDIO: Sony, 1972 STUDIO: Arrow, 1993
Atmos track that reveals a faint echo applied ASPECT RATIO: 2.35:1 ASPECT RATIO: 2.39:1 with a poster, lobby cards, and a perfect-
to certain singing voices, while preserving HDR FORMAT: Dolby Vision, HDR10 HDR FORMAT: Dolby Vision, HDR10 bound book packed with photos, essays,
the reverberant quality of the main Congress AUDIO FORMAT: Dolby Atmos with AUDIO FORMAT: DTS-HD Master interviews, and Edgar Wright’s 2012 eulogy
TrueHD 7.1 core Audio 5.1
chamber where most of the action takes for Tony Sco . Three decades’ worth of
LENGTH: 165/168/142/178 mins. LENGTH: 119/121 mins.
place. Whether indoors or outdoors, the DIRECTOR: Peter H. Hunt DIRECTOR: Tony Scott legacy content is presented in on-disc
soundtrack conveys a soundstage that is STARRING: William Daniels, STARRING: Christian Slater, extras, comprising deleted and extended
enjoyably full without ever resorting to overt Howard Da Silva, Ken Howard, Patricia Arquette, Dennis Hopper, scenes, four full-length audio commentaries,
Donald Madden, Blythe Danner, Christopher Walken, Val Kilmer,
gimmickry. including a rare (and wonderful) track by
John Cullum Gary Oldman
Most of the supplements are on the HD Tarantino, scene-specific commentaries by
Blu-ray disc and include a treasure trove of members of the star-studded supporting
previously released deleted/alternate scenes cast, and fresh retrospectives from the
and screen tests. O CHRIS CHIARELLA Sony Arrow talented crew. O CHRIS CHIARELLA
[
[
70 August September 2022 soundandvision.com
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music
ELTON JOHN
MADMAN ACROSS THE WATER –
50TH ANNIVERSARY EDITION
1
3
Elton John could do no wrong as right-opening, 9 / 2 x 1 / 8 x 10-inch
the calendar came to the close of packaging may give you brief pause,
1971. Madman Across the Water, his as its shape is markedly different
1
1
third album in that calendar year than Elton’s rectangular, 9 / 2 x 1 / 2
1
alone, came out in November, and x 12 / 4 -inch career-spanning Jewel
it was considered to be the best Box 8CD set released in November
entry in his Trident Studios 2020. I’m going to give the Madman
orchestral trilogy, featuring cube a slight pass, however, if only
production by Gus Dudgeon and because a) it mirrors the size of April
arrangements by Paul Buckmaster. 2021’s 6CD/2BD Apple/UMG box
(The previous two releases in said for John Lennon’s December 1970
trilogy were April 1970’s self-titled solo masterpiece Plastic Ono Band,
Elton John and October 1970’s and b) my gut tells me this cube
Tumbleweed Connection.) will become the standard shape for
Madman is the first of what historical multidisc Elton box sets
surely will be many a 50th anniver- moving forward. (Don’t let me down,
1
1
sary collection to be culled from the gut o’ mine.) Since the 12 / 2 x 1 / 2 x
1
Elton John canon, and it’s a great 12 / 2 -inch 4LP vinyl box conforms to
starting point. As is the case with the typical size and depth of modern
most historical releases these days, multi-LP collections, Universal 3 CD/1 BD (OR 4LP) mance and how his piano playing
Madman is available in a variety (parent of UMC/UMG/UMe) Label: Rocket/EMI/UMC on the white keys alone evoke all the
of options—1LP, 2CD, 4LP, and probably didn’t want consumers Audio Format: 16-bit/44.1kHz (CD); drama of the core album’s finished-
3CD/1BD. The copious bonus mate- to confuse the divergent Madman 24-bit/96kHz PCM Stereo, 24-bit/96kHz DTS-HD track equivalent. Meanwhile, the
rial includes ou akes, piano demos, analog/digital options. Master Audio HD 5.1 (Blu-ray) 10-minute jazz-trio exploration of
and of-era live performances. Since As extras go, the 104-page Number of Tracks: 56 (34 on 3 CDs, 22 on 1 BD) the title track is riveting, especially
hardback book in the CD/BD set Length: 4:43:16 (3:02:56 on 3 CDs; 1:40:20 during the intuitive middle-section
(the LP set contains a 40-page on 1 BD) interplay amongst Elton, Olsson,
saddle-stitched equivalent) is chock Producers: Gus Dudgeon (original album, bonus and Murray.
studio and live material)
full of deep essayist data, recording/ During the joint Elton John/
performing timelines, and in-studio Engineers: Robin Geoffrey Cable (original Bernie Taupin interview with The Old
album), Phil Ramone (one radio broadcast
and tape-box photos galore. As to Grey Whistle Test presenter Richard
bonus track), Ken Scott (remixes), Sean Magee
the Madman sonics, truth is, vinyl is (box set mastering), Greg Penny (surround Williams from December 7, 1971,
the be er way to listen to the core mixes) Elton references looking forward
album and the bonus material—in to working with his newly anointed
PERFORMANCES
stereo, that is. The arrangements of guitarist. That guitarist happened
SOUND
tracks like “Indian Sunset,” “Holiday to be Davey Johnstone, and the
Inn,” and “Goodbye” breathe much 6:44 version that is Track 5, but the ensuing LP would be May 1972’s
be er on wax than they do in the 8:50 Ronson version is quite revela- Honky Château, Elton’s first of seven
this collection was likely contracted digital stereo realm. tory in surround. Ronson’s electric consecutive No. 1 U.S. albums.
before supply-chain issues delayed That said, Greg Penny’s 5.1 mix guitar sneers and snarls mostly Here’s hoping Château is the next
box set releases in recent years, a of Madman on Blu-ray takes his toward the right quadrants, playing entry in this anniversary series to get
Dolby Atmos mix probably wasn’t on original surround pale e to newer off Buckmaster’s intensely dramatic the big box treatment—replete with
the table—a shame, really, since the heights only hinted at on the mix he orchestral swells. Listen for how a full-album Atmos mix from Penny,
Atmos mix of the Madman opener did on the 2004 SACD. The linchpin Penny turns Elton’s long-held “ohhh” of course.
“Tiny Dancer” on Apple Music (via here is the alternate take of the title a er the word “water” into a literal “For me, it is the most adven-
Elton’s updated Diamonds compila- track, subtitled “Original Version all-channel echo-siren. turous of the three,” Elton writes of
tion) takes full advantage of the Feat. Mick Ronson” and presented As for the BD’s video content, Madman in the liner notes, refer-
height channels. on the BD as the very first cut ahead the Sounds for Saturday portion, encing its place in the orchestral
Nonetheless, completists will of “Tiny Dancer” in the running broadcast on April 29, 1972, mainly trilogy—and he’s spot-on. This 50th
likely want to add at least half of order. (It was previously released on showcases Elton singing solo at the anniversary Madman edition gives
these release choices to their October 1992’s Rare Masters and piano, occasionally joined by his two you more than just a glimpse at the
shelves (perhaps even three). Both various la er-day deluxe editions bandmates at the time, drummer ascending star that is Elton John,
the 3CD/1BD and the 180-gram 4LP of the aforementioned Tumbleweed Nigel Olsson and bassist Dee an artist on the cusp of taking off Photo courtesy UMe
sets are worthwhile acquisitions for Connection.) You’re welcome to Murray. The gist of “Tiny Dancer” is like the rocket man he would soon
different reasons. The 3CD/1BD’s compare it to the original album’s boiled down to Elton’s vocal perfor- enough become. O MIKE METTLER
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soundandvision.com 73
1970 German Vertigo pressing
remaster class
BLACK SABBATH: PARANOID
We Sail Through Endless Skies
he key to the enduring appeal of Black Sabbath’s career-making second album,
September 1970’s Paranoid, doesn’t only reside within its fist-pumping, headbanging,
metal-genre-establishing bonafides. Actually, the secret sauce can be found via some-
thing you may not have even considered—Black Sabbath’s inherent sense of melody. And
where might that come from, you ask? Two words—The Beatles. 1996 Castle Communications CD
“I wanted to be in The Beatles,” Sabbath vocalist Ozzy Osbourne told me during our
in-person interview a decade ago. “They had great harmonies and great melodies, and I
always got a great feeling listening to them. The Beatles did give me the gi of melody, you
know. My other thing is, if a song still sounds as good now as it did when you first heard it,
it’s go a be good.” If that’s the case, then Paranoid is quite bloody good indeed. In fact, if you listen closely, you’ll
find Ozzy’s vocal approach to the verses on “Paranoid” is a direct descendent of the way Paul McCartney a acks
the verses on The Beatles’ “Get Back.” (Help me with my mind, Lore a. . .)
My first gatefold vinyl copy of Paranoid, a 1979 A 2016 4CD box set from Warner Bros./Rhino in a
Warner Bros. Winchester pressing, suffered from 6x8-inch rectangular format more common to Euro-
much ringwear, as the outer sleeve essentially fell pean boxes contains fine upgrades of a pair of well- 2009 Sanctuary Deluxe 2CD/1DVD
apart thanks mainly to my less-than-ideal LP shelving bootlegged 1970 live gigs from Montreux and Brus-
habits back in the day. Naturally, I would've loved to sels, showing how the performance bond between
have go en my hands on one of the earlier holy grail Ozzy, guitarist Tony Iommi, bassist Geezer Butler, and
Paranoid LPs, the 1970 German Vertigo pressing. drummer Bill Ward was only ge ing stronger. Note
Regardless, I’m quite happy with the 2006 Rhino/ that a 2019 50th Anniversary Super Deluxe Edition
Warner Bros. 180-gram LP reissue mastered by Kevin 5LP box set from Warner Records/Rhino is a digital
Gray and pressed at RTI. Some cite it as being too transfer of the CD box’s contents, so be forewarned if
bright, but its wider range of dynamics works just fine that’s a deal-breaker.
for me. That said, there’s also a downmixed stereo version
I have, of course, obtained a variety of Paranoid of 1974’s quad mix on CD2 (and LP2). It is, what’s the
CD offerings. I got the Redbook 1987 Warner Bros. word—interesting. Sometimes, it’s just too quiet, 2016 Warner Bros./Rhino Deluxe 2CD
and 1996 Castle Communications CDs just to have especially when it comes to some of Ozzy’s vocals.
them, but I’ve listened to Sanctuary’s 2009 2CD/1DVD As a consummate surround advocate, I’d rather hear
Deluxe Edition, which includes instrumental and things go the other way into 5.1 or even Dolby Atmos
alternate versions of the core album’s tracks on Disc territory, if only to remedy the 2009 quad DVD snafu.
2. (Warner Bros./Rhino released a similar Deluxe At the very least, imagine “Planet Caravan” taking to
Expanded Edition in 2016, sans the DVD.) the height channels, or ge ing the full range of the
Ge ing the 1974 Paranoid quad mix on DVD was ebb and flow of volume and power in both “Iron Man”
of great interest to me, albeit garnering mixed results. and “Hand of Doom.” The best bet would be to have
For one thing, the DVD menu says it’s DTS 5.1, but it’s the original quad restored plus new 5.1 and Atmos
not. And there’s a major quality issue with the transfer mixes housed together in one release. Anyone for a
in terms of massive tape hiss and other egregious duly updated 55th anniversary box in 2025?
surface noise that should have never go en past QC, Regardless of any of these picked nits, the fact 2019 Super Deluxe Edition 5LP
but the promise of the original quad’s intent is there— remains: Paranoid is a stone-cold rock-era classic,
if you’re willing to get past the flaws and actually listen and a prototype for the ensuing decades of metal
to it. (See especially the swirling siren call of “War riffage that followed. Whether it be melodic, thrash, or
Pigs” and the free-jazz, space-jam psychedelia of gothic in how it unfurls, the future of mankind awaits
“Planet Caravan.”) within Paranoid’s deep grooves. O MIKE METTLER
Sound & Vision (ISSN 1537-5838) (USPS 504-850) August/September 2022, Vol. 87, No. 5. COPYRIGHT 2022 BY AVTech Media Americas, LLC. All rights reserved. Published six times a year
(February/March, April/May, June/July, August/September, October/November, December/January) by AVTech Media Americas, LLC., 260 Madison Avenue, 8th Floor, New York, NY 10016-2303.
Periodicals postage paid at New York, NY and additional mailing offices. Single copy price is $6.99. Subscriptions: U.S., APO, FPO, and U.S. Possessions $12.99 for 6 issues. Canadian orders
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32142-0235.
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74 August September 2022 soundandvision.com
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