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test report

TRINNOV AUDIO ALTITUDE16 SURROUND SOUND PROCESSOR

Optimal RATING
Immersion
PERFORMANCE
By David Vaughn FEATURES
ERGONOMICS
VALUE

I’VE BEEN reviewing A/V gear and control, and two additional Creston, Savant, and RTI, and the learning curve is very steep
for over 15 years, and it’s rare Ethernet ports labeled for can be controlled via IP or when you dig in to this beast.
that something new comes future use. The unit is also Roon RS232. (It also features integra-
along that will intimidate me. Ready and functions as a UPnP tion with The CEDIA Designer SETUP
But all that changed when renderer. home theater design so ware.)
I found out I’d be reviewing Since I don’t have a sophisti- The Altitude16’s setup menu
the Trinnov Audio Altitude16, Since the Altitude16 is based cated control system in my own can be a bit overwhelming at
an $18,000 surround sound on a PC architecture, it features home theater, I instead used the first, so it’s easy to see why the
processor that’s arguably the standard I/O options on the supplied handset along with a recommended route for most
most sophisticated and flex- lower le side of its rear panel. URC MX-990 universal remote users is custom installation.
ible offering of its kind on the In lieu of a chip-based DSP, for my evaluation. Even so, I decided to jump
market. To prepare myself, I Trinnov uses a Linux-based right in. Thankfully, Trinnov’s
even downloaded and starting so ware suite that runs on a There are two other ways Wizard offers a Quick Setup
reading Trinnov’s 172-page multicore Intel i3 processor. to connect to the unit for option where you define the
manual well in advance of the The benefit to this design is that control. First, you can use room’s speaker layout. This can
Altitude16’s arrival. when a new processing mode the rear panel’s PC outputs range from a 2.0 system all the
comes along, the Altitude16 to hook up a monitor, mouse, way up to a 9.1.6 configuration
Once it arrived and was can be easily upgraded for it and keyboard. Second, you or anything in between—just
unboxed, I admired the over the internet. (Trinnov also can make a network connec- remember, you’re capped
Altitude16’s design—it has an says that the modular hardware tion via Ethernet and direct a at 16 discrete outputs. My
industrial look that I personally design allows for HDMI connec- web browser to the unit’s IP room’s four subwoofers are run
love in an A/V component. The tions to be updated to version address—the more convenient through an outboard MiniDSP
brushed aluminum front panel 2.1 when that upgrade becomes option. I connected this way HD processor and treated as
contains only a few controls: available.) using both my PC and Samsung a single sub by my reference
power, mute, volume adjust- Galaxy Tablet. The user inter- pre/pro, so I chose an Atmos
ment, and source selection, While the non-backlit remote face’s fixed font was very hard 7.1.4 configuration for my setup.
plus menu navigation bu ons. control Trinnov includes is to read on the tablet’s 10-inch Granted, there’s no reason for a
A large dimmable display rather spartan, it’s also true display without reading glasses, Trinnov owner to use a MiniDSP
shows volume, input, and audio that the main customer for an however, so I ultimately ended since the processor has full
format status, along with other Altitude16 will likely have a up using my PC with its 27-inch bass management to redirect
information about incoming and custom-installed home theater monitor. Once connected, low frequencies in surrounds or
outgoing A/V signals. that runs on an advanced you be er have the manual height speakers and can indi-
control system. Hence, the handy for reference because
The Trinnov offers 16 chan- unit supports Control4, AMX,
nels of processing with support
for the three major immersive
audio formats: Dolby Atmos,
DTS:X Pro, and Auro-3D. It has
eight 18Gbps HDMI 2.0 (HDCP
2.2-compliant) inputs and two
HDMI 2.0 outputs (with eARC
on output 1), dual coaxial and
optical digital inputs (plus one
output of each type), and analog
XLR and RCA stereo inputs.
Other connections include
a trigger input, four trigger
outputs (three configurable), an
RS-232 control port, an Ethernet
port for network connection

[ [52 August September 2021 soundandvision.com

vidually handle multiple subs. mizer se ings. Connecting with

The next step in the setup the Altitude16 over the internet,

process is to assign each output Chuck discovered that I didn’t At a Glance

to a specific speaker and use the have the 3D mic pointed directly Phenomenal sound
quality
pink noise generator to confirm at the center speaker during my
Software-based platform
your assignment. You then auto-calibration, so he asked makes upgrades easy

move on to the Bass Manage- me to rotate it about a quarter- Superior room correction
processing
ment page, set crossovers for inch and we ran another series
Pricey!
individual speakers (I chose of measurements. While still
Basic remote control
a global 80Hz), and connect not perfect, the error was within
Typically requires pro
the Trinnov 3D microphone one degree, which he said was installation

(an extra $800 option). Lastly, acceptable. Price: $18,000

you start the Trinnov Optimizer My seven main speakers are trinnov.com

calibration process, which takes from M&K (S150 LCRs across love with it. The company was
founded on the premise of
a few minutes to run, with the the front and SS550s for the providing realistic 3D sound
and the Altitude 16 delivers that
processor then analyzing the rear and back surrounds), and in abundance. It was able to
take my multipurpose space
data and applying corrections it just so happened that Chuck (the room opens up to another
area of the house) and make
(see graphs below). worked for the company for over of overhead speakers than it sound like a fully enclosed
theater. No other room correc-
Once auto-calibration is 20 years and knew the speakers others. Another valuable tool tion system I’ve evaluated has
performed as effectively—the
complete, I’d say you will have intimately. He manually applied is having the ability to control Trinnov Optimizer is literally in a
class by itself.
achieved about 85-90 percent a target curve to the Altitude16 the processor’s output. This
Right out of the gate, my
of what further tweaking could customized specifically for my essentially provides a mixing collection of Dolby Atmos demo
discs showcased how great
provide. But quite honestly, M&Ks, and it transported me to board so you can mute chan- the processor was. Whether it
was trailers that emphasized the
unless you’re the ultimate audio heaven—my system had nels during playback or isolate a overhead speakers, or music
videos (I’m partial to Enrique
geek and love to obsessively never sounded so good! single channel. While that’s not Iglesias’ “Bailando”), “amazing”
wouldn’t even begin to describe
tweak and fiddle with multiple The Altitude16 has several something you’d use every day, the experience. Discrete
pinpoint sound effects moved
se ings, you’re be er off paying so ware features that I found it’s a great way to highlight how around the room in a precise
manner, while the Optimizer’s
a Trinnov-affiliated installer to to be fun and useful. The Dolby prominent the center channel bass management allowed
for a seamless transition from
set the Altitude16 up. When you Atmos Object Viewer displays is in a soundtrack mix, or to my main speakers to the subs
without any audible peaks or
spend $18,000 on a processor, a three-dimensional depiction demonstrate the contribution of dips—like I said above, my
system never sounded be er.
you’ll want to ensure you’re of your room and indicates overhead effects channels.
The Greatest Showman
ge ing 100 percent of its which speakers are active
is one of my favorite movies
performance! (Another benefit during playback. Viewing it, PERFORMANCE so far this century, and its
to going the installer route: they you’ll quickly discover that Atmos soundtrack is to die-for.
(According to Trinnov, Greg
will bring along their own 3D some Atmos soundtracks A er living with Trinnov’s Wells, Showman’s sound
mixer, uses a Trinnov ST2 Pro
microphone.) make much more active use processor for a month, I fell in processor for his studio work.)
Watching the opening scene
Trinnov’s Optimizer with the Altitude16, bass impact

so ware has some Before
powerful tricks up its

sleeve. First, you can

save up to 29 custom

calibrations and assign Amplitude in dB

each one by input. So,

if you want one specifi-

cally for two-channel

music-listening and

another for movies,

that’s easy to do.

Also, you can switch Frequency in Hz
between calibrations

“on the fly” using the After
web interface, with only

a slight audio dropout

as the processor

switches from one Amplitude in dB

preset to the next.

Even though I was

mostly pleased with the

results, I reached out

to Chuck Back, Trinnov

Audio’s US Managing

Director, to help me Frequency in Hz
further refine my Opti-

[soundandvision.com 53

test report

TRINNOV AUDIO ALTITUDE16 SURROUND SOUND PROCESSOR

was off the charts and Hugh I listened to. AUTO SETUP/ROOM EQ: Trinnov Optimizer
Jackman’s voice never lost Speaking of concerts, music
intelligibility. One thing I noted Specs VIDEO PROCESSING: 4K to 1080p down-
about the Altitude16 was that I performances mixed in Dolby scaling on HDMI output 1
never felt any ear fatigue even Atmos really highlighted the
a er a long listening session Altitude16’s audio prowess. I DIMENSIONS (W x H x D, inches): 17 x 6 x
at or close to reference level. started with the John Williams
The sound was consistently Live in Vienna concert Blu-ray, 16.75
balanced and natural: highs a disc that offers multiple audio
were clean, lows punchy and format options including Dolby WEIGHT (Pounds): 24.9
dynamic, the midrange full- Atmos and both 5.1 and 2.0
bodied and inviting. 24-bit/48 kHz DTS-HD Master VIDEO INPUTS: HDMI 2.0 (8, 18Gbps on all)
Audio soundtracks. Listening in
To prepare for the premiere Atmos, my favorite of the three, AUDIO INPUTS: Coaxial digital (2), optical digital (2), Audio
of Godzilla vs. Kong on HBO “The Imperial March” from
Max, I watched a 2014 reboot Star Wars sounded powerful, Network (2, future use), analog stereo XLR , analog stereo RCA
of Godzilla that had just been dynamic, and completely
released on Ultra HD Blu-ray mesmerizing. I’ve never been to ADDITIONAL INPUTS: Microphone, 12-volt trigger, Gigabit
with a remixed Dolby Atmos the Vienna concert venue, but
track. This is arguably one of the a er that experience I doubt Ethernet
best-sounding mixes to come I’ll really need to because the
out of Hollywood in the last 10 Altitude16 delivered such an VIDEO OUTPUTS: HDMI 2.0 (2, eARC on Output 1)
years, and it certainly didn’t authentic-sounding rendition
disappoint with the Trinnov of its superb acoustics and AUDIO OUTPUTS: XLR (16), coaxial digital , optical digital
processor in my system. The spaciousness.
soundtrack has enough LFE ADDITIONAL OUTPUTS: RS-232, 12-volt trigger (4)
impact to wake the dead, but ERGONOMICS
the Altitude 16 really distin- PC CONNECTIONS: Video output (DVI/HDMI/VGA),
guished itself through its ability As much as I appreciated the
to widen both the vertical and Altitude16’s performance, USB 2.0 (2), USB 3.0 (2), PS/2 Keyboard/Mouse
horizontal dimensions of the it does have a number of
soundstage. Helicopter fly-bys minor quirks that need to be seconds, beaming light through because I’ve made it a perma-
didn’t just swoop overhead but mentioned. First, since it’s the top surface vents. This won’t nent fixture in my system. It’s by
conveyed a precise sense of the PC-based, it takes nearly a be a concern for users with a far the most expensive piece of
aircra ’s altitude. And the train minute to power up. This wasn’t dedicated equipment room, but gear I own, but a er pu ing two
a ack sequence was simply a big deal for me because it for others it could become an kids through college it’s nice to
jaw-dropping, with discrete takes nearly that long for my issue depending on where your finally spend money on myself
effects bombarding the room JVC RS2000 projector to warm gear is located. instead of sending a check to
as Godzilla emerged and all hell up, but it might be an issue the California University system.
broke loose. for others. To minimize this CONCLUSION Needless to say, the Altitude16
concern, Trinnov recommends receives my highest recom-
For stereo music-listening, that you leave the processor If I haven’t already made it clear, mendation and I’m pu ing my
I streamed numerous FLAC- powered on 24/7 and reboot I absolutely loved Trinnov’s money where my mouth is.
encoded titles stored on my it once per week. (I ended up Altitude16, which is by far the
home server using a Logitech se ing a “Sleep” profile that best-sounding surround sound The Verdict
Squeezebox. Before I knew would turn off my system’s processor I’ve had the privilege
it, hours had passed as I amplifiers when the processor to use. While I was initially The Altitude16 may be a luxury
advanced from track to track. I wasn’t in use.) overwhelmed by the complexity purchase, but for those seeking
set up two separate outputs for of the so ware interface, in an upgradeable surround sound
stereo sources—one straight A second quirk is that HDMI time I was able to navigate it processor with fantastic sound
two-channel and the other lock on an audio signal can take with ease even though I’ve quality, cutting-edge room cor-
processed in Auro-3D using the up to 3 seconds, which made barely scratched the surface rection, and support for all the
Auro-Matic upmixer. I’ve owned TV channel-surfing and fast- of the processor’s capabilities. latest immersive audio formats,
an Auro-3D capable processor forwarding through shows on Fortunately, I’ll have plenty of it’s a true standout product.
in the past, but it didn’t sound my TiVo DVR a bit of a drag. On time to dig into the Altitude16
nearly as refined as what I heard the plus side, the Altitude 16’s
with the Trinnov, and as time HDMI video lock is possibly the
went on I found myself more fastest I’ve ever experienced in
exhilarated by the Auro-3D an A/V processor.
upmix versus the standard
stereo version. It was as if I were Finally, the Trinnov has an
transported directly into a live annoying green LED—part of
concert se ing with every track the computer motherboard—
that blinks every couple of

[ [54 August September 2021 soundandvision.com

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test report RATING

SIMAUDIO MOON 280D STREAMING DAC PERFORMANCE
FEATURES
Over the Moon ERGONOMICS
VALUE
By Howard Kneller

SIMAUDIO, an audio manufacturer The most recent updates bring "The 280D services to be streamed via their
located in Boucherville, Quebec, Spotify Connect and Apple AirPlay in my native apps. Lastly, the MiND 2
is well-known for both the build 2 support. estimation module permits synchronized multi-
quality of its products and the easily rubs room playback on multiple MiND
whopping ten-year warranty it A fully asynchronous DAC, the shoulders 2-equipped devices, with zones
offers. Many of the company’s Moon 280D’s ESS Technology with the grouped together or run separately.
wares are decidedly high-end—the Sabre ES9018K2M chipset is very best
230-pound Moon 888 monoblock capable of processing PCM signals network On the analog side, the Moon
amplifier ($118,888 per pair), which up to 32-bit/384kHz (including music players 280D features fully balanced differ-
is rated to output a massive 888 DXD) and native DSD64, double at its price ential circuitry and four-layer printed
wa s at 8 ohms and double that DSD (DSD128), and quad DSD level." circuit boards with pure copper
down to 1,776 wa s at 4 ohms, for (DSD256) signals, which are tracings. Careful a ention has
example. In this review, however, supported only through the USB Recent updates been paid to the 280D’s circuitry
we’re sizing up Simaudio’s Moon and network (LAN/Ethernet or to the Moon 280D layout. For example, the clock has
280D DAC, which features its MiND Wi-Fi) inputs. The 280D also fully been closely positioned to the DAC
2 (Moon intelligent Network Device) unfolds Master Quality Authenti- added Spotify chipset, while separate voltage
wireless-capable music streaming cated (MQA) files arriving via its Connnect plus regulators are used for the digital
module. With a $3,000 price tag, network inputs. AirPlay 2 support and analog sections.
the 280D falls squarely within the
mid-level price tier for the streaming Signals streamed over a wired for wireless The Moon 280D’s front panel
DAC category. Given the intense or wireless connection from local streaming from consists of a 1/4-inch-thick
competition in that space, I was UPnP servers and internet-based aluminum plate flanked by a pair
curious to see what, if anything, music services are handled by the an iOS device. of side “cheeks.” Color options
would cause the 280D to stand out MiND 2 module, which is controlled include black, silver, or two-tone
via the Moon MiND 2 iOS or Android (e.g., a black center piece with silver
from the pack.   controller app. A separate module cheeks). Simaudio’s treble clef logo
in the Moon 280D handles aptX is positioned in the middle, above
FEATURES Bluetooth wireless streaming. a blue LED power indicator and a
standby bu on. On the le side are
The Moon 280D is not a completely The MiND 2 module is Roon bu ons for Bluetooth activation and
new product for the company. It Ready and supports Tidal, input selection, along with a group
was first introduced in 2015 and Deezer, Qobuz, and internet of red LED indicators that show the
has been continually updated, with radio streaming, while Spotify is active input, while the right side
the MiND 2 module added in 2018. supported via its native app and holds a second group of red LED
the Spotify Connect function. indicators showing PCM sampling
Apple AirPlay 2 allows other music

[ [56 August September 2021 soundandvision.com

and DSD data rates. SETUP Preparing the Moon 280D for At a Glance
There’s no front-panel blastoff, I downloaded the USB
The Moon 280D’s owner's HD DSD driver to my Micro- Outstanding
display, as Simaudio feels the manual states that it features so Windows-based laptop. performance and
listener will typically be si ing a a “rigid” chassis construc- (This step is unnecessary if build quality
good distance away and have tion to minimize the effect of connecting a Mac computer
album art and track information external vibrations. Whoever and, in any event, is only Wireless multiroom
available via the Moon MiND wrote that wasn’t at all kidding. required to use the 280D’s USB streaming-capable
controller app. There’s also no Examining the review sample, input.) I also downloaded the
volume control, though both the aluminum chassis panels robust and well-designed Moon Roon Ready and
features can be found on Simau- were unexpectedly thick, and MiND controller app to my AirPlay 2-compatible
dio’s upper-level streamers, it seemed to weigh more than iPhone and iPad mini.
including the 280D’s big its advertised 16 pounds. It’s Lacks front panel display
brother, the $5,900 Moon 390 also undergirded by Simau- Next, I screwed in the 280D’s
network streamer/preamplifier. dio’s proprietary feet, which Wi-Fi antenna and connected No HDMI input
are constructed of aluminum, an Ethernet cable to it from
The Moon 280D’s rear panel plastic, and foam. my router. I then ran a pair of Price: $3,000
features a generous selection of interconnect cables from the
digital inputs: one AES-EBU, two Pawing the Moon 280D, I 280D to System Audio Saxo 5 simaudio.com
each coaxial and optical digital, also noticed that its front panel’s powered bookshelf speakers,
and one USB-type-B for a direct cheeks, which at first appeared which in turn passed the audio asked me to enter my Wi-Fi
computer connection. Analog to be made of aluminum like signal to a JL Audio Dominion password and Qobuz account
outputs include stereo RCA and the rest of the chassis, were in d110 subwoofer. (Simaudio info. Overall, I encountered
balanced XLR. Videophiles and fact made of a polycarbonate recommends using the 280D’s no setup issues and the 280D
gamers will note the absence of plastic. But considering the balanced XLR outputs, but I operated flawlessly during my
HDMI ports, which is a feature 280D’s price, I can’t blame used single-ended RCA since time with it.
reserved for Simaudio’s more Simaudio for cu ing a corner that’s the only connection type
expensive components. or two. Plastic cheeks or not, the Saxo 5 speakers accept.) While I briefly tried each
how the company produces a From there, I powered up the of the Moon 280D’s inputs, I
Rounding out the rear panel component of such high build Moon 280D and opened the primarily used the USB port to
are a Wi-Fi antenna connector, quality in its Canadian factory Moon MiND controller app, play digital music files stored on
bu ons to restore the 280D’s for $3,000 is a mystery to me. which among other things, my laptop, the network connec-
factory se ings and force a tion to stream Qobuz an internet
manual so ware update, and radio stations, and a coaxial
an Ethernet port. There’s also
an RS-232 port for integration
with advanced home control
systems, proprietary Simlink
controller ports for automatic
syncing with other Moon
components, IR in/out ports,
and an IEC power connector
and master on/off switch.

A stylish plastic remote
control operates both the 280D
and other Moon components
and includes bu ons to change
inputs, mute volume, and select
standby mode. Also in the
box was a 1/8-inch mini-jack
terminated SimLink cable, a
Wi-Fi antenna for the MiND 2
streaming module, a printed
owner’s manual, and a voucher
for a free DSD music file sampler
from the Native DSD website.

Simaudio regularly updates
the Moon 280D, so owners
have no need to fear it will
become a digital boat anchor
in the future. Depending on the
nature, upgrades are performed
either by the customer over
a network connection, by a
Simaudio dealer, or on-site at
the company’ factory.

[soundandvision.com 57

test report

SIMAUDIO MOON 280D STREAMING DAC

input for a Sony UBP-X800 displayed excellent weight and DIMENSIONS (WxHxD):  16.9 x 3.4 x 13.1
Blu-ray disc player (set up to density. Similarly, on “Oxygene
convert movie soundtracks to 2 (JMJ Rework of Kosinki Specs WEIGHT (Pounds): 16
2.0 PCM format). Remix),” from Jean Michel AUDIO INPUTS: Coaxial digital (2), optical
Jarre’s Welcome to the Other
PERFORMANCE Side (24/48 FLAC, Qobuz), the digital (2), AES/EBU
synthesized riffs were solidly
Alternating between the Moon formed, and bass beats had AUDIO OUTPUTS: Analog stereo RCA,
280D’s USB and network excellent punch and transient
inputs, I started my listening snap. In fact, no ma er what I analog stereo XLR
with “Willow Weeps for Me,” played, leading edges sounded
from Ben Webster Plays Ballads clear and crisp without being ADDITIONAL: USB type-B, LAN (Ethernet), RS-232-C, Simlink
(24-bit/96kHz FLAC, Qobuz). overly sharp.
Webster’s tenor saxophone in and out, IR repeater input, Wi-Fi antenna input
came across as rich, warm, and The Moon 280D’s dense
mellow. Dynamic swings also sound was accompanied by an WIRELESS: Wi-Fi, AirPlay 2, apt-X Bluetooth
sounded smooth and liquid exceptional bass foundation.
rather than coarse and stepped. When I played Stravinsky’s STREAMING: Tidal, Qobuz, Deezer, Spotify Connect, Roon
sensational “Sacrificial Dance,”
Listening next to “Dream from Stravinsky, Stokowski, the Ready, UPnP-DLNA
Gypsy,” from Bill Evans and Jim Rite of Spring/Bach Transcrip-
Hall’s Undercurrent (16/44.1 tions, with Yannick Nezet- COMPUTER AUDIO: HRA capable up to 32-bit/384kHz, DSD up
FLAC), Evans’ piano notes Seguin conducting the Philadel-
to DSD256 (via USB and network inputs only), MQA-enabled

phia Orchestra, (16/44.1 FLAC, percussive strikes.
Qobuz), the subtle variations in The Moon 280D also
rumbling timpani sounds were
cleanly reproduced. Bass drum produced a deep soundstage
a acks sounded extended and with solidly rooted aural
powerful, with the 280D deliv- images. Listening to Muddy
ering a dynamic presentation of Waters’ “Tiger in Your Tank,”
from Muddy Waters at Newport

[ [58 August September 2021 soundandvision.com

1960 (16/44.1 FLAC, Qobuz), to emanate from a foot or more its timbral delineation, a factor control, onboard room correc-
the guitarist’s half-brother and beyond the right speaker. that will be particularly impor- tion, HDMI switching, phono
pianist Otis Spann was clearly tant to classical music fans. And preamp, headphone output,
positioned on the stage’s far To wrap things up, I watched spending more on Lumin’s T2 and maybe a Star Trek-like
le , somewhat directly in front the action-thriller Extraction and network music player ($4,500), transporter that beams people
of drummer Francis Clay. To could feel the sound of machine will get you a bit more of every- and objects to far-off galaxies,
the right was Waters, who was gun rounds being fired in my thing in terms of overall sound I’d suggest you look else-
noticeably in front of electric chest. The 280D also delivered quality and features. Still, the where. What the 280D does
guitarist Pat Hare and bass the goods in a high-speed car 280D in my estimation easily do is convert digital sources to
player Andrews Stephens. chase, clearly reproducing the rubs shoulders with the very analog and stream music from
sonic details of a car being over- best network music players at local sources and online music
With “I Got My Brand on turned and gunmen shooting its price level. services with a high level of
You,” from the same Muddy out the windows of a bus. fidelity. Add to that its tank-like
Waters album, the Moon 280D build quality, made in North
presented a layered front- COMPETITION CONCLUSION America boasting rights, and
to-back image of audience lengthy ten-year warranty, and
handclaps, with some sounding Does the Moon 280D slay its Simaudio’s Moon 280D wasn’t it’s any easy recommendation
very much near the stage. competitors on every criterion? designed with a kitchen-sink for anyone who values quality
Also on this track, the sound An Auralic Altair G1 digital audio approach. If you’re looking for over quantity.
of Hare’s guitar as he walked streamer ($2,889) I recently a network music player with
to the stage’s far right seemed listened to impressed me with a front panel display, volume The Verdict

Simaudio’s Moon 280D is a bit
light on features when compared
to its wireless network music
streamer/DAC competition, but
offers exceptional build quality
and audiophile-grade sound.

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test report

PSB SYNCHRONY T600 LOUDSPEAKER

Synchrony Redux RATING

By omas J. Norton PERFORMANCE
BUILD QUALITY
VALUE

PSB SPEAKERS was founded by but due to its cost and relative
Paul Barton in 1972. While the brand rarity (neodymium is mined mostly
has long been part of the Canada- in China), it’s li le used in loud-
based Lenbrook Group, which speakers apart from tweeters where
also includes NAD and Bluesound, the magnets can be small.
Barton began as and remains PSB’s
chief designer, cook, bo le washer, The 5.5-inch midrange driver
and one of the most respected also employs a carbon fiber cone
speaker authorities in the industry. and crosses over to a 1-inch,
His work, including the new titanium dome tweeter, the la er
Synchrony T600 under review here, a refinement of similar tweeters
has long made use of the Canadian used in other PSB designs. The
National Research Council’s (NRC) midrange-to-tweeter crossover
audio testing facilities, including its is at 2.2kHz (4th order, Linkwitz-
anechoic chamber. Riley) and the bass-to-midrange
crossover is at 450Hz (third-order,
DESCRIPTION Bu erworth). The T600’s specified
sensitivity is 91dB, its minimum
The new Synchrony T600 looks impedance 4 ohms, and its
more closely related to the discon- frequency response rated at 24Hz
tinued PSB Imagine T3 than to the to 23kHz +/-3dB.
original Synchrony One flagship
(also discontinued), a model first The three pair of rear binding
released in 2007. It shares the posts come with suitable jumpers
Imagine T3’s cabinet configuration for single-wire, bi-wire, or tri-wire (or
and driver layout, but otherwise -amp) operation. I used single-wire
appears to be a major redesign. and single-amp throughout. But if
you choose a bi- or tri-amp setup
PSB calls the Synchrony T600 make absolutely certain you’re
a “transitional” three-way speaker. using the correct jumpers (or no
Starting at the bo om, its three jumpers at all in tri-amp mode)!
6.5-inch, carbon fiber cone woofers
are each separately enclosed and The T600’s solidly built
rear-ported. Two plugs are included enclosure is MDF with aluminum
with each tower to block any two of reinforcement of the front baffle.
its ports, though I didn’t use them. It also comes with four (per side)
The transitional aspect of the desig- vibration-absorbing feet that sit
nation comes from each woofer slightly outboard of the cabinet.
having a different high-pass filter These are sourced from IsoAcous-
frequency: all three operate at the tics (the GAIA II) and cost $300 for
lowest frequencies, but only the top a set of four if purchased sepa-
one is still functioning at the point rately. I didn’t a empt to confirm
where the midrange takes over. their effectiveness, which would
require listening with the feet on
The woofers (and the midrange and off, then rinse and repeat, with
driver) employ rigid, cast (not the time needed for each change-
stamped) baskets. Their magnets over rendering any audio-change
are a combination of ceramic and observations dubious at best. I’m
neodymium. The la er is the most skeptical of pricey tweaks, but it’s
powerful known magnetic metal, always possible there might be
something to this one.
[ [60 August September 2021 soundandvision.com

The T600 is...um...squarely provides no significant deep bass The T600's three At a Glance
rectangular, without the curved support. It also generates annoying 6.5-inch, carbon
cabinets of the earlier Synchrony modal peaks between 100 and fiber cone woofers Open, detailed sound
and Imagine lines and is available 200Hz at the listening position. The Powerful bass
in a piano gloss black or satin only method I’ve found to correct are each sepa- Excellent build quality
walnut finish. The speakers come these issues without significantly rately enclosed Somewhat pricey
with magnetically a ached grilles rearranging the room (not possible and rear-ported. Matching Synchrony center
that I didn’t use. As with all current in my situation where the speakers speaker not yet available
PSB speakers, the Synchronys must support a projection screen) is Price: $7,999/pair
were designed and engineered by using bass EQ of some sort. psbspeakers.com
in Canada but manufactured (like (905) 831-6555
most speakers these days) in China In the past I’ve used the graphic
under close supervision of on-site
PSB personnel, including Paul EQ offered by both the Denon
Barton himself. AVR and my Marantz AV8805
preamp-processor. But graphic
FedEx did a serious number EQ is a li le clunky and lacks the
on the thin, single-layer, external flexible se ings that parametric EQ
cardboard boxes that my review provides (parametric EQ is rare in
samples arrived in, but fortunately AVRs). While graphic EQ (with a li le
there was no meaningful damage help from the Bass control) helped
to the speakers themselves. with the T600’s performance in my
According to PSB, the T600’s room as it has with other speakers
boxes will get an upgrade going in the past, for this review I elected
forward, so buyers who purchase to lean on the Denon’s Audyssey
the speakers direct over the internet MultEQ XT32 room EQ to address
likely won’t experience shipping- the bass issues.
related woes.
Limiting Audyssey EQ to 300Hz
SETUP and below (courtesy of Audyssey’s
optional Editor App) smoothed
I set up the T600s in my room response dramatically without
about 9 feet apart, roughly 4 feet affecting the T600’s native perfor-
out from the back wall, and angled mance above that frequency. Room
in at the primary listening seat. As effects are far less obtrusive above
with other recent PSB designs, the 200-500Hz (unless they’re severe,
T600’s tweeter is positioned below such as in an undamped room with
the midrange to correct for the uncovered windows and bare tile
way the crossover network directs floors—something no amount of
the acoustic radiation pa ern of EQ can cure), and the bass correc-
a tweeter-midrange array. But my tion used here allowed the speakers
listening seat is several inches to extend cleanly down to their
higher than normal, so to adjust for specified limit without room-gener-
this I tilted the Synchronys back by a ated mid-bass bloat. Similar results
few degrees. should be possible using one of the
other room EQ systems currently
I used a Denon AVR-X6700H available in a range of AVRs and
receiver reviewed recently in Sound preamp-processors. (One such
& Vision to drive the Synchrony system, Dirac Live, is offered in
T600s. Having listened with this several products from PSB’s sister
AVR daily for at least six months, brand, NAD.)
I’m intimately familiar with its sound
quality. I also briefly experimented MUSIC PERFORMANCE
with using the Denon as a preamp
driving separate amplifiers (models All the source material I used for my
priced higher than the Denon evaluation was lossless and from
AVR by itself) that did sound a bit discs, including CD, Blu-ray, and
different, but not arguably be er, Ultra HD Blu-ray. The players were
when used at anything short of an Oppo UDP-203 for movies and a
headbanger levels (my listening Marantz UD7007 for stereo music. I
occasionally reached peaks at or
below 100dB, C-weighted, at the
primary seat).

As I’ve mentioned in previous
reviews, my room is very large and

[soundandvision.com 61

test report

PSB SYNCHRONY T600 LOUDSPEAKER

spent most of my time listening a simulation of these typically Test Bench[dBSPL]
to the PSB Synchrony T600s subwoofer-provided thrills as
driven full range, primarily as any other standalone speakers [dBSPL]I conducted several in-room measurements using the Parts
described above and with no I’ve used in my large viewing/ Express Omnimic measuring software and microphone, a $300
subwoofers. listening room. [dBSPL]package that offers a usefully accurate response of a speaker at
the main listening seat. The results shown here are for my room.
The T600’s bass was aston- The performance of the All were taken at the single, seated, ear-level position. (Experi-
ishing. Its performance was PSBs higher up the frequency ence in my room has shown that an average of several readings,
certainly helped by the clari- range—untouched by taken across a span of about 2 feet, differs little from the single
fying effects of Audyssey room Audyssey EQ— le li le to be position measurement apart from smoothing out small ripples.)
correction below 300Hz but desired, clearly fleshing out All curves here are 1/6th octave smoothed.—TJN
removing any bass lumpiness delicate and dynamic percus-
contributed by the room was all sive elements, from the lightly Frequency Response -freq [Hz]
fair and no foul. The speakers struck ride cymbal on the
extended powerfully down to Dave Brubeck Quartet’s “Take Fig.1 Both curves are for the left channel only, with the
30Hz at my listening seat before Five” (still a reference-quality PSBs driven full range and the subwoofers off. Blue shows
rolling off rapidly below that recording decades a er it was the response with Audyssey disengaged, no Graphic EQ of
point (the la er partially from first produced) to the overtones any kind, and the Denon’s Bass and Treble tone controls
the T600’s natural response of the opening bass riff on Toto’s set to zero. The red curve again shows the left channel but
but assisted by the Audyssey “I Will Remember.” While my with Audyssey engaged. Note that the responses overlap
Editor App where I had further measurements showed the high above 300Hz, confirming that, as intended, the Audyssey’s
rolled off response below 30Hz frequency response tapering response corrections are all below that frequency.
to avoid overdriving the PSBs in off above 3kHz, the sound was
my very large room). never dull. I did occasionally hit Frequency Response -freq [Hz]
+1 on the Denon’s Treble control
As usual for speaker reviews, depending on the source, but Fig.2 The in-room responses of the left (red) and right
I cued up my trusty bass-testing both the objective and subjec- (blue) channels with Audyssey engaged below 300Hz, no
compilation CDR offering a tive effects of that tweak were at subwoofers.
wide range of low frequency best subtle.
challenges including vigorously Frequency Response -freq [Hz]
struck Taiko drums, electronica, Close-miked but well-
organ played in a reverberant recorded male vocals from the Fig.3 The in-room responses of the left (red) and right
church, and more. Since King’s Singers (“The Boxer” (blue) channels with Audyssey engaged below 300Hz and
drums rarely extend below the and “Father to Son”) and two SVS PB-3000 subwoofers active, with both high- and
T600’s 30Hz limit, they were no Elvis (“Fever,” complete with low-pass filters at 80Hz. The Bass control here was set to -2
challenge for the PSBs, which obvious but appropriate reverb and the subwoofer level to +2 to produce the best audible
rendered them as clear and tight complementing The King’s result (the tone controls on other AVR models and brands
while thumbing their noses at resonant voice) were consis- may respond differently).
my silent, unused subwoofers. tently gripping. Female vocals
The rolling bass in Bela Fleck’s such as Loreena McKenni ’s
“Flight of the Cosmic Hippo” on Nights from the Alhambra,
was clean and deep, and the long a personal favorite, kept
standup bass on other cuts me glued to my seat even more
sounded precise without undue than before. Soundstaging
emphasis as it was plucked or and imaging depth, when
bowed up and down its range. present on these and a wide
Organ with few exceptions (this range of other recordings, fully
is one instrument that does supported the music.
extend below 30Hz) sounded
appropriately rich and powerful. During my test, I noticed that
the Denon AVR became uncom-
No, the PSBs alone didn’t fortably hot to the touch when
generate bass that ruffled my feeding challenging material to
pants legs or sock me in the gut the Synchrony T600s at high
when hearing kick drums. But volume levels. I suspect this is
this came as no surprise, and if because the speaker, which has
you didn’t know that a source a 4 ohms minimum impedance
contains true deep bass (such rating, presents a relatively chal-
as the 16Hz rumble from the lenging load to an amplifier. I
bo om organ pedal captured also heard a trace of overload in
in some recordings of the the right channel on a few chal-
Saint-Saëns Symphony No.3), lenging cuts. But this was barely
you’d never miss it. Also, the audible and never alarming,
PSBs provided as convincing and it may have resulted from

[ [62 August September 2021 soundandvision.com

Specs 6.5 in cast basket carbon In this setup, the T600s overall
fiber cone woofer (3), 5.25 did a good job on Trolls, chosen
in cast basket carbon fiber for its dialogue and music, and
cone midrange, 1 in titanium Blade Runner 2049 and Live,
dome tweeter; 9 x 41.25 x Die, Repeat (Edge of Tomorrow),
13.5 in (WxHxD); 77 lb which I selected to assess their
dynamic range and handling of
less than earth-sha ering power of the chaotic action.
Denon AVR, which is rated at 140Wpc into 8
ohms, two channels driven. There was also But the phantom center
the ma er of the right speaker’s physical generated by the two T600s
location: While the le speaker in my setup also proved overly dominant,
sits about 4 feet from the wall, the right one producing an unpleasant
adjoins a fully open kitchen and dining area, forwardness that I didn’t
a room-related factor that makes its job hear from the speakers with
more challenging. stereo music. I have no good
explanation why this was
Adding a pair of SVS PB-3000 happening, but it may be in
subwoofers to the PSBs and crossing them the way movies (or at least the
over at 80Hz (both high- and low-pass movies I sampled) are mixed.
filtered) extended the bass in my room with When I replaced the PSB
specific, highly challenging material. But phantom arrangement with
the improvements weren’t always dramatic. my usual Monitor Audio Silver
Organ went deeper, with that quietly center speaker and adjusted
played 16Hz pedal note in the Saint-Saëns the center level (adjusting the
symphony mentioned above now just barely level of a phantom center, either
sensed. Drums were more powerful with up or down, isn’t possible),
the subwoofers connected though minor everything fell back into place.
reductions to the Denon’s Bass control and/ (As mentioned above, a new
or the subwoofer level were necessary to Synchrony center speaker is on
keep the result from sounding overcooked. PSB’s to-do list.)

MOVIES CONCLUSION

If your taste in films is limited to dramas like Although it took effort to
Victoria & Abdul, Anonymous, and Their effectively dial-out some issues
Finest (three of my favorites when I’m not with my room during this review,
in the mood for explosions), you’ll likely be doing so fully revealed the
perfectly happy with the Synchrony T600s superb performance the PSB
minus subwoofers, and even more so if your Synchrony T600 is capable of.
room is average-sized or small. At present, With its clear, dynamic sound
the new Synchrony lineup consists of the and deep-reaching bass,
T600 towers and B600 bookshelf speakers. listeners with feet in both the
PSB plans to add a dedicated center stereo music and home theater
channel model to the line at some point, camps will be well-served by
though not in the near future according to this revamped version of the
the company. company’s flagship. At $7,999/
pair, the T600s aren’t exactly an
To get a sense of the T600’s perfor- impulse buy. But on the flip side,
mance with movies, I added the pair of SVS speakers priced two to three
PB-3000s subwoofers to the mix along times as much are unlikely to
with Revel Concerta S12s in bipole mode perform significantly be er. You
for surrounds plus four PSB Alpha P3 book- can take that to the bank.
shelf models serving as overhead Atmos
speakers. Initially leaving my Monitor Audio The Verdict
center speaker off, I used the Synchrony
T600s to generate a phantom center With Canadian speaker maker
channel at my middle seat. PSB’s 50th anniversary on the
horizon, the company’s new
Adding the SVS subwoofers extended flagship Synchrony T600 tower is
the system’s deepest bass and lightened cause for celebration.
the load on both the amps and the PSBs.
[soundandvision.com 63

test report RATING

SVS 3000 MICRO SUBWOOFER PERFORMANCE
FEATURES
Just Right Bass BUILD QUALITY
VALUE
By Daniel Kumin

ONCE UPON A TIME, there were from something not much bigger The compact loudspeaker line bristling with
three bears, with three subwoofers. than a 24-pack, with output that may 3000 Micro's dual technology and including tower,
You probably can guess how this qualify as plenty in small rooms and bookshelf, active wireless speakers,
story ends. for moderate listening levels, or as opposed 8-inch and more. But it’s still best known
not nearly enough in big rooms and woofers are driven for subwoofers.
Designing a subwoofer is simple: for lifelike listening levels.
big box, big driver, powerful ampli- by an 800-watt The Micro 3000’s two opposed,
fier. You wind up with something Finding that j-u-u-u-s-t right RMS amp with 8-inch drivers each boast an Xmax
the size of a small refrigerator, but combination is what SVS appears (effective maximum excursion) of
it does the job. Designing a good to have aimed for with its new 2,500 watts nearly one inch— that’s a lot. And
miniature subwoofer is a bigger Micro 3000 sub, the first mini-woof peak output. they are matched with an 800-wa
engineering challenge, but the to emerge from the American- RMS amplifier for which the firm
recipe is also fairly well known: heartland firm. SVS spun its first claims 2,500 wa s peak output, to
small box, very powerful amplifier, product two-plus decades ago—a compensate for the huge loss in
small drivers with lots and lots of gigantic, upright tubular sub remi- efficiency, in the physics sense, that
excursion, or throw. This formula niscent of an apartment-size water a smaller driver gives up in compar-
can yield surprising bass extension heater—into a respected full-range ison with a larger one. There’s more

[ [64 August September 2021 soundandvision.com

tech on board, too: a proprietary Room dimensions, construc- like Audyssey or Dirac achieve.) At a Glance
surround designed to maximize tion, surfaces, and furnishings Knock the energy at your room’s
linearity over full driver excur- profoundly affect the perfor- primary mode down by 6 or Highly compact form
sion; single-piece aluminum mance of any sound source 10dB, or whatever’s necessary factor
cones claimed to be light, stiff, below a couple of hundred (this works best for a single
and thermally conductive; Herz. Consequently, evaluating listening position), and the Notable extension and
a heavily engineered motor subwoofers by ear indoors is sonic improvement over the full output for size
system with “overhung” layout, a slippery slope. I do the best audio range—because bass
four-layer voice-coil, high-temp I can by placing the unit under resonances muddy up every- Excellent control app
former, and aluminum shorting test in my long-established thing—will surprise you.
ring to minimize distortion at subwoofer spot—the location No auto-EQ/correction
high levels; and 50MHz Analog that yields the smoothest, least- LISTENING
Devices DSP processing peaky (but still far from flat) exci- Price: $800
to handle filtering, EQ, and tation of room modes, deduced For a subwoofer, it’s all about
dynamic management at full from decades of trial and error, how low, how loud, how clean, (877) 626-5623
fidelity. The company’s two-box and which is true regardless of and how smooth (or flat).
SoundPath wireless connection the size or type of subwoofer The interaction of subwoofer svsound.com
kits are a $120-$200 optional that sits there. Full disclosure: response and room acoustics
accessory. To hear more clearly what a is what yields “fast” or “tuneful” has a series of strong, down-
subwoofer itself is actually bass, not woofer cones made sliding electric-bass notes that
The 3000 Micro’s input panel doing both below and above my from unobtanium. cover the range from about
features only the basic controls, room’s worst mode, I engage a 45Hz down to 25Hz, and these
via pushbu ons, because its single narrow parametric equal- So, how low did the SVS came across loud and clear. At a
primary interface is meant to be ization, implemented either in 3000 Micro go? Very. I played level I’d call “solidly loud demo”
the SVS iOS/Android Subwoofer my A/V processor or in Roon a parade of my favorite “bass (roughly 83dB SPL average)
app, which accesses all the music management so ware, to cows,” or tracks with strong the 3000 Micro matched my
usual setup adjustments and mitigate this most egregious of content below 40Hz, and was everyday subwoofer—one of
provides extensive EQ and acoustical roadblocks. (This is not once disappointed. For those gigantic, upright, tubular
tuning options. (Much more about 80 percent of the magic instance, Bela Fleck’s “Flight of jobs I mentioned above—
on this to follow.) Otherwise, that room-correction systems the Cosmic Hippo,” my current perfectly. I also compared the
the 3000 Micro, rounded up, favorite subwoofer wet-read, SVS to the KEF KC62 micro-sub
is a single, solid cubic foot.
Our sample was finished in a
nicely executed gloss black
lacquer (white is also an option),
with sturdy round metal grilles
on two opposing faces. The
pushbu on control panel is
nearly flush, widening place-
ment options close to walls or
furniture, while the bo om panel
features removable cone-
shaped rubber-coated feet. All
in all, the li le SVS is a complete
and well-thought-out package,
just about precisely the size of
the aforementioned 24-pack.

SETUP

I auditioned the SVS in my
main system, supporting my
long-term le /right pair of three-
way active monitors. I simply
connected the long RCA cable
from my preamp/processor
to the 3000 Micro’s RCA LFE
input, and plugged the sub into
AC power using the provided
removable cord.

Though we talk about
subwoofers, the room is what
we’re really listening to in
those bo om three octaves.

[soundandvision.com 65

test report

SVS 3000 MICRO SUBWOOFER

($1,499) that so impressed me throughly de-ra led—or so I bass-dynamics brain probing difficulty matching it to my main
when I reviewed it in the June/ had thought—room.) their limits, though it was never monitors, and I heard no mid-
July 2021 issue. Again, I heard audible in full-system listening bass emphasis or “extra” punch
nothing to distinguish the two. Next, up: How loud? My at any level. The PC-12-Plus took at any specific point over its
Within the constraints of my previous trials were just about the blue here, producing ridicu- useful range right down to 25Hz
room/system/listening position, as loud as I ever listen electively. lous bass levels, and simultane- and a bit lower. But this is only
both sounded identical at this But science demands more, ously exciting many previously one setup, one crossover point,
loud-but-not-too-loud level. so I powered down my le / unknown room ra les. and one set of speakers. And,
right monitors and repeated at the risk of repeating myself:
I then moved on to an even the same track rotation, Now, the toughest test: How the room, the room, the room.
more severe test: the “Flight to auditioning the subs “naked,” smooth? This is the hardest Any sub may work be er in one
LAPD” scene from Bladerunner while gradually increasing level. factor to judge by ear. We room and worse in another,
2049, where the sub-bass exci- With about 6dB added, the want a subwoofer’s frequency where its own peak coincides
tation in Hans Zimmer’s trippy li le SVS was still fine—solidly response to be flat, or perhaps with a strong acoustical mode.
electronica score extends to pitch-defined and free of rude slightly falling smoothly from Still, the 3000 Micro impressed
well below 20Hz. At my relatively noises—as was, of course, the its crossover point down to me as quite un-peaky—and the
“moderate” but still room- big SVS tube. So too was the its lower limit, which will make measured response curves SVS
shaking level, the 3000 Micro KEF, though it was noticeably integrating any woofer with the publishes for it support this—so
again matched up perfectly with less loud, its DSP dynamic/ rest of the system much simpler. I’d expect it to work easily over a
the KEF, though my four-foot-tall equalization being activated as The SVS 3000 Micro seemed to range of rooms and systems.
SVS PC-12-Plus bested them the electromechanical system me to be admirably so. I had no
both. Not with more or be er approached its limits. At about
musical bass, but with stronger 10dB louder than my original 8-inch cone woofer (2, in opposed arrange-
excitation of the sub-30 Hz level the SVS evinced the same
stuff, manifested in a sensibly sort of limiting: it still sounded Specs ment) in sealed enclosure
stronger “flu ery” feel, and clean and musical, but essen- AMPLIFIER: 800-wa RMS (2,500-wa
decidedly more gut-tumbling tially stopped responding to
effect from the very lowest higher signal input, ge ing li le peak) class-D
elements. (I’ll further note if any louder. It also produced a
that on a couple of this track’s noticeable “tup” on the leading CONNECTIONS: stereo/mono line-level RCA
deepest/strongest passages, edge of the strongest/lowest
the big SVS, at approximately notes, which was not present input, stereo line-level pass-through output
eight times the cubic volume at the lower levels. Presumably,
of the 3000 Micro, uncovered this was a mechanical artifact CONTROLS: Volume, Filter, Phase with LED display
a couple of new ra les from my of the sub’s drivers and/or
OTHER: USB type-A port for firmware/service, or optional wire-

less adapter power; IEC AC-power

DIMENSIONS (WxHxD, inches): 11.7 x 10.9 x 10.7

WEIGHT (pounds): 22.5

[ [66 August September 2021 soundandvision.com

THE EXTRAS effectively a 1/6th-octave peak/ variables, for best accuracy be all the subwoofer you need.
dip), to 0.2 (very broad and the smaller the room the higher Will the 3000 Micro provide
Subwoofers used to be essen- gradual, effectively a shelving the frequency that should be cinema-standard, reference-
tially featureless boxes, but filter depending on frequency). applied. But as much as most level bass underpinnings in a
not in the digital age. SVS, like of us love deep bass, many large home-theater? Almost
many other subwoofer-manu- This is easily enough EQ to may just leave this off—I did! certainly not. But I’ll bet a pair,
facturers, has implemented DSP get us into trouble, and one (To be fair, many current A/V or a trio, or—hell, at $800 a pop
smarts—though not auto-EQ/ band is all most rooms should receivers on the market offer an why not?—a quartet would.
room correction—into the require. You can effectively equivalent to one or both of the
3000 Micro to enable a range sit and listen to low-bass-rich two features listed above.) And that value factor is what
of optimizations, all acces- music and slide a single high-Q makes the 3000 Micro a happy-
sible via the company's free filter cu ing by, say, 6dB up The handiest screen of all medium bear. For similar money
app. This is simple and cleanly and down in frequency, from is “Home,” which offers just you can get slightly greater
designed, with a nice “Tutorial” the comfort of your listening a subwoofer volume slider (maybe) extension, and rather
tab that offers pop-up help for chair until you find your room’s providing 60dB of range below greater output, in a much bigger
each feature (though it assumes principal mode. You’ll know it your setup reference level plus package—from SVS among
understanding of basic terms when you find the frequency a choice of four presets (Movie, others. Alternately, you can
like “phase” or “filter”). where the bass suddenly Music, Custom, and Default, get less extension, and rather
sounds “tighter” or cleaner, but all renameable). Each of these less output, in an even smaller
The SVS Subwoofer app not significantly less strong or presets can also store a custom package. For my money, I’d
provides instant access to weighty. Pre y cool. combination of adjustments. prefer to split the difference with
low-pass frequency and slope the Goldilocks of subwoofers,
(6, 12, 18, or 24dB/octave) plus Equally useful is Room Gain THE BEAR FACTS the SVS 3000 Micro.
continuous-phase adjustment Compensation, which offers a
and polarity-inversion, along high-pass filter at your choice of Clearly, the new SVS 3000 The Verdict
with a range of equalization 25, 31, or 40Hz, with your choice Micro subwoofer is neither
possibilities. These include of 6 or 12dB/octave slopes, to too big nor too small. But is it The first micro model from sub
three parametric bands of counteract the “bass buildup” just right? Pre y darned close. specialist SVS features the com-
+6/-12dB, adjustable over the that occurs in many real-world I found that it delivers more pany’s well-regarded control app,
3000 Micro’s full 20-200Hz rooms below the frequency true deep bass, accurately, at and it delivers all the bass most
frequency range, and with “Q” related to the wavelength greater levels, than any compact people will need while not taking
(bandwidth) infinitely adjustable equivalent to the longest wall. sub I’ve encountered. For most up much space.
from 10 (very narrow and steep, Though there are many, many listening, in most rooms, it will
mitigating or exacerbating

[soundandvision.com 67

reviews in ultra high definition REFERENCE RATINGS
EXCELLENT
entertainment
GOOD
FAIR
POOR

INDIANA JONES 4-MOVIE COLLECTION UHDBLU-RAY

fine for their day, but you can now

see just how wonky the skintones

were back then. Faces in 4K/HDR

look spot-on natural, jungle greens

lush and vibrant, and browns/golds

appropriately warm, with some

especially pleasing color nuances in

the more ambitious, mega-budgeted

Crystal Skull. The movies don’t skimp

on shadowy environments, and

black detail on each is exemplary.

Keen eyes might also notice a few

tweaks to the visual effects, primarily

to clear up minor distractions.

Legendary original sound

designer Ben Bur ’s Dolby Atmos

remix for all the movies opens them

up. While still authentic and born

of familiar elements, the remixes

are more aggressive, with bits of

menace, li le storytelling cues, and

off-screen action placed within an

expansive 360-degree soundfield.

Intended deathtraps o en have an

overhead feature (a spiked ceiling,

a certain boulder, etc.), cavernous

By the late 1970s, Hollywood was ready for a new action hero, and Indiana Jones spaces sound appropriately vast,
George Lucas was eager to oblige. Collaborating with some of the 4-Movie Collection and temple scenes are wonderfully
brightest talents in the business, he concocted Indiana Jones, a active. Gunfire in these films has

globe-tro ing archaeologist who was tough as nails, rough around STUDIO: Paramount never sounded sharper, notably in

the edges, capable, resourceful, yet also quite fallible. As they say, ASPECT RATIO: 2.39:1 the big shootout across the chasm in
“Women wanted him, men wanted to be him,” and his treasure- Temple of Doom. Last Crusade flexes
hunting escapades immediately redefined what popcorn cinema was HDR FORMAT: Dolby Vision, HDR10 its surround muscles with an early
all about. One poster for his debut, 1981’s Raiders of the Lost Ark, storm at sea, and later a crowded
proclaimed, “The return of the great adventure,” and it was true. For AUDIO FORMAT: Dolby Atmos with office, a rapidly spreading castle fire,
folks who couldn’t get on board with the science fiction and fantasy of TrueHD 7.1 core and a daring dogfight. And although
DIRECTOR: Steven Spielberg

STARRING: Harrison Ford,
Karen Allen, John Rhys-Davies,

Lucas’ Star Wars saga, Indy was a relatable, two-fisted lug everyone Denholm Eliot, Sean Connery, low-end is infrequent in the earlier
could embrace, and so they did, across three sequels so far: the Cate Blanchett two films, Last Crusade’s tank chase

Temple of Doom, the Last Crusade, and the Kingdom of the Crystal Skull. finally gives us some respectable

All four movies have received new 4K scans for this Ultra HD release, reportedly approved by director boom, while John Williams’ beloved

Steven Spielberg, and the results are mostly spectacular. All were shot on film, and the gains in picture musical score, one of his absolute

information are extraordinary, with the various cinematographers sometimes employing sharp focus, best, sounds be er than ever.

and at other times deep focus. Stubble, beads of sweat, the weave of costumes, real flies, an errant Bonus content resides on a fi h

hair or strand of saliva I never noticed before—all this minutia serves the gri y early/mid-20th-century disc, a standard Blu-ray carrying

se ing well. Text, including the credits, is dependably razor-sharp, while film grain is largely retained previously released behind-the-

and adds real charm to images. Grain is least evident in Kingdom of the Crystal Skull, with 35mm film scenes feature es and longer docu-

o en sharing the 2.39:1 frame with digital effects at 2K quality (by 2008, Lucas’ ILM had transitioned mentaries. A fun fold-out map is the

from ma e paintings and models to digital technology), resulting in, surprisingly, the weakest overall only new addition. O CHRIS CHIARELLA

picture of this group.

Dolby Vision high Raiders of the Lost Ark Indiana Jones and the Indiana Jones and the Indiana Jones and the
dynamic range adds subtle (1981)
allure, with sunlit scenes Temple of Doom Last Crusade Kingdom of the Crystal
(1984) (1989) Skull (2008)

appearing particularly LENGTH: 115 mins. LENGTH: 118 mins. LENGTH: 127 mins. LENGTH: 122 mins.
inviting. Color has been

extensively regraded as Paramount

well. The 2012 Indiana

Jones Blu-rays looked

[ [68 August September 2021 soundandvision.com

NOBODY NOMADLAND

UNIVERSAL STUDIOS needn’t have advertised on Nobody’s disc MOVIES CAN REVEAL a world mainstream audiences might
cover that it sprang from the mind of Derek Kolstad, writer of John not have been aware of, and in doing so they go beyond mere
Wick, since it’s at its core the same movie. And that’s not such a bad entertaining to offering actual enlightenment. Such is the case
thing, since the erstwhile-enforcer-makes-a-violent-comeback with Nomadland. Winner of 2020 Oscars for Best Picture, Director,
formula is a winning one. This time the story lives or dies on the and Actress, the film depicts a culture of folks with li le in the way
substantial charm of star Bob Odenkirk, who for the most part of material possessions—really just a vehicle and a few inciden-
keeps his renowned comedic chops under wraps, instead allowing tals—who relish their freedom and mobility as they roam this great
the humor to grow from the incongruity of suburban schlemiel land. Who are they, and what led them to this lifestyle? As fictional
Hutch’s explosive and deadly skills. An unfortunate break-in shat-
ters Hutch’s humdrum routine, igniting the dormant badassery
of his former life, with events quickly escalating and running him
afoul of some very nasty folks. They push him, he pushes back:
We’ve seen this all before, just not with these particular actors. Ilya
Naishuller (director of the extreme POV opus Hardcore Henry) is
wholly competent behind the camera, so if you’re looking to spend
a sufficiently entertaining hour-and-a-half, you likely won’t be
disappointed.

Fern, Frances McDormand guides us through countless truthful

moments (culled from Jessica Bruder’s fact-packed source mate-

rial), combining an innate playful charm with a heavy heart due to

personal loss. Fern is the thread that holds this patchwork narrative

together and makes the journey accessible and relatable.

Director/Screenwriter Chloé Zhao employs some sly cinéma verité

by casting everyday folks alongside professional actors, an approach

As mentioned above, Nobody is pre y standard movie fare, and that helps draw us into this unpretentious enclave. Nomadland on

that’s true of the video and audio as well. The 2.39:1 image was Blu-ray is sourced from a 2K digital intermediate, although it’s avail-

captured in high-quality digital format on the way to a finished 2K able to stream in 4K and was even exhibited theatrically in IMAX.

master, upscaled for this Ultra HD disc. Perhaps most impressive are The 2.39:1 image is pleasingly crisp, with some big, delightful vistas

Odenkirk’s crystal-clear close-ups, which unabashedly share the that o en feel like a love le er to America’s great open spaces. The

evidence of every mile of bad road his character has traveled. Dolby evocative color pale e is sometimes warm and inviting, sometimes

Vision HDR provides a modest uptick in color brilliance over what can neutral, and sometimes downright ugly, much like life itself. Director

be found on the included standard of photography Joshua James Richards relies extensively on natural

Blu-ray, along with some bright if not lighting, so dark scenes here look very dark.

exemplary highlights, including what Nomadland is a rather quiet movie,

looks to be simulated fire in one elabo- and as such is faithful to the Fern

rate scene of destruction. Faint video character’s (mostly) mellow soul.

noise in the digitally captured image Composer Ludovico Einaudi’s music

can almost be mistaken for film grain. score consists of a soothing blend

Nobody’s Atmos soundtrack also of piano and strings. The movie’s

feels generic, with ample bass to help DTS-HD Master Audio 5.1 sound mix

sell the action and reinforce the music engages the surrounds occasionally,

score’s driving beat. Since the Russian if only timidly so. But de touches

mob is involved, there is of course such as a dog barking in the distance,

an obligatory nightclub scene with or the bustling activity inside an

thumping tunes and a rowdy crowd. Amazon warehouse where Fern

A stormy night brings a big, powerful ULTRA HD BLU-RAY works, help to establish the various
clap of thunder, and discrete cues
sometimes emerge from individual STUDIO: Universal Studios, 2021 BLU-RAY environments.
speakers, so surely some effort was ASPECT RATIO: 2.39:1 Fern’s encounter with a friendly
made. But the soundtrack just isn’t HDR FORMAT: Dolby Vision, HDR10 STUDIO: Fox, 2020
anything special, which is a shame. AUDIO FORMAT: Dolby Atmos with ASPECT RATIO: 2.39:1 policeman is the standout of the
TrueHD 7.1 core
All extras are available on both the LENGTH: 92 mins. AUDIO FORMAT: DTS-HD Master two deleted scenes included in
4K and standard discs and include DIRECTOR: Ilya Naishuller Audio 5.1 the disc’s extras. An overview and
STARRING: Bob Odenkirk, LENGTH: 108 mins. brief Q&A from the Telluride Film
DIRECTOR: Chloé Zhao Festival are respectable additions,
STARRING: Frances McDormand,

alternate scenes, overviews of fight Connie Nielsen, Christopher David Strathairn, Linda May, but Nomadland was such a labor of
choreography, and an appreciation Lloyd, Michael Ironside, Alexey Swankie, Bob Wells, love—McDormand and Zhao both
of the hard work put in by unlikely Serebryakov, Colin Salmon Melissa Smith produced, and Zhao edited herself—

action hero Odenkirk, who also joins Universal that an audio commentary from this
Fox
Naishuller for one of his two director dynamic duo would have been a

audio commentaries. O CHRIS CHIARELLA welcome addition. O CHRIS CHIARELLA

[soundandvision.com 69

JUDAS AND THE BLACK MESSIAH

THE MESSIAH HERE is Fred Hampton, chairman of the Illinois MINARI
chapter of the Black Panther Party (BPP), preaching and gathering
disciples to join him in his efforts to help feed and free the people.
Judas is Bill O’Neal, the follower who’s secretly working for the
oppressive force—the Chicago PD and the FBI circa 1968, who
see the BPP as more of a threat than the Russians or the Chinese.
Although the story is told from the perspective of the unsophisti-
cated pe y car thief O’Neal (facing a six-and-a-half-year sentence
unless he goes undercover for the feds) the heart of the film is
charismatic leader Hampton, AKA Chairman Fred. He’s a brilliant,
highly educated, and eloquent orator able to fire up audiences
with his powerful expression of ideas. But he also wins them over
with his kind heart and good works. To the feds, Chairman Fred is
dangerous because he can raise the consciousness of and unite
not just blacks, but previously hostile street gangs, Hispanics, and
even white Southerners all in one Rainbow Coalition.

THIS SUBTLE, slow-burning, but ultimately moving film tells the

tale of a struggling Korean immigrant couple raising two children

in Reagan-era America. They try to live out the man’s dream of

owning a farm and raising Korean crops, se ling on an isolated

piece of land with a trailer home in Arkansas—because it has the

“best dirt in America.” Initially, the tone is decidedly downbeat,

with the unhappy, quarrelsome family facing an uncertain future

in a strange, isolated place. But then wacky grandma comes

to live with them. (Yuh-Jung Youn won best supporting actress

Oscar for her performance, and Minari was also nominated for five

more Academy Awards including Best Picture, Actor, Director,

Screenplay, and Music.) Armed with chili peppers, herbs, and

The disc’s excellent image contrast brings out the deep blacks of plants (including minari), plus worldly wisdom from the old country,

leather coats, sunglasses, and berets. Some tender romance scenes grandma is a force of nature. Foul-mouthed but tender and kind, a

have a so focus, with hazy, burnt-out pastels. Other gri y ones that wily rogue who’s not averse to stealing from the church collection

take place in tenements have a crisp look, fleshing out textures in plate but also instantly forgiving of others, her un-filtered presence

cracked walls, peeling paint, and pi ed floorboards. Night scenes are soon gets the family functioning.

filled with detail, showing the shine on classic cars and the reflection Minari’s cinematography uses even lighting, with no shadows and

of neon lights on glass. li le depth to compositions. Combined with the film’s flat look, an

Judas’s sensational soundtrack early scene where a tornado is expected but never arrives suggests

features clear channel separation. The Wizard of Oz, except these

Bridging and action scenes show- characters don’t get to cross over to

case soul and jazz bands of the Oz—they’re still living not in Kansas,

period, including The Jhamels, The but Arkansas, portrayed here as just

Impressions, and Roland Kirk, all of as drab. Despite the shallow focus,

it sounding terrific in surround. The there’s an occasional nostalgic glow

soundstage at times is incredibly wide to images plus plenty of detail. And

with violins seemingly coming from an the depth of field finally opens up in

adjoining room. Dialogue—especially the final scene in the forest, which is

the all-important speeches—is clear gloriously filled with bracken, bark,

and full. Environments are rendered in and clusters of minari.

a realistic manner in a sequence inside BLU-RAY The haunting Oscar-nominated
a car during a storm and another that
immerses you in a meeting packed STUDIO: Warner, 2021 BLU-RAY score by Emile Mosseri fills the room
with a chanting crowd. Shotguns roar ASPECT RATIO: 2.39:1 with instruments—usually vocals,
AUDIO FORMAT: DTS-HD Master STUDIO: Lionsgate, 2020 piano, and strings, or flute and
ASPECT RATIO: 2.39:1

and bullets ra le around your head in Audio 5.1 AUDIO FORMAT: DTS-HD Master guitar—that sound full and well-
a gun ba le with cops inside Panthers LENGTH: 126 mins. Audio 5.1 defined. Surround-channel ambience,
HQ in a scene that ends, of course, DIRECTOR: Shaka King LENGTH: 115 mins. like cicadas in the trees, is convincing,
with a booming explosion. STARRING: Daniel Kaluuya, DIRECTOR: Lee Isaac Chung and dialogue is clear and vibrant.
Lakeith Stanfield, Jesse Plemons, STARRING: Steven Yeun,

Extras consist of just two Dominique Fishback, Ashton Will Patton, Yeri Han, Extras include a single feature e,
feature es, one on Hampton’s legacy Sanders, Algee Smith, Martin Darryl Cox, Yuh-Jung Youn, some deleted scenes, and a commen-
and the other on O’Neal, but both are Sheen James Carroll tary by writer-director Lee Isaac

involving. In the words of Hampton, Warner Chung and Oscar-winner Youn that is
Lionsgate
“Anywhere there’s people, there’s charming and affectionate though not

power.” O JOSEF KREBS very informative. O JOSEF KREBS

[ [70 August September 2021 soundandvision.com

DONNIE DARKO

MY FAIR LADY IT’S THE END of the world and Donnie Darko (Jake Gyllenhaal)

doesn’t feel fine. He’s unhinged and uneasy. He’s been sleep-

walking, waking up in the middle of golf courses, and experiencing

GEORGE BERNARD SHAW’S play Pygmalion premiered in London waking daydreams. A jet engine has fallen from the sky and

back in 1913. Loosely based on an ancient Greek myth, its plot crashed into his bedroom and a giant rabbit named Frank is telling

involves a linguistics professor, Henry Higgins, teaching a bedrag- him the world will end soon unless he stops it. But how?

gled flower girl, Eliza Dooli le, to speak proper English—not only This bizarre psychological sci-fi thriller from writer/director Richard

well enough to pass her off as a duchess at an embassy ball, but to Kelly (Southland Tales) is set in an ’80s Virginia that could stand in

“get her a job as a lady’s maid or a shop assistant, which requires for any affluent suburb of the era with its perfectly trimmed lawns,

be er English!” bullying teens, and too-busy-to-care parents. Donnie Darko suffered

But it’s the 1964 Oscar-winning film, My Fair Lady, that’s most from hi ing theaters at the worst possible time—right a er 9/11 when

familiar to today’s audiences. Based on the wildly successful 1956 the country was looking for something less dark and brooding and

Broadway musical, the movie follows Shaw’s razor-sharp dialogue more comforting—but has since developed a devoted following.

almost word-for-word, though Shaw’s original play lacked the For its Ultra HD Blu-ray release, Donnie Darko was restored from

“happy” (or at least ambiguous) ending of both the stage musical a new 4K scan of the film’s original 35mm camera negative, framed

and film. The songs by Alan Jay Lerner and Frederick Loewe range at 2.35:1 and Dolby Vision HDR added. I reviewed the disc on my

from operatic (“I could Have Danced All Night” and “On the Street Pioneer LX500 disc player given the judder issues seen on my

Where You Live”) to wi y pa er “sung” by Rex Harrison. (Harrison Panasonic UB9000 (and other Panasonic players) for which Arrow

was no singer, but the sing-speak style he used works brilliantly.) now has an exchange program. Given its low budget and necessary

A captivating Audrey was no singer either, with most of her songs production choices, the film has always looked a li le grainy, with

dubbed by Marni Nixon. murky shadows and a cold, muted color pale e. But this new transfer

My Fair Lady had deteriorated badly over the years prior to an brings out the best in the film, adding some nuance to shadows, finer

extensive 1994 restoration. The repairs made several home video detail, and superior depth. Dolby Vision HDR doesn’t really make it

releases possible, including an 8K scan for the film’s 50th anniversary a lot brighter but it does add slightly more pop to highlights like a

in 2015. Now we have it here on a magnificent 4K/Dolby Vision disc chandelier in Donnie’s home or burnt orange-colored light coming

offering deep, rich color and eye-popping detail. Sourced from the through closed shades.

original Super Panavision 70 (65mm) film elements, it looks like it was Two DTS-HD Master Audio 5.1

shot yesterday instead of more than 55 years ago. soundtrack options are available: one

The movie’s Dolby TrueHD 7.1 audio for the remixed/remastered Director’s

mix is solid, though not particularly Cut and the other for the original

demo-worthy, with both subtle Theatrical version. There are some

surround effects and bass. It’s been differences between the mixes—and

transferred here at a rare (for Blu-ray) the movies, naturally—such as in

96kHz sampling rate, though any the opening scene where Donnie

benefits from this are unlikely to be awakens. The biggest plusses for

audible since many A/V receivers both tracks are the added punch to

rarely pass audio at higher than 48kHz the ‘80s-era songs and the way the

due to the other demands on their big rabbit’s voice now sounds like it’s

extensive processing. ULTRA HD BLU-RAY inside your head.
Arrow Video’s Limited Edition
Extras are provided on a separate STUDIO: Arrow Video, 2001
ASPECT RATIO: 2.35:1 release repackages all of the
standard Blu-ray disc and are mostly HDR FORMAT: Dolby Vision, HDR10 same extra material from its 2018

forge able—film premieres and inter- ULTRA HD BLU-RAY

views, plus celebrity-heavy fan service. STUDIO: Paramount Pictures, 1964 AUDIO FORMAT: DTS-HD Master special edition Blu-ray. Highlights
One exception is a 23-minute doc, ASPECT RATIO: 2.39:1 Audio 5.1 include three audio commentaries
More Loverly Than Ever: The Making of HDR FORMAT: Dolby Vision, HDR10 LENGTH: 1113 mins. ( eatrical), with director Kelly, joined by star
My Fair Lady Then and Now. There’s AUDIO FORMAT: DTS-HD MA 7.1 134 mins. (Director’s Cut) Gyllenhaal, other cast and crew, and
also a found scene where Hepburn LENGTH: 172 mins. DIRECTOR: Richard Kelly filmmaker Kevin Smith (Director’s Cut
herself sings Wouldn’t It Be Loverly,” DIRECTOR: George Cukor STARRING: Jake Gyllenhaal, only). There’s also a 100-page Donnie
which was later dubbed over prior to STARRING: Audrey Hepburn, Jena Malone, Mary McDonnell, Darko hardcover book plus a double-
Rex Harrison, Stanley Holloway Holmes Osborne, James Duval

the 1964 release. Earlier disc versions Paramount sided poster and a set of photo
Arrow Video
offered a commentary track, but it’s postcards inside the disc’s handsome

not included here. O THOMAS J. NORTON slipcase. O BRANDON A. DUHAMEL

[soundandvision.com 71

music

CROSBY, STILLS, NASH & YOUNG

DÉJÀ VU: 50TH ANNIVERSARY
DELUXE EDITION

AS ACCLAIMED AS Crosby, wax may indeed be the best way CD&LP Crosby chronicle of a theoretical Photo by Henry Diltz
Stills, Nash & Young’s 1970 to hear things like the seductive tryst, derives drama from its take-
magnum opus Déjà vu is, it mysteries of the truly haunting Label: Atlantic/Rhino your-time acoustic unfolding.
somewhat helplessly plays title track and the heavenly blend Stills’ “So Begins the Task/Hold
perpetual second fiddle to the of the character of each distinc- Audio Format: 16-bit/44.1-Hz PCM on Tight” is a multi-style-infused
sea change garnered by the tive voice in the idealistic upli Stereo (CDs); 180-gram Stereo vinyl masterclass for the storytelling
stacked-harmonic conver- of “Everybody I Love You.” If you (LP); 24-bit/192kHz PCM Stereo (digital push-pull between lament and
gences in evidence on 1969’s wanna take the wax route all the downloads) elevation, while Graham Nash’s
Crosby, Stills & Nash, which way, then I suggest you spring “Question Why” is a fine British
preceded it by 10 months. for the 5LP box set to get all 48 Number of Tracks: 58 (48 on 4 CDs, folkie jangler. Young’s acousti-
Granted, CSN was a breath of tracks on 180-gram vinyl. Hi-res 10 on 1 LP) cally soaring “Birds” shares a
fresh vocal-arrangement air and audio adherents can access beautiful supplemental vocal
instinctual instrumental 24-bit/192kHz versions via the Length: 3:47:54 (3:11:31 on 4 CDs, 36:23 from Nash, still the most instinc-
accompaniment, but Déjà vu Neil Young Archives website on 1 LP) tually spot-on harmonizer of the
fostered the initial intersection (neilyoungarchives.com), while rock era.
of the volatile four-way street of those direct-ordering the box Producers: Patrick Milligan, Joel Bernstein
headstrong artistic personali- set from the CSNY50 and Rhino (deluxe edition); David Crosby, Stephen On Disc 3, dubbed Ou akes,
ties with the addition of Neil e-commerce sites respectively Stills, Graham Nash, Neil Young (original Stills’ previously unreleased
Young into the fold. Déjà vu will also receive hi-res file down- album) mid-tempo “Ivory Tower” sounds
purported to prove the maxim load options. like it was just a few more solid
“the sum is greater than its Engineers: Bill Halverson, Russ Gary, takes away from finding that
parts”—but in the quite specific As for the 4CD/1 LP Déjà vu Stephen Barncard (original album); final necessary overdrive gear—
case of CSNY, the corollary is collection, it’s presented in the Chris Bellman (remastering); though the response harmonies
the individual parts remain 12.75 x 12.75-inch hardback Stanley Tajima Johnston, 4 others and le - and right-channel
A-level creators on their own. format, and those of us who own (demos mixing); Bruce Botnick, guitar solos here are pure
the 1970 LP will positively relish 10 others (outtakes & alternates mixing) gold. Crosby’s loping, percus-
Current artistic and personal the box’s faithful replication of sive “Laughing” is a keeper as
estrangements may preclude the original album’s textured PERFORMANCE is—and soon enough realized
this fantastic four from ever surfaces and gold-embossed SOUND in full on his February 1971 solo
recording and/or performing titles. My only presentation album, If I Could Only Remember
together again as a quartet (or lament—no identifying artist/ for two-fingered disc extraction My Name.
even as a trio), but thankfully, we album nomenclature appears from each slot without much fear
now have the expanded majesty on the sturdy, 0.5-inch spine. of bending or ripping the respec- Finally, Disc 4 serves up a
of this multidisc Déjà vu deluxe Sure, I get the design team’s tive moorings. fine batch of Alternates. The
edition to re-light the fire of aesthetic reasoning here, but harmonica version of Young’s
our sonic relationship with this considering how we audiophile And now, let’s dive into the “Helpless” gives added texture
perennial classic. collectors shelve hundreds, if music. Both Disc 1 and the to an instrumentally overstuffed
not thousands, of box sets of LP contain the remastered mix, while the early, acoustic
A half-century-plus on, Déjà varying sizes and widths, blank 10-track mothership. If CSN’s version of Nash’s “Teach Your
vu sounds as fresh today as spines don’t make spot IDs “Suite: Judy Blue Eyes” is the Children” proves its anthemic
it did in 1970. Rhino has been easy—just more mnemonically template for everything three of positivity is already on the
relatively smart about including color-centric. these gentlemen are capable chalkboard.
high-grade vinyl offerings in their of together, then Déjà vu’s
box sets of late, and upgraded The relatively economical exhilarating opening track, “Carry “How’s it sounding?” Nash
20-page booklet gets the On,” is next-level harmonizing queries hopefully a er that just-
historical context job done the and multi-movement arranging noted “Teach Your Children” early
right way, thanks to film director prowess. David Crosby’s “Almost take—and I’m more than happy
and journalist Cameron Crowe’s Cut My Hair” remains defiantly to tell you, my friend. This finely
insider-baseball essay (with relevant to this day, while “Wood- expanded box set presents the
an assist from Joel Bernstein). stock,” penned by Joni Mitchell full-bodied splendor of Crosby,
Photographer Henry Diltz’s and sung by Stephen Stills, puts Stills, Nash & Young’s Déjà vu
myriad of sessions shots, both an observational pin in the free- all over again for the first time,
posed and candid, further shape love movement. taking us all back to the garden
the artists’ creative framework. of a very, very, very fine audio
Also, kudos must be given to the Demos carry the day on Disc house. O MIKE METTLER
durable CD tray design, as there’s 2, its contents reflecting four
finally enough vertical clearance great songwriters in the prime
of exploring their muse—but
also showing how well they
ultimately deferred to their collec-
tive top-shelf material for the
official release. “Triad,” a rejected

[ [72 August September 2021 soundandvision.com

PAGE MANUFACTURER 55 .......... EISA 23.......... Monoprice
eisa.eu monoprice.com
9 ............ Andover Audio
(978) 775-3670 15 .......... EPV Screens C3 ......... OSD Audio
andoveraudio.com epvscreens.com osdaudio.com

5 ............ Audio Advice C2 ......... GoldenEar Technology C4 ......... Definitive Technology
(888) 899-8776 (949) 800-1800 (800) 228-7148
audioadvice.com goldenear.com definitivetechnology.com

3 ............ AudioQuest 10 11 .... JL Audio 59.......... Stewart Filmscreen
(949) 790-6000 jlaudio.com (310) 784-5300
audioquest.com stewartfilmscreen.com
47 .......... KLH
51 .......... AXPONA (833) 554-8326 7, 17....... SVS
axpona.com klhaudio.com (877) 626-5623
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43………CEDIA 19 .......... Klipsch
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13 .......... Crutchfield 21 .......... Legacy Audio
(800) 319-8843 (800) 283-4644
crutchfield.com legacyaudio.com

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this organization and the exempt status for federal income tax
purposes Counter Sales and Other Paid Distribution

x Has Not Changed During Preceding 12 Months Outside USPS..................... 1,282 1,300 by 16c X 100)......................... 97.9% 95.8%
Has Changed During the Preceding 12 Months
4. Paid Distribution by Other Classes of Mail x I Certify that 50% of all my distributed Copies

Through the USPS.................... 0 0 (Electronic & Print) are paid above a nominal Price

c. Total Paid Distribution..........46,196 45,612 17. Publication of Statement of Ownership will be printed in

d. Free or Nominal Rate Distribution the: January 2019 issue of this publication.

(By Mail and Outside the Mail) 18. Signature and Title of Editor, Publisher, Business Manager,

1. Free or Nominal Rate Outside-County Copies included on or Owner

PS Form 3541........................250 480

2. Free or Nominal Rate In-County Copies included on Keith Pray, Publisher 10-1-2018

PS Form 3541............................ 0 0 I certify that all information furnished on this form is true and

3. Free or Nominal Rate Copies Mailed at Other Classes complete. I understand that anyone who furnishes false or

Through The USPS................... 0 0 misleading information on this form or who omits material or

4. Free or Nominal Rate Distribution information requested on the form may be subject to criminal

Outside the Mail..................1,501 3,054 sanctions (including fines and imprisonment) and/or

e. Total Free or Nominal civil sanctions (including civil penalties).

Rate Distribution .................... 1,752 3,534

f. Total Distribution ..................47,948 49,146

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