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Yamaha RX-V1600 and RX-V2600 A/V Receivers
Review by Nick Townsend
OverviewThe new Yamaha RX-V1600 and RX-V2600 A/V receivers are two of the more anticipated home theatre products to arrive in the past couple of years. There was quite a buzz within the industry when the specifications of both models were announced last year. The RX-V1600/RX-V2600 are positioned at the premium end of Yamaha’s A/V receiver line-up, and replace the RX-V1500 and RX-V2500. They bring major changes both internally and externally, and this review will give you a fairly good idea of what both these new units have to offer.
Features
The most anticipated new feature of both the RX-V1600 and RX-V2600 is the inclusion of HDMI switching and their ability to up-convert and up-scale analogue video signals to HDMI. But we’ll get to that in a minute.
First off, the RX-V1600 and RX-V2600 both sport an updated front fascia, a design that was first seen on the RX-V4600 Special Edition. The fascia is sleeker than previous Yamaha designs, with fewer buttons and less clutter. The LCD display now shows two lines of information as opposed to the single line on older generations.
Removing the exterior casing reveals a more robust power supply and slightly larger capacitors, meaning both these A/V receivers probably make slightly more power than their predecessors, although we cannot confirm this. Both A/V receivers use Burr-Brown DACs for all channels, and incorporate Yamaha’s latest 32-Bit DSP chip for all Dolby Digital and DTS decoding.
These receivers give you the ability to operate up to three separate audio/video zones throughout your house at one time, simply by assigning the separate amplifiers within the receiver to specific zones (see diagram below). Both A/V receivers come with a second remote control for operating Zone 2 and Zone 3 so you can leave the master remote control in the main zone.
Both units utilise the same master remote control, but only the RX-V2600’s is back-lit. I wish they had included this small convenience with the RX-V1600, as the back-light makes night time use much easier. The master remote, although daunting to look at on first acquaintance, is intuitive to use. Buttons are grouped logically and colour-coded. The master remote control is both pre-programmed and learning capable. The smaller Zone 2/3 remote control is well set out and a great idea, allowing you to perform all major functions.
These A/V receivers are compatible with the latest surround sounds formats: Dolby Digital, Dolby Digital EX, DTS and DTS-ES (Matrix and Discrete), Dolby Pro Logic IIx, DTS Neo:6 and DTS 96/24. They also include THX Select2, the latest surround sound format from George Lucas and his THX crew.
As is the norm for Yamaha A/V receivers, the RX-V1600 and RX-V2600 include a large range of what Yamaha calls ‘DSP surround programmes’. These can be activated while listening to either 5.1/6.1 surround sound soundtracks or stereo soundtracks. Some DSP surround programmes significantly alter the sound of the original soundtrack, while others are more subtle in their effect. The reasoning behind the DSP programmes is to allow you to have more control over what you are hearing, allowing you to tweak the sound to your liking. The large range of DSP modes available is a unique feature on Yamaha A/V receivers.
Because I am too lazy to type out all the specifications of these A/V receivers the other main features can be found here:
RX-V1600: http://www.yamahamusic.com.au/products/avit/htavreceivers/RX-V1600B.asp
RX-V2600:http://www.yamahamusic.com.au/products/avit/htavreceivers/RX-V2600B.asp
While many of the features of these receivers are self-explanatory, I’ll explain the whole HDMI thing in more detail:
HDMI: HDMI (High Definition Multimedia Interface) is an industry supported, all-digital connection that delivers video and audio signals through a single cable. HDMI carries both standard definition and high definition video, as well as stereo and multi-channel digital audio. HDMI keeps all signals in the digital realm, meaning the potential for signal degradation is reduced. Both the RX-V1600 and RX-V2600 offer 2 HDMI inputs and 1 HDMI output and are compatible with the HDMI Ver. 1.1 format.
HDMI ‘up-conversion’ & ‘up-scaling’ of analogue video signals: An added and somewhat unexpected bonus of the RX-V1600 and RX-V2600, especially considering their asking price, is the addition of full analogue video up-conversion and up-scaling to HDMI. Video ‘up-conversion’ to HDMI is where composite, s-video and component signals (ie – analogue signals) are up-converted to an HDMI signal (ie – digital signal), which can then be output through the HDMI output on the back of the RX-V1600/RX-V2600 to your TV. This handy little feature reduces cable clutter and simplifies operations, as you don’t have to change A/V channels on your TV every time you switch from an analogue input (eg – VCR) to a digital input (eg – HDMI equipped DVD player).
Video ‘up-scaling’ is where an interlaced analogue video signal is converted into a progressive video signal. This technology improves the image that you see on your screen, within limits, by effectively increasing the number of lines of information that you see on your screen. This is discussed further in the ‘performance’ section of the review. Video up-scaling is a feature becoming more common on mid-to-high priced DVD players, and is now starting to appear on high-end A/V receivers.
For more information on HDMI, visit: www.hdmi.org
The diagram below is a visual representation of the RX-V1600 and RX-V2600 up-conversion and up-scaling abilities:
If you’re looking to choose between these two amplifiers, here are the extra features that the RX-V2600 has over the RX-V1600: · 10 watts more/channel · Graphical User Interface (GUI) – a more colourful and intuitive on-screen display. GUI should be standard fare on RX-V1600, but it makes do with a more primitive, but no less functional, on-screen display · Ability to send video as well as audio to a second zone · Parametric EQ adjustment – advanced setup procedure for the perfectionists and professional installers. Allows you to adjust for, and reduce the effect of, acoustic anomalies that occur as a result of the acoustic properties of your room. Involves ‘flattening’ out or modifying the levels of different frequencies for a better overall sound · Record out/Zone 2 selector – selects the input source you want to direct to an audio/video recorder and/or Zone 2 independently of the input source you are listening to or watching · HDMI up-scaling – allows de-interlacing (480i/576i to 480p/576p), as well as up-scaling to 720p and 1080i. RX-V1600 de-interlaces to 480p/576p only. · Volume ‘on’ and Volume ‘maximum’ – allows you to set the volume level when the unit is turned on, and the maximum volume of the unit · More DSP programmes – 22 (RX-V2600) vs 19 (RX-V1600) · Back-lit remote control
Setup Scrolling through the extensive menus of the RX-V1600 and RX-V2600 gives you an indication of the adjustability and flexibility that they provide. In saying this the setup process can be as simple or as complex as you like.
Both A/V receivers can be calibrated automatically through what Yamaha calls YPAO. All it involves is plugging in the supplied microphone to the unit, placing the microphone in the central listening position, and selecting ‘Auto Setup’ through the unit’s on-screen display. Parameters such as speaker size, speaker delay and speaker volume will then be determined by the unit itself. If you’re not happy with the results, you can always enter the manual setup and change the parameters that you deem necessary. If you’re feeling a little more adventurous, you can set the A/V receiver up manually. It will take more time than the auto setup procedure but you will learn more about the capabilities of the RX-V1600/RX-V2600.
This review was conducted in a room measuring approximately 5m x 7m, with 2.7m ceilings. Each receiver was set up manually, using a Sound Pressure Level (SPL) meter and good old tape measure. Setting things up automatically, just out of interest, gave very similar results. The other components used for this review can be found at the end of this article.
PerformanceSo the specs and all these new features are great, but how do these machines perform in the real world? Firstly, to our ears there is no discernible difference in sound quality between the two units, so if you have no need for the extra features of the RX-V2600, the RX-V1600 has got you covered in terms of sound quality.
Both A/V receivers maintain the exciting and forward sound that Yamaha has become known for in the last few years. In a complex multi-channel DVD soundtrack like Master and Commander: The Far Side of the World, the RX-V1600/2600 reproduce every single detail, whether it be the subtle creaking of the ship or the frightening sound of cannon balls as they rip holes in the ship’s hull.
Both receivers maintain their predecessors’ excellent ability to precisely place directional effects from multi-channel movie and music soundtracks. With their upgraded LSI chip they may even surpass the older models’ processing capabilities, but in isolation the difference between the two generations is hard to pick.
The RX-V1600 and RX-V2600 add an extra ounce of weight and realism to a movie soundtrack in comparison to the mid-priced offerings in Yamaha’s range, a trait that makes the movie experience that little more enjoyable and immersive. At high volumes, where the limits of their less powerful siblings are being reached, the RX-V1600 and RX-V2600 remain clear and detailed. The greater headroom of the RX-V1600/2600 is most evident in a demanding soundtrack or when driving inefficient speakers.
During the listening sessions the DSP programmes were given a chance to prove their worth. Some of them add greatly to the overall atmosphere of movies that possess only a Dolby Digital 2.0 soundtrack, but I prefer to hear Dolby Digital 5.1 and DTS 5.1 soundtracks without any DSP processing. This is a personal preference, however I know of several people who listen to 5.1 soundtracks with DSP programmes engaged. It’s a great tool for those of you who like to fiddle with your sound.
In term of stereo reproduction, the performance from both these units is more than acceptable. No, these A/V receivers will not match a similarly priced stereo amplifier, but then again no A/V receiver would. But the difference is not as marked as you might think. Spin a song like ‘Big Love’ from Fleetwood Mac’s The Very Best of CD and the amount of detail you hear in the strings of the acoustic guitar is impressive. Keith Urban’s ‘Who Wouldn’t Wanna Be Me’, with its varied instrument mix and up-tempo, stop-start beat is a brilliant test for timing, and the RX-V1600/2600 passes without a problem.
The only criticism here is that Yamaha’s characteristic, forward sound can become a little grating and tiring over an extended listen at high volume. This is counteracted in a small way when the A/V receiver’s ‘Pure Direct’ mode is engaged. All unnecessary video and audio circuitry is switched off in this mode to reduce interference and signal degradation.
The inclusion of HDMI switching, as well as up-conversion and up-scaling of analogue signals to HDMI, is without doubt one of the biggest selling points of the RX-V1600 and RX-V2600. And after fiddling around with the various settings available we can report that these features do work well in most situations. The convenience of these technologies is obvious, but there are limitations, and Yamaha even points this out in their RX-V1600 and RX-V2600 user manuals. Let me explain.
A clean interlaced video signal from a DVD player will look better when up-scaled. In fact, the interlaced picture of Final Destination 2 is already one of the cleanest transfers out there, but up-scaling the signal to 720p only adds to the rock-solid image, bringing improved blacks and even better colour rendition. On the other hand, up-scaling the video signal from an old, grainy VHS tape will only emphasise the imperfections already present in the image. This will occur in any A/V receiver that has up-scaling abilities. Crap in = crap out. Simple as that. Up-scaling will not clean up a video signal that is of questionable quality in the first place.
Secondly, the larger the video display (plasma, LCD, projector etc) the more noticeable the effect of up-scaling will generally be. This is because each individual pixel is bigger on a large screen (eg - projector beaming 2.5m image) than it is on a smaller screen (106cm plasma), and a change in a large pixel is going to be more noticeable than that in a small one. With the RX-V2600 you can have a choice of resolutions to up-scale to. Choose the resolution that most closely matches your display’s resolution to maximise image quality. For example, if your projector has a resolution of 1280 x 720, set the up-scaling resolution on the RX-V2600 to 720p.
Another topic worth touching on, as we have had several customer enquiries in regard to this, is copy protection - in particular HDCP. HDCP is a copy protection standard, and the RX-V1600 and RX-V2600 (or any other HDMI-equipped component) will only communicate with HDCP compatible components. So if you have a video display (plasma, projector, LCD) or component (DVD player, digital set-top box) with a DVI connection, or are thinking of buying one, make sure it is HDCP compatible. This information should be available in the user manual of the particular component.
Last Words Yamaha has a reputation in the industry for being a leader when it comes to adopting and introducing innovative technologies into the home theatre and hi-fi market, and the new RX-V1600 and RX-V2600 continue that tradition. These A/V receivers are some of the first to include new HDMI technologies, and they are available at a price point that is currently unmatched by any other big brand A/V receiver manufacturer.
HDMI is seemingly the connection of the future, with more and more video displays and components now offering HDMI connectivity. And the word is that new disc formats, such as Blu-Ray and HD-DVD (to be released second half of this year), will only output their highest picture resolutions through HDMI. So even if you don’t have any HDMI-equipped products, chances are you will in the future.
But apart from the advanced HDMI capabilities that these units provide, the RX-V1600 and RX-V2600 are still both highly sophisticated and impressive A/V receivers. From their audio/video performance and user friendliness, classy looks and build quality, to their excellent value for money, you’d be hard pressed to fault them.
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Product: Yamaha RX-V1600 and RX-V2600 A/V Receivers Price: ▪ RX-V1600 $1,999 ▪ RX-V2600 $2,299 Warranty: 2 years Availability: now Website: www.yamaha.com.au
Components used in this review:
▪ Oz Theatre Screens 100” Fixed Frame Screen ($1,059)
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