toggled through, so that you can define various filter types for movies, music, or accepting the default measured and recommended fil- ters. The filters can be created via the “Auto Pro” option, which automatically determines the filters, or the “Manual Pro” option. The “Manual Pro” option performs all the meas- urements, with the end user selecting which timing target is used for filter creation. A PC can be attached to the RS-232 port and after installing the appropriate software, before and after correction curves can be shown. Last but not least, an X-Curve can be applied, which accounts for the acoustic space, and applies the curve based on best values for the room’s volume. The X- Curve is used in dubbing stages and pro- fessional theatres to provide a pleasing sonic result to the ear.
I personally found little difference sonical- ly when comparing the “front align” and “All channel EQ” options. I did, however, find that the improvements wrought by MCACC were not subtle and led to a much more pleasing sonic character than was other- wise available, and for my recorded listen- ing impressions, I had MCACC engaged whenever possible.
Movie Performance
A quick note about the conditions and conclusions that are being brought forth to you. I found my conclusions to be consis- tent between my primary reference system and my secondary reference system. All of the sonic qualities you are reading about were culled from notes taken while listening to the secondary system.
The Shawshank Redemption seems to be presented quite frequently on one of the high-definition movie channels, and during the review period I availed myself to a showing of this “modern classic.” Here, I think that Morgan Freeman’s voice is more naturally portrayed, with Tim Robbins’ voice tended more towards the sibilant. It wasn’t a terrible artifact, but it was consistently noticeable from scene to scene. I ran down- stairs at one point to check with my primary reference system, and found that the sibi- lance was less apparent. As the movie draws to its conclusion and Dufresne’s cell is checked and the rock goes through the Raquel Welch poster, the rock echoes as it bounces down the carved tunnel, showing how Dufresne managed his “great escape.”
In Se7en I selected the scene where Mills and Somerset encounter John Doe in the apartment building hallway. The sound of Doe’s gunshots explode onto the sound- stage in a convincing facsimile of the on- screen action. Later in the scene as Doe fires at Mills from the alley, the enclosed
space of the alley causes you to wince at the loudness and its percussive attack. I can’t say that I've spent a lot of time shoot- ing firearms, and that goes double for firing them in alleys or indoors! What was really nice, though was the underlying carpet of rain throughout this scene that was omnipresent though often overshadowed by sound effects and music. The rain effect was very engulfing and well done. I wish I could do the evaluation and have an “all Morgan Freeman” set of references, but alas it was not to be for this review.
Blue Man Group’s The Complex Rock Tour Live is a high energy presentation that I caught during the summer of 2003. I have the same complaint about this DVD-Video as I did in the concert hall. The audio is compressed to within an inch of its life! If that’s the case, then why use this as a refer- ence disc? The unique instruments are one of the reasons, the other is that it's just plain fun. Even the bonus music videos tend to suffer from too much compression. The unique signature of the backpack tubulum is well done. The majority of the body and timbre of the mallet stricken PVC tubes is played back with good fidelity. The Angel Airpole doesn’t quite whip through the soundstage as well as my primary refer- ence system, but the order of magnitude pricing differential means it shouldn't. The VSX-56TXi acquits itself quite well when considering price. The sound was never harsh, even when played as loud as my ears could handle.
Music Performance
Starting with stereo, the VSX-56TXi doesn’t quite have the width of stereo presentation as some other components I have used in my secondary reference system, including the Sunfire Ultimate Receiver. It provides only a modest bit of wraparound and not the engulfment that other products have given on the right material. Willie Nelson’s Stardust (SA-CD via i.Link) is one that’s been getting a fair amount of playing time during this review. The natural, relatively unprocessed presentation has aged well in the 25-plus years since this recording was made. Of particular note is the warmth of the lead vocal, which has a richness that pulls you into the performance, as well as an excellent portrayal of fingers on an acoustic guitar's fret board during “Moonlight In Vermont.” Last but not least, the plaintive call of the harmonica is also well portrayed. Quite convincing, although it does- n’t reach the level of “in your room” presence that I hear in the primary reference system.
Soundstage width is good overall and outstanding for the price point. I pulled out
a guilty pleasure disc, Kenny Loggins’ Greatest Hits on stereo SA-CD for this review, where track two can have a very convincing pseudo-surround presentation at its best. The VSX-56TXi delivered a sound- stage whose apparent width exceeded the placement of the loudspeakers but doesn’t tend to deliver that wraparound effect that happens with the best out there. Between the speakers, placement is clear and pre- cise, with the two points in space for Loggins’ and Nicks’ voice correctly located between the loudspeakers.
Diana Krall’s The Girl In The Other Room is her latest effort and is a return back to the more traditional jazz quartet, instead of the “Diana With Strings” format she’s had for the last few discs. There are several out- standing tracks, with the two-beat Latin feel of Joni Mitchell’s “Black Crow” (Track 8) being one of my favorites. Here, the rich- ness of the electric guitar (Anthony Wilson) is always found. In addition, during his improvisation work, the individual notes of some blistering double time runs are still played back with good clarity and preci- sion. Krall’s voice retains the slight breathi- ness and her sometimes excessive sibi- lance––ably demonstrated when she sings the word shiny. The acoustic piano is well done, and the various percussion instru- ments utilized are all cleanly portrayed in their own space. “Narrow Daylight” (Track
9)is a more intimate presentation, and the warmth of the VSX-56TXi is keenly notice- able on the vocals presented. With both of these presentations, I felt the absence of MCACC (not available with multichannel SA-CD), as there was some excess rever- beration in the 60 Hz region where the acoustic bass would have particular notes bloom.
Steely Dan’s Gaucho was their last album released prior to a 20-year hiatus and their jump to a new record label. The title track begins with the tenor sax of Tom Scott, and the VSX-56TXi does a good job of preserv- ing the slightly congested tonal quality of this particular track. It’s still a very good auditioning track, and the various elements on the masterfully mixed disc by Elliot Scheiner are effectively presented in 24- bit/96 kHz surround. Of particular note is the body and weight of the mass vocals for the chorus and the distinctive style of Fagan’s electric piano. I'm not sure how he manages to pull off nonchalance, while still hitting the rhythmic marks time and time again.
For overall surround soundstage integra- tion, I turned to the Flaming Lips’ Yoshimi Battles The Pink Robots. The track “Do You Realize” should provide a fully-immersive holosonic™ soundfield with complete rotation of the mix around the listening position.
