B&W 600 Series Speaker System and Onkyo TX-SR805 A/V Receiver Page 2
The review system included a new (to me) Toshiba HD-A2 HD DVD player. It does not pass the new surround codecs in bitstream form. Instead, it converts Dolby TrueHD and Dolby Digital Plus to high-rez PCM. So, my first home encounter with receiver-decoded lossless surround will lie in the future. I also had to eliminate some promising DTS-HD material from the review because the Toshiba downconverts those two new codecs to a plain DTS signal (as does the Pioneer BDP-HD1 Blu-ray player also in my rack). In this respect, I’m in the same slow boat as any other early adopter.
None of this was the receiver’s fault. Had I been using Onkyo’s own DV-HD805 HD DVD player, which does fully support the new codecs with bitstream output, the system would have been perfectly up to date.
Still, I felt like I was heading into friendly territory, once I hoisted this heavier-than-average (for its price) 50-pound monster onto the rack. The remote happens to be an excellent design that Onkyo got right years ago, and they had the wisdom to change it as little as possible. You never need to grope for the Play or Volume buttons—they’re an inch long and logically placed just where your thumb would like them (assuming you’re a righty like me). There’s backlighting but no LCD or other fancy stuff; this remote is about as easy to use as anything ever packaged with a surround receiver.
My cables are Monster M1.4s (biwired) and M1.2s (non-biwired), plus Tributaries’ Silver Series HDMI cables and Silver Serpent analog and digital interconnects from BetterCables.com. In case you were wondering.
Home on the Dynamic Range
When I set up the system with test tones, I immediately noticed a difference in voicing between the speaker models. The front-ported 685 emphasized a lower part of the midrange than the rear-ported 686 surround and the HTM62 center. The latter two models also required higher volume settings in the setup menu. When I checked the sensitivity ratings, I saw why; the 685 is rated at 88 decibels, which is fairly routine for speaker packages, but the 686 is rated at 84 dB, decidedly below average, and the HTM62 is 85 dB. With a reasonably powerful receiver like the Onkyo, these are not unduly difficult loads to run. The duochromatic menu graphics were not as fancy as some of the full-color extravaganzas in competing brands, but they’re still more handsome and pleasing than old-style monochrome menu graphics.
Superman Returns on HD DVD was my first at-home experience with Dolby TrueHD. The receiver’s front panel indicated “Multich” to confirm the PCM-via-HDMI input. A humongous dynamic range was the first thing I noticed. I made no attempt to compress it, but I had to make on-the-fly volume resettings throughout the movie. Presumably, the mixer felt compelled to take full advantage of TrueHD’s vast dynamic range, and the Onkyo receiver kept pace. A little restraint might have been wiser; keeping the dialogue listenable made effects overwhelming. I knocked down the surround levels to give myself a break from the barrage.
TrueHD offered a sense of ease that made high-decibel listening less irritating than it might have been with the movie’s crude, aggressive effects. That, in turn, enabled higher overall volumes, despite the fiddling. I had a distinct feeling that the mix was optimized for harsher lower-rez formats. It wasn’t exactly airy, although it did firm up the resolution of the low-volume violins that accompany Superman’s slow fall to earth in a late scene.
Mission: Impossible III on HD DVD was my first at-home experience with Dolby Digital Plus. The dynamic range was less extreme, so I fiddled less with the volume. The orchestral soundtrack, relentlessly bland in Superman Returns, was actually a bit warmer and woodier in this Tom Cruise vehicle. Vocal intelligibility—due to a better mix—was also improved. Helicopters rampaging through a wind farm were full of zigzagging effects.
More Dolby Digital Plus came in the form of Serenity—in fact, it was Dolby Labs that first showed me some excerpts at a long-ago press event. At least until the thunderous finale, the use of the higher-rez surround mainly served the spaceship effects, like the shuddering of an ailing ship or the whoosh of one lunging back to front, or front to back.
OK, the impressions above say more about the codecs than about the Onkyo or the B&Ws. That’s because I took the receiver’s dynamic power and the speakers’ resolution as givens. When the signal was warm, I heard warmth. When it was abrasive, I heard abrasiveness. When it was smooth, I heard smoothness. The subwoofer was decently powerful at the right moments, especially for something so small, and the 80-hertz crossover worked quite well.
Dylanesque, Thompsonesque, Haydnesque
Bryan Ferry recording an entire album of Dylan covers—what could be better? Dylanesque alternates between swinging medium-tempo rock and balladry enhanced by echoey, heavily treated guitar and keyboards. Although the sub is actually shorter than the speakers, they integrated beautifully to produce an organically whole rhythm-section sound. And there was a strong contrast in depth between the lead vocal and the treated instruments floating around behind it. A tour de force in performance, production, and reproduction. This, I reminded myself, was why I got into this business.
Versatile Heart is Linda Thompson’s third solo studio album. I love her pure, edgy, violin-like soprano and the amazingly direct way it conveys emotion. The recording of both voice and acoustic-guitar-dominated arrangements was clean and full of space and (something even rarer) dynamic subtleties. The B&Ws refrained from unduly emphasizing the trebly voice yet allowed its tiniest nuances to register clearly and affectingly.
The two-disc set entitled Haydn: Piano Concertos, Piano Sonatas by Mikhail Pletnev is yet another budget gem from the estimable Virgin Classics label—although I wish I’d bought the four-disc version for the same price. Without sufficient weight, Pletnev’s light, bell-like tone might come out as a tinkle, and his pianissimo might get lost. But the B&W/Onkyo combo got the feeling right, keeping both sides of the keyboard in the right proportions and delivering enough low-level resolution to let me follow the score into its quieter moments.
On the whole, despite the slightly different voicing of the 685 front speaker, the system was a model of balance. It got the big things right, the speakers spanning the frequency spectrum like a master and the receiver covering every reasonable dynamic possibility. But it also nailed the nuances, discreetly spotlighting tiny morsels of texture and extracting whatever depth might be available in the recording. And it did all that with a relaxed feeling that, in particular, I haven’t previously associated with B&W products. This was an easy listen, one that never made me think “less of this, please” or “more of that, please.”
Both B&W and Onkyo (and many other manufacturers) offer higher-end products that presumably do all the same stuff and do it better. In a direct comparison, I’d probably notice the difference. But if I never got another set of review samples, I’d happily live with this system forever.
Highlights: B&W 600 Series Speaker System:
Boxy but great-sounding
That little sub can woof
Highlights: Onkyo TX-SR805 A/V Receiver:
Onkyo steps up to the plate with a monster budget receiver
HDMI 1.3a, lossless surround decoding
A $1,500 receiver for under $1,100