Comparison Marantz SR-6013 vs Denon AVC-X8500H

A digital-to-analogue converter (DAC) is an indispensable element of any system designed to reproduce digital sound. The DAC is an electronic module that translates sound information into pulses that are sent to the speakers. The technical features of such a conversion are such that the higher the sampling frequency, the better the signal at the output of the DAC, the less it is distorted during conversion. The most popular option in receivers today is 192 kHz — it corresponds to a very high sound quality (DVD-Audio) and at the same time avoids unnecessary increase in the cost of devices.

Another indicator that determines the overall quality of the digital-to-analogue audio converter. For details on the converter, see "Audio DAC Sampling Rate"; here we note that the bit depth is standardly expressed in bits, and the higher it is, the more accurately the signal at the output of the DAC corresponds to the original signal and the less distortion is introduced into it. Today, it is believed that a 16-bit indicator provides quite acceptable signal quality, and 24-bit DACs are suitable even for premium-level equipment.

The audio receiver supports eARC, an enhanced version of the Audio Return Channel (ARC) used with an HDMI connection (see below).

By itself, the audio return channel allows you to "swap" the HDMI output of the AV receiver and the HDMI input of the TV or other external device — thus, this device turns into an audio signal source, and the receiver starts to work as a receiver. Such functionality is designed mainly for those cases when the TV receives a signal not from the receiver, but from another source (built-in tuner, media player, flash drive, etc.), however, the soundtrack must be output to external speakers through the receiver. Without ARC, you would have to use an additional connection (for example, via an optical interface), while the audio return channel eliminates the need for extra wires: the same HDMI cable is used both for transmitting video / audio from the receiver to the TV and for transmitting audio from TV to receiver. Also, the advantages of ARC over traditional audio interfaces are higher bandwidth, as well as the ability to use the CEC function (control of connected devices from one remote control).

Specifically, eARC was introduced simultaneously with the HDMI 2.1 standard and received a number of improvements compared to conventional ARC. Here are the main ones:

— Up to 40x more bandwidth, allowing uncompressed 5.1 and 7.1 surround sound, HD audio and Dolby Atmos and DTS:X "object-orie...nted" multi-channel codecs (see Decoders).
— Technology Lip Sync Correct, eliminating desynchronization between video and sound.
— Proprietary protocol to automatically detect audio formats supported by both connected devices and select the best option.

Of course, in order to use eARC, both the receiver and the TV it is connected to must support it.

The ability of the receiver to work with a video signal of ultra-high definition - Ultra HD. Various versions are available. The most popular are 4K and 8K. The resolution of such video is 4 and 8 times higher than that of Full HD, respectively, which allows you to achieve even greater image clarity and degree of detail (compared to FullHD). However, you will also need a 4K or 8K TV/projector to view it. And the cost of such systems (in particular 8K) can be expensive.

The maximum number of channels that the receiver can output to external speakers. This parameter is specified for all types (see above): even AV processors that do not have an amplifier as such are often equipped with a very extensive set of audio processing tools (and this set is sometimes even wider than in models with amplifiers).

The most popular options by the number of channels today are as follows:

— 2.1. The simplest option found in modern AV receivers is the classic two-channel stereo sound, supplemented by a third channel for a subwoofer. It is worth noting here that the "volume" of such a sound is very limited: it allows you to simulate the shift of the sound source to the left or right, but does not cover the space on the sides and behind the listener. Receivers of this kind are usually entry-level devices.

— 3.1. Such a system is usually the 2.1 described above, supplemented by a third front speaker — in the centre. This provides a more authentic sound from the front. And for some 3.1 systems, design tricks are claimed that allow them to be used for surround sound, similar to 5.1. Rear channels in such systems are simulated by reflecting sound from the walls behind the user. Of course, the sound accuracy is noticeably lower than that of a full-fledged 5.1, but this option may be optimal in tight spaces where there is no space for a full set of six-channel acoustics.

— 5.1. The most popular surround sound format that can provide the effect of "environment". 5 main channels include a centre, two front (left-right) and two rear (similarly), a unit indicates a separate low-frequency channel for a subwoofer.

— 5.2. Sound format similar to 5.1 above, except for two channels for subwoofers instead of one. This improves the quality of the bass sound, which can be useful for films with a lot of special effects, live performance recordings, etc.

— 6.1. A sound format with an expanded number of main channels relative to the classic 5.1. The sixth main channel in this format is usually the centre back — this increases the accuracy of the sound transmission in the back of the stage.

— 6.2. 6.1 version of the format described above, supplemented by a second subwoofer; this improves the quality of low frequency transmission and allows you to cover a larger area.

— 7.1. With this sound format, five main channels (similar to the 5.1 system described above) are supplemented with two more. There are a lot of options for installing speakers for these channels — for example, these can be additional speakers above two front or two rear speakers, two separate side speakers, an additional “centre” pair on the rear channel, etc. Anyway, an increase in the number of channels makes it possible to achieve a more accurate transmission of “surround” sound compared to 5.1, however, much less content has been released for such systems.

— 7.2. A variation on the 7.1 format (see above) that allows the use of two separate subwoofers; this increases the accuracy of the transmission of low frequencies and expands the possibilities for their adjustment.

— 8.4. A specific variant found in single models of AV receivers. It is not so much a generally accepted sound format as an illustration of advanced configuration options: up to 8 main speakers and up to 4 subwoofers can be connected to the device, which gives very extensive fine-tuning options (however, such options are not cheap).

— 9.1. One of the most advanced surround sound formats today: it includes 5 classic main channels (similar to a 5.1 system) and 4 additional ones, the location of which can be different — for example, two side speakers and two upper ones above the left and right front, or even 4 speakers, directed towards the ceiling. The 9.1 format allows you to achieve very high fidelity of multi-channel audio transmission, but it is expensive, difficult to set up, and very little content has been released for such systems.

— 9.2. Modification of the above 9.1 format, supplemented by a second subwoofer for more accurate and high-quality reproduction of low-frequency sound.

— 11.1. Further, after 9.1, expansion and improvement of the idea of multi-channel sound. Usually in 11.1 systems, the five "classic" main channels (see 5.1) are supplemented with six more in the following way: two speakers to the left and right of the centre (in addition to the left and right front), two height speakers above the main front and two more — above main rear. This significantly increases the accuracy of surround sound transmission and adds the ability to shift it not only horizontally, but also vertically. However, the price and complexity of setting up such systems is appropriate, so they are designed more for the professional sphere (for example, cinema halls of entertainment centers) than for home use.

— 11.2. Systems almost identical to those described above 11.1, but supplemented by a second subwoofer. The latter is useful not only for reliability, but also for covering a vast area.

— 12.4. A top-of-the-line AV receiver option that is designed to handle all existing surround sound formats (including "true" 3D sound) and offers extremely wide customization options (albeit at an appropriate price).

— 13.2. Another format typical for luxury AV receivers and similar to 12.4 described above (with the exception of differences in the number of channels, which are not critical in this case).

— 15.1. A very rare and expensive option, designed for the use of mainly advanced acoustic systems — in particular, the halls of small cinemas.

Note that this paragraph indicates the most advanced sound format that the receiver is capable of working with; the general set also includes simpler options. For example, 7.1 systems usually handle 5.1 without any problems, not to mention stereo.

the maximum sound power that can be delivered by the power amplifier (if the receiver has one, see "Type") per speaker channel. It is worth noting here that in this case it is customary to indicate the so-called RMS (Rated Maximum Sinusoidal), or rated power. Rated is considered the highest power that the amplifier is guaranteed to be able to produce without interruption for an hour without any failures or breakdowns. Short-term jumps in the signal level can significantly exceed this value, but the main indicator is still the rated power.

The power of the amplifier largely determines the sound volume of the speaker system connected to the device. In fact, the loudness also depends on the characteristics of the speakers — sensitivity, impedance, etc.; however, other things being equal, the same acoustics on a more powerful amplifier will sound louder. In addition, this parameter also affects the compatibility of the speakers and the amplifier — it is believed that the difference in the nominal powers of these components should not exceed 10-15% (and ideally, the powers should generally match). And since different rooms require speakers of different power, this also affects the choice of amplifier for a particular environment; specific recommendations on the ratio of room characteristics and acoustic power can be found in special sources.

Also note that if the amplifier can operate with a load of different resistance (see..."Permissible acoustic impedance"), then for different options the power per channel will be different — the lower the resistance, the higher the power. In the characteristics, in this case, the maximum value of this parameter is usually indicated — that is, the power at the minimum allowable resistance.

This indicator determines the amount of extraneous noise that accompanies the sound output by the receiver's amplifier. It is convenient because it takes into account almost all possible significant noise — both created by the device itself and due to external causes. The higher the signal-to-noise ratio, the lower the noise volume compared to the main signal, the cleaner the amplifier will sound. A reading of 70-80 dB is considered normal for most consumer electronics, but in AV receivers, which are usually premium devices, this can only be called satisfactory. In the most advanced models, this figure can significantly exceed 100 dB.

The ability of the receiver to work in Bi-amping and/or Tri-amping mode.

The basic principle of both of these modes is that the audio signal is divided into several frequency bands (LF and HF for Bi-amping, in the case of Tri-amping, mid frequencies are separated separately), and each band is processed by its own amplifier and output to its own specialized set of speakers. . In this way, a noticeable improvement in sound quality can be achieved. However, note that the specific implementation of this function in AV receivers may be different. The simplest option involves two or three built-in power amplifiers, each of which outputs the entire audio range to its own set of connectors. To such a device, you need to connect an external crossover (frequency filter) or speakers with built-in filters for each frequency band. More advanced receivers may have their own built-in crossovers, in which case only part of the frequency range is output to each amplifier with a set of connectors; this eliminates the need for external frequency filters. However, anyway, to use Bi/Tri-amping, you will need speakers that support this connection format.

— AM/FM radio. The presence of a built-in tuner that allows you to receive AM and FM radio broadcasts without additional devices (except perhaps an antenna is required, and then not always). In FM, it is possible to realize the transmission of high-quality stereo sound, however, the waves propagate only within the line of sight (10-20 km); therefore, most of the stations in this range are classified as "urban music". In AM, the transmission range is already measured in hundreds of kilometers, but the sound quality is noticeably lower; therefore, such stations usually specialize in talk programs (particularly news).

— USB stick. The ability to connect a USB drive to the receiver — for example, a "flash drive" or an external hard drive — and play content from it directly. This requires a USB connector. Most often, in models with this function, it is located on the front panel (see below) — this provides ease of connection; at the same time, there are exceptions. Also note that the very presence of USB does not necessarily imply the possibility of playing from external media — this interface can be used for service purposes, for example, to update the firmware or play from a PC (see "Advanced (inputs) — USB Type B").

— Network audio streaming. The ability to play streaming audio over a local network or the Internet (including from services like Grooveshark o...r Last.Fm). The name "streaming" is due to the fact that each song is played directly from the network, without being written to the receiver's own permanent storage. This function, by definition, requires connection to computer networks; most often, a Wi-Fi module is used for this purpose (see "Interfaces") or a LAN connector.

— Internet radio. The ability to use the receiver to receive and play Internet radio broadcasts. This feature is similar in many ways to the network audio described above — in particular, it requires a network connection to work, and the data is streamed; however, in the case of network audio, the user himself chooses what and when to listen, here the broadcast is similar to conventional radio transmissions and is controlled from the radio station. Actually, many major stations broadcast their programs not only on the traditional air, but also via the Internet; There are also specialized projects broadcasting only on the Web. In general, the choice of programs is much more extensive than for conventional radio broadcasting — after all, Internet radio has no range restrictions. And the receivers themselves may provide additional tools for managing such broadcasting — for example, catalogs, search by genres, languages, etc.