Marantz AV8801 Preamp/Processor Official Owner's thread - Page 19

So I'm guessing your not a big Apple fan.

I thought ARC was Audio Return Channel.

I think that's a reasonable expectation.

Nope.  I love my iPad, though.

There are multiple meaning for ARC.   Off the top of my head and just in the audio realm, we have

Audio Return Channel

Audio Rate Control

Anthem Room Correction

Audio Research Corporation

 

Google will give you more.

Definitely better build quality on the 8801 over the 4520. But will that equate to better SQ?

Bill

....and that my friends is the $3,600 question.

< treading gently >

careful on the assumption of "better build quality"...

Yea...well given copper is currently trading at $3.52 a pound it better be a lot of copper and make it sound miraculous

Well looking at the internals of the 8801 compared to the 4520 the 8801 looks quite impressive.

Bill

As most of the digital front-end is pretty much the same on both units, it's the differences in the power supplies and the analog output stages (like Marantz HDAM vs Denon DDSC) that will impart distinctive sound characteristics to each unit. This reminds me of a conversation I had at an audio show with the main designer of the Simaudio Moon CD player that uses the ESS Sabre32 Reference DACs; he mentioned that you can choose the best DAC for your design but you can still mess up the implementation by poorly designing the analog output stages.

I don't want to burst your bubble but the description states that the chassis is composed of COPPER PLATED STEEL, as is electroplated, you know a few microns thick... OK maybe a few thousands of a meter thick.

30lbs:D

Which kinda makes it odd that the magazine that you write for, drapes Class A+ awards on products that do not incorporate any form of room correction, no?

As Francis Urquhart said, “You may very well think that, but I couldn't possibly comment.” 

The thing is with room treatment and good positioning of speakers vis a vis the listening position, you can mitigate the room effects significantly so as not to incur the penalties of Room EQ.

And that is why music can sound better (stereo or multichannel) without any form of DSP EQ applied because using EQ creates additional artefacts of its own.

I still use EQ particularly SubEQ in movies because I find that with movies, the pros outweigh the cons when there's a lot of low level frequencies that can only be contained using more elaborate bass treatments but that creates additional problems of its own.

Wouldn't that be a $1100 question?

8801-4520=1100

I would definitely like for that HDMI feature utilized and become the industry standard. That way you can mix and match brands of players and receiver/processors.

Ditto.

But ARC like DenonLink tends to improve MPCM data from BluRays more than bitstream data. I find the improvements not as discernable when I send DTS HDMA/TrueHD down HDMI.

DenonLink works more than just as a master clock for HDMI though. With SACD/DVDA/CD, it also acts as a separate digital interconnect which I feel is better than HDMI for DSD/PCM audio

I don't believe that's a fair assessment. The vast majority of stereo preamplifiers and amplifiers that receive those class A+ distinctions are analog in nature and offer no form of bundled digital room correction. There are a few rare exceptions in the market like some digitally controlled class D integrated amplifiers from makers such as Lyngdorf Audio, Holm Acoustics, Phase Technology, Tact Audio, etc. that offer such capabilities but if Stereophile hasn't reviewed them yet, then they can't possibly have the opportunity to be considered for an award.

However, in the Stereophile 2012 Recommended Components for Music Surround-Sound Components, you'll find under the class A section, the highest distinction for that category: the $9K Anthem Statement D2v with ARC, the Integra DHC-80.3 with Audyssey MultEQ XT32 and the $12K McIntosh MX150 with Lyngdorf RoomPerfect.

That same magazine also awarded Audyssey's MultEQ XT32 with the Products of 2011 JOINT ACCESSORIES OF THE YEAR award.

Actually I believe Kal has reviewed some stereo DSP/RoomEQ systems before in Stereophile.

But if RoomEQ is so important and none of the Class A+ gear have them, are those Class A+ systems then unusable?

Regardless of all of your attempts to divert/spin the topic, room EQ is as vital for music as it is for movies. Same room, same requirements.

Generally agreed.

I sold both my Classe SSP 800 and CP 800 devices - despite their superb "quality", the in room performance for me was lacking without room correction and bass management.

If you have the freedom to design a purpose built room, with the precise room treatments, size, and positioning required, then products like the Classe would likely shine superior even when compared to room correction solutions i(a well-designed, though not "top their" processor).. But since almost no one has that kind of room, then the benefits of well-implemented room correction can outweigh the superior architecture of a non-room correcting processor when it comes down to plopping our ever-increasing buttock's in the chair to simply listen...in fact I'd argue there is a need for it (not our ever increase buttocks size, but room correction)

Isn't all or most of the Stereophile Class A gear potentially useable with some room eq brought into the system some way?

But if you are asking me whether I think that Stereophile's evaluation and rating system ummm, needs some work the answer is YES!

Let's talk.

When Kal shows up at SP there is at least one sane man in the room, and when he leaves... ?????

From Kal Rubenson:

First, I am green with envy. I am still waiting.

Second, may I ask if you plan to do a Music In The Round review of my new pre/pro? How about the MM-8807, my new amp?

Steven.

Oops! Ignore my question. I should know by now to check to see if their are any posts pertaining to my curious side.

Steven.

I completely agree.  If people did pay more attention to managing their room's acoustics, a priori, there would be little need for EQ except in the bass.  However, if one is crossing over to the subs below 100Hz, it is likely that all the channels need some LF EQ anyway.

But the SSP has bass management and a quite effective EQ.