Table of Content
- Used Sony Radio Receiver 5.2 Channel Audio Video STR-DH550 Home Theater System
- Sony STR-DH550 5.2 Channel 4K HDMI Home Theater Stereo Receiver
- Perlisten Audio S7t 5.2 Channel Home Theater System Review
- Klipsch Home Theater Systems with 5.2 Channel Speaker System Speaker Systems Without Receiver
- Perlisten Audio 5.2 Channel Home Theater System
Carlo’s first audio equipment that he purchased with his hard earned part-time job money was a Luxman R-117 receiver and a pair of Image Concept 200 speakers which, in hindsight, he wishes he still owned. Career-wise, Carlo eventually graduated from Sheridan College with a degree in Classical Animation and was subsequently employed by Walt Disney Consumer Products for 10 years as a Character Artist and Art Director. Having become disenchanted with Los Angeles, he then decided strike out on his own. Carlo started his own company and has been freelancing artwork, from his home studio, for primarily the toy and publishing industries since 2001. A wide variety of music is often heard coming from Carlo’s studio while working on his latest project.
We are hiring a Software Developer to join our talented team in designing and delivering high-quality, perfectly functioning software for our advanced airborne systems. You will work closely with other developers, engineers and project managers in a fast-paced, cutting-edge environment. In summation, a major advance in the science of speaker design has been demonstrated by Perlisten.
Used Sony Radio Receiver 5.2 Channel Audio Video STR-DH550 Home Theater System
The diaphragm uses a carbon fiber construction for a lightweight yet rigid moving surface that is motivated by a huge magnet structure. The drivers are powered by a sizeable Class-D amplifier capable of outputting up to 3 kW of power for short-term bursts. This is all monitored and controlled by sophisticated DSP and accessible by both a small touch screen on the top of each sub for basic settings and an iOS or Android smartphone app for much more granular control. I used the iOS app on my iPhone and found it to be smartly laid out with complete access to both individual subs and global volume as well. During my review, the app also advised me of a firmware update for the subs and it easily updated the code on each unit via Bluetooth. The S4b bookshelf speaker that will be used for surround duty is a sealed compact monitor that is heavier and more inert than any other comparably sized speaker that I’ve come across.
One needs to understand this one curve does not tell us fully how well the speaker performs. We need to look at the quasi-anechoic curves below to see the components that make up the direct response and the reflections. Changes in DI ratios will obviously set the tilt of the in-room response and no ideal tilt value exists.
Sony STR-DH550 5.2 Channel 4K HDMI Home Theater Stereo Receiver
While the bounces are attenuated, they are not gone, and the curves need to be well controlled as we see here to prevent the directivity indices from being degraded. For the 2-channel part of the review, I set up the Perlisten S7t tower speakers in my studio space (35 ft x 23.5 ft x 7 ft) in my typical listening scenario. The speakers were placed 8.5 feet apart with just a mild degree of toe-in. My seating position was 10 feet away from the mid-point of the speaker layout. For stereo listening, I paired the speakers with my Benchmark HPA4 preamp, DAC3 B, and AHB2 power amp.
Even when listening casually to this CD while well away from the speakers, at my computer desk, what I was hearing often sounded so good that I had to stop what I was doing to turn around and just enjoy the music. Now, having acquired a decent understanding of the speaker’s sound character, I brought the twin R212s subwoofers into the studio to create a 2.2 channel system to see how that would fare. Using the Anthem STR preamp’s bass management and room correction capabilities, I was able to blend both the monitors and subwoofers together with stereo bass. The dual-driver, push-pull design of the R212s subwoofers provided an unyielding supply of tight and authoritative bass whenever the situation called for it. And by just “juicing” the overall bass level by 2 dB, it brought almost stupid levels of fun to certain bass-heavy electronica and rock tracks! The latest version of REW also allows for calculating PEQ data for the Perlisten sub as an added bonus.
Perlisten Audio S7t 5.2 Channel Home Theater System Review
It uses the same DPC-Array and a single 7-inch TPCD woofer as found in the larger S series models. It was also finished in the same piano black look as the center channel. The S4b has a set of mounting holes on the back that work with a custom bracket allowing for wall mounting. I should note that Perlisten also makes the S4s on-wall surround speaker that looks like an upside-down and shallower S4b with a downward angled baffle.
Even at a mere 5 feet away, I was still able to get a good stereo image from the S7t. The dimension, body, and detail of sound that I was hearing from these speakers was incredibly well controlled and showed almost no signs of variation as I moved around, compared to any other passive loudspeaker that I have heard. That level of detail reproduction and control extended to the bass as well.
Product Specifications of the ELAC Cinema 5.2 Home Theater Speaker System
Through that formative experience, Carlo developed and appreciation for good music, and for good sound reproduction. The question of what makes one piece of equipment sound better than another is something that he’s always found fascinating. Also, as a budding graphic artist, the aesthetic aspects of a given piece of gear became increasingly of interest to his eyes. It was at about that time as well that Carlo began purchasing “Audio Magazine” on a regular basis and came to appreciate, in particular, the writing and reviewing of the late Leonard Feldman.
Below that there is a bit of a hump from 300 Hz to 500 Hz, a matching peak at 180 Hz to the R5m and then a roll-off in the response below 80 Hz. All indications are that a similar application of room correction, maxed at 600 Hz , would clean up these room-induced bass issues as they did with the R5m. Moving to the vertical radiation pattern for positive angles for the Perlisten R5m, we see the plots for 0 to +40 degrees, scaled from 300 Hz on up provided by the manufacturer. Around 3 kHz the outer two of the 3 tweeters, which reduce the vertical radiation from the 1.3 kHz crossover to the DPC, are being turned off.
” Yes, but it’s one thing to look at the speakers and conclude that fact but it’s another thing to hear the difference back-to-back. It worked the same way with the Perlisten S7t tower speakers that I reviewed as well, and I liked that method of sound projection/presentation. Overall detail and tonality were very similar between the two speakers with the Revels having a touch more “zing” to cymbals and similar instruments, but the Perlisten wasn’t what I’d call soft by comparison either. This intense undercurrent of bass continued into “The Octopus-Homecoming Medley” where the low register harp notes were joined by deeper horns, bass drums, and double bass. These instruments gradually combine together to create a sweeping musical mass that circles between and around the speakers with increasing ferocity. The music then opens up into a bright and lively, full orchestra fanfare, with horns and strings and all sorts of percussion incorporating serious dynamics.
Adding DSP to this design that could optimize the main lobe would require an amp on every driver and a DAC connected to every amp. The computational power needed in the DSP would be far greater than what is required when replacing the passive crossovers in a typical 3-way speaker. This is a graph from Anthem ARC showing the calibrated responses of all five Perlisten speakers and the dual subwoofers in my home theater. The Left and Right channels had a MAX EQ level of 350 Hz, the Center channel MAX EQ was 700 Hz while the surrounds had a MAX EQ level of 400 Hz. The subwoofers blended into the space very well and had solid extension to at least 15 Hz. Then the response could be optimized for different listening heights, but this would start to excite the ceiling reflections.