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The NAD T 175 audio/video processor, introduced a couple of years ago, is one of NAD’s Modular Design Construction (MDC) components, meaning that its audio and video boards are on removable modules. The new MDC modules for the T 175 now include Dolby TrueHD and DTS-HD Master Audio decoding, and Sigma Designs’ advanced VXP video processing. Owners of the original model can upgrade their units simply by buying and installing the new audio and video modules. If NAD keeps releasing new versions of these MDC modules, owners will be able to keep updating their T 175s without having to buy an entirely new A/V processor for quite some time.
The newest T 175 ($2999 USD) is the top of NAD’s line of standard home-theater components, which also includes several MDC surround receivers; the T 175 is their only separate surround processor in that line. The T 175 includes NAD’s most advanced audio module, the AM 200 Dual DSP. In addition to Dolby TrueHD and DTS-HD Master Audio, it supports Audyssey’s MultEQ XT room correction, and Dynamic Volume and Dynamic EQ. In addition to Audyssey’s standard and Flat EQ target curves, the T 175 includes NAD’s own target curve, developed by Paul Barton of PSB Speakers. (PSB and NAD are both owned by the Lenbrook Group.) According to Barton, the NAD curve is subtly different from the Audyssey curve in having slightly less high-frequency energy. Barton is well versed in this subject; in the late 1980s, he was involved with the Athena Project at Canada’s National Research Council, which investigated digital signal processing for loudspeakers.
The T 175 also includes Dolby Pro Logic IIx and NAD’s EARS processing, the latter said to add subtle enhancement of the surround ambience present in two-channel recordings. For those who want to adjust the audio settings themselves rather than rely on Audyssey’s automatic calibration, the speaker levels and distances can be set in respective increments of 1dB, and of 1’ or 0.3m. The subwoofer crossover points can be set independently for the front, center, and surround channels from 40 to 200Hz, in increments of 10Hz.
NAD’s VM 200 video module features Sigma Designs’ VXP broadcast-studio-quality video processing. This is a premium video processor, but the T 175 offers only the most basic video adjustments of edge enhancement, noise reduction, brightness, and contrast -- though this did make setup relatively simple and speedy.
The T 175 measures 17”W x 5.75”H x 13.75”D and weighs 17.6 pounds. Its exterior is finished in matte black, with a thick metal faceplate that gives it a solid look and feel. A substantial toroidal transformer can be seen through its top vents. The audio and video inputs, all of them assignable, consist of four HDMI, three component video, three coaxial, and three optical digital audio inputs. Also included are analog stereo audio and composite and S-video inputs, and a single 7.1-channel analog audio input. That last is a direct input with volume control only, and no DSP of the audio signal. Video monitor outputs are available on the composite, S-video, component, and HDMI connections. There are coaxial and optical digital audio outputs, and the AC cord is removable. Additional composite video, S-video, optical, and stereo analog inputs are available on the front panel, along with a headphone jack and an input for a media player or the Audyssey calibration microphone. Up to four listening zones can be configured, and there are options for adding an iPod dock, and XM satellite and DAB radio tuners.
The slim remote control is easy to hold, with a nice heft. It’s backlit, with a handy LCD display that indicates the device currently selected and the last button depressed. It also signals when its batteries are running low. There are even buttons that give direct access to channel levels and the Audyssey MultEQ target curves. This is one of the most functional remote controls for a surround processor from a specialty manufacturer I have ever used.
One problem I had with the T 175 was what sounded like a clicking relay each time the unit locked to an audio signal. This occurred at the beginnings of Blu-ray Discs or DVDs, when I cycled through multiple trailers and menus, but it also happened whenever I skipped a chapter or track on any video or audio disc. It would even occur between tracks, when I played straight through CDs or SACDs with either the Oppo BDP-83 universal player or the Sony PlayStation 3. This issue was isolated to the digital inputs; it didn’t happen when I used the analog audio inputs.
The T 175 might have limited options of video adjustment, but its picture quality through the Sigma Designs VXP video processor was outstanding. Native 1080p material from Blu-ray Discs looked immaculate. The plentiful inky blacks in The Dark Knight were beautifully reproduced with superb shadow detail, and outdoor scenes, especially those presented in the 1:78 aspect ratio, had outstanding clarity and detail.
Public Enemies, which was shot in HD video, had an eye-catching and hyperdetailed look. In the final scene in the women’s prison, the bright white background of the prison walls was starkly contrasted with the ruddy complexion of Special Agent Winstead (Stephen Lang). The various shades of gray and the textures of grout on the walls, Winstead’s suit, Billie’s (Marion Cotillard) dress, and her tearful eyes, were striking. In one of the early scenes, as Melvin Purvis (Christian Bale) chases Pretty Boy Floyd (Channing Tatum), the detail visible in the lush green vegetation of the fields and orchards was impressive. It was also easy to distinguish the differing weights of material in clothing, such as Purvis’s heavy wool pants and Floyd’s comparatively lightweight suit.
The 480i video signals from standard DVDs also looked excellent through the T 175. Standard-definition CGI animation can look outstanding when properly deinterlaced and upscaled, and it did with the NAD’s VXP processor. Cars, with its bounty of bold primary colors, had plenty of visual pop, and plenty of detail was apparent in the many logos adorning the cars. At times, the bright lighting effects in the desert outside Radiator Springs looked almost like real sunlight. And although it was entirely artificial, there was a sense of dimensionality to the racetrack and stadium in the opening scenes.
Deinterlacing torture tests, such as the “flyover” of the Colosseum in Gladiator, were handled smoothly, as were the empty grandstand seats in the racetrack shots on the Silicon Optix HQV Benchmark DVD. The VXP video processor was able to immediately lock on to the seats with no visible moiré patterning. The “Jaggies Tests” exhibited only a slight wavering in the most extreme portion of the tests. More natural-looking material, as in Ang Lee’s Hulk, looked exceptional. The Hulk himself looked cartoonish and artificial, but the beautiful cinematography and natural lighting of the live-action shots were remarkably smooth and realistic.
Inglourious Basterds looked fantastic on Blu-ray, but the sound quality was even more impressive in DTS-HD Master Audio through the T 175. Giorgio Moroder (music) and David Bowie’s (words) “Putting Out the Fire,” which originally appeared in the soundtrack of another film, Cat People (1982), is used to fantastic effect in this film, and sounded simply stunning. The music was spread effectively among the speakers, and Bowie’s voice was wonderfully lucid through the front speakers. When the actors began speaking, the music was mixed down and pushed into the background, but it was still easily distinguishable, and the dialogue was equally intelligible. The shoot-out in the tavern demonstrated the T 175’s ability to reproduce startling dynamics while maintaining a sense of control and composure so that the sound didn’t become overbearing. Even more noteworthy was the NAD’s ability to capture the aural ambiance of the claustrophobic setting. Background conversations and even an old phonograph sounded as if they were actually taking place in a small basement tavern. The soundtrack of Inglourious Basterds is of reference quality; with the T 175, I was completely immersed in the film’s reality.
Morph the Cat, from Donald Fagen’s Nightfly Trilogy (DVD and CD, Reprise 9362433252), in both 24-bit/96kHz stereo PCM and 5.1-channel DTS, was equally involving. This nearly perfect pop album is reminiscent of Steely Dan’s Gaucho, but unlike that much older recording, Morph has all the richness and highly detailed sound of today’s best hi-rez recordings. In DTS, the silky-smooth vocals on “H Gang” were wonderfully contrasted with occasional jazzy horn riffs, and while the surround channels were very active, there was a nice balance to the soundstage in all directions. In hi-rez stereo PCM, the title track was even better defined and more articulate, though it lacked the surround envelopment of the DTS version. In particular, the bass was deeper and more taut, and the voices sounded even sweeter.
Playing standard-resolution 16/44.1 stereo PCM from CDs or from my laptop through the Trends Audio UD-10.1 USB converter was also very satisfying. There was a dimensionality and smoothness to the sound that reminded me of a really good CD player or dedicated DAC. The piano on Jackson Browne’s “Sky Blue and Black,” from The Next Voice You Hear: The Best of Jackson Browne (CD, Elektra 7559621522), had a fullness, especially in the lower registers, and an unforced quality to Browne’s unhurried singing. The pinpoint imaging of “Lives in the Balance” was appropriately holographic. If, like most people, you have a lot of standard-rez digital stereo recordings, you won’t be disappointed in the T 175’s reproduction of them.
The NAD T 175 doesn’t have the multitude of setup options of my reference A/V processor, the Anthem Statement D2, or the Anthem’s high level of transparency -- but neither does it have the much higher price of the D2 ($7499 when available). When I listened to “Heart of Gold,” from Neil Young Archives, Vol.1: 1963-1972 (CD, Reprise 0093624996057), the Anthem was better able to convey a sense of energy from this live recording. There was a darker background, and more smoothness to Young’s harmonica, in addition to an authenticity in his voice, that just sounded more alive. The NAD still sounded excellent with music-only recordings, and I thoroughly enjoyed listening to both standard- and hi-rez two-channel recordings through it. Overall, I preferred the sound of the Anthem Statement D2, but considering that the NAD T 175 costs less than half as much, it came surprisingly close.
I preferred NAD’s own EQ curve to Audyssey’s target curve -- it had a bit more bass, and a fuller sound that didn’t sacrifice bass definition. However, the reduced HF energy in the NAD curve, as described by Paul Barton, might explain that perception. “Putting Out the Fire,” from Inglourious Basterds, sounded a little thinner with the Audyssey curve; switching back to the NAD curve resulted in a richer sound with no loss of detail. Even so, the differences were fairly subtle; some might prefer the Audyssey curve, but I commend NAD for providing another option.
I was disappointed by the T 175’s paucity of video adjustments. That said, many users don’t want to contend with complex video adjustments, and won’t use them even if they’re provided. And Sigma Designs’ VXP is still considered one of the best video processors available. With the high-quality ABT processing built into the Oppo BDP-83 and the earlier generation of VXP processing in the Anthem Statement D2, the three components I was comparing had nearly indistinguishable picture qualities. At times I thought the NAD outperformed the Oppo and Anthem in HQV Benchmark’s “Jaggies Tests,” but its scaling and deinterlacing of the standard-def DVD of Cars looked a bit soft. Still, these differences were relatively minor and fleeting; images from all three components looked very good, whether they were processing 480i video from DVDs or simply passing along 1080p signals to my 56” RPTV.
The inclusion of MDC in the T 175 is no insignificant feature. The original T 175 didn’t have VXP video processing, or the ability to decode Dolby TrueHD or DTS-HD Master Audio. Hopefully, NAD will continue to upgrade its MDC modules so that T 175 owners will be able to take advantage of the latest technologies -- such as HDMI 1.4 (which appears to be required for 3D video), or Audyssey DSX or Dolby Pro Logic IIz.
The NAD T 175 may lack some features and flexibility, but it’s still an excellent performer. It includes the latest VXP video processing, and has exceptional sound with both movie soundtracks and music, all for a reasonable price of $2999. Assuming continuing MDC upgrades, the T 175 should remain a solid recommendation well into the future -- something that can’t be said for many other surround-sound processors.
. . . Roger Kanno
NAD T 175 A/V Processor
Price: $2999 USD.
Warranty: Two years parts and labor.
NAD Electronics International
633 Granite Court
Pickering, Ontario L1W 3K1
Phone: (905) 831-6555
One of the great audio success stories of the past few years is Aperion Audio. The company emerged, seemingly from nowhere, to blow away reviewers and consumers alike with its great-sounding, well-built speakers at surprisingly low prices. Among Aperion’s newer products is its series of in-wall and in-ceiling speakers, from which I took on the Intimus 6-IC in-ceiling model ($149 USD each).
The 6-IC is robust -- it feels heavier in the hand than its claimed weight of four pounds would have you think. Included in the speaker’s overall dimensions of 9” diameter by 5” deep are a 6.5” woven-fiberglass mid/woofer, a 1” silk-dome tweeter, a frame to mount both drivers, a crossover, and a pair of binding posts. Aperion claims a (probably generous) frequency response of 50Hz-22kHz, but doesn’t specify to what tolerance (i.e., +1/-3dB). The 6-IC’s sensitivity is specified as 88dB; Aperion recommends a range of amplification of 20-200W.
The Intimus 6-IC’s tweeter isn’t quite coaxial. Mounted on a three-armed support in front of the mid/woofer, it’s angled off to one side rather than pointed straight ahead -- which means its output can be aimed. Simply rotate the entire speaker until the tweeter points at the desired spot, then lock it in place. If that provides too little or too much treble at the sweet spot, the driver’s output can be boosted or attenuated using a sliding switch mounted on the speaker’s frame. An identical switch offers the same boost or cut for the bass driver. Both switches also feature a neutral position.
Installation involved unboxing the 6-ICs and hooking up some wire. The Intimus is designed to be set into a ceiling, and I’d originally intended to use the pair of them for my A/V receiver’s surround channels. However, I decided that the surround-channel outputs would give me little to base a review on, so I put the speakers to use in my wife’s workout area. There they’d pull full-range duty, and would have to prove their boogie potential before they would be judged acceptable.
Calling our unfinished basement a “workout area” gives the space a classier name than it deserves. The first problem I faced was the fact that there’s no ceiling into which these in-ceiling speakers could be installed -- the only things overhead were exposed floor joists. The space between each pair of joists is 18 inches, and each joist has a lip along its bottom edge. Those lips offered perfect supports from which I could suspend 18”W shelves of medium-density fiberboard (MDF) from Home Depot. The shelves solved my lack of ceiling, and made cutting the holes and installing the speakers dead easy: I could do all the work on a bench, then just install the shelf between the joists.
Aperion includes two cutout templates with each 6-IC, one printed for the purpose, and the other, the cardboard ring that supports the speaker in its box, as a standby. I used the cardboard ring, as it made tracing circles of the right size on the shelf boards easy. Once I had my circle traced, I drilled a starter hole inside the circumference, inserted my jigsaw’s blade, and, about a minute later, had a more or less perfect circle. Installation in a normal ceiling would require less trouble: a simple one-handed drywall saw would make quick work of most ceilings.
It was perfectly fine that my circle wasn’t exactly round; each speaker has an edge lip more than wide enough to hide all but the grossest cutting errors. The holes cut, I inserted the boards between the selected joists and secured them in place with generous helpings of Blu-Tak, which also offered the advantage of isolating each board from the floor structure above. Next I pulled some previously installed Analysis Plus Blue Oval in-wall speaker cable through the hole and, setting the speaker on the top shelf of my stepladder, inserted the cable into the nice-quality binding posts affixed to each Intimus’s crossover circuit board.
I inserted fiberglass insulation into the new ceiling cavity I’d made, to cancel out any standing waves created by the speakers’ backwaves. I also made sure that each tweeter was aimed toward the center of the room. In making the 6-IC easy to install, Aperion fits each speaker with four little swing-out arms that act as compression clamps when a screw is turned. The first twist of the screwdriver forces the arms out into position (they remain tucked in to ease the insertion of the speaker into the hole), and each subsequent turn causes the arm to clamp down on the ceiling from the inside. I tightened the four arm clamps on each 6-IC and noted with satisfaction that both speakers were clamped tightly in place. All that remained was to put in place the metal mesh covers. Total installation time for both speakers: about 30 minutes.
For this review I dug out my old friend, Blue Circle Audio’s CS integrated amplifier. Not wanting to give up the Simaudio Moon CD3.3 in my main system, I paired the CS with an NAD C 515BEE CD player. Interconnecting duties were performed by TARA Labs’ RSC; the speaker cables were Analysis Plus Blue Oval. Anyone installing speakers in walls or ceilings would do well to use purpose-designed and certified speaker cable. No one wants to find out from their insurance agent that fire damage isn’t covered because a non-spec speaker cable shorted out inside a wall.
Speakers installed in a wall or ceiling are at a natural disadvantage to their enclosed cousins: They lack the benefit of a cabinet designed to get the best out of them. With that in mind, and given the Intimus 6-IC’s low price, I set my expectations fairly low. I couldn’t expect such speakers to perform miracles.
My initial reaction to the 6-IC was that the treble was too hot, the bass fairly weak. I therefore set the equalization switches to boost the bass and cut the treble, then left the speakers to cook over the course of a weekend. After that, the speakers had clearly broken in, so I started playing reference tracks while applying some coats of shellac to a woodworking project.
Now that they’d been run in, I noticed that each Intimus 6-IC had a much more integrated sound than before, when it seemed as if woofer and tweeter were having nothing to do with each other. The bass response tightened up nicely but was still on the weak side. There was, of course, no faulting the speaker for this -- a 6.5” mid/woofer can do only so much in that department. When I played recordings of sax-piano-drum jazz trios, the 6-IC didn’t sound as if it lacked anything much, especially at background listening levels. Lower volume settings were also well suited to reproducing pop and rock.
But when Mrs. Smith works out, she wants volume and pounding bass, two areas where the 6-IC’s weaknesses showed. Madonna’s Music (CD, Warner Bros. 47598), a workout favorite, was reproduced cleanly and pleasingly from the midbass up at a volume level that would preclude normal conversation, but there was no flesh on the low-bass bone. Again, I’d expected this; it represents not a performance flaw, but an inherent limitation of this type of speaker.
Things improved when I hooked up a Revel Concerta B120 subwoofer. With the bottom octaves now fully present, I found it much easier to enjoy the really quite good midrange and treble performance of the 6-IC. Male and female voices were clear, with no signs of congestion or shouting. Imaging wasn’t at all bad, considering the fact that the speakers were placed well above my ears -- but, for the same reason, the soundstage was a bit out of whack. Still, the 6-IC was good enough that I didn’t find myself wanting to switch back to conventional speakers at the first opportunity.
Having no other in-ceiling speakers to compare the 6-IC with, I had little choice but to pit it, admittedly unfairly, against a box speaker: the Mordaunt-Short Carnival2 ($299/pair). And though I couldn’t exactly A/B the M-S and Aperion models, I did have my experience of hearing in-ceiling speakers in other homes to fall back on.
I can’t provide makes or models, but I can say that most other in-ceiling speakers I’ve heard have sounded awful. I’m not talking about the kind of industrial speakers used in stores or elevators, but those found in kitchens and bedrooms across the land, which often sound thin, tinny, and distorted -- nowhere near hi-fi. However, the 6-IC was hi-fi. It made music sound like music, not like screeches emerging from a rusty tin can.
The 6-ICs offered a much more enveloping sound than the Mordaunt-Short Carnival2s, limited as the latter were to a terrestrial mounting. For the same reason, the Carnival2s projected a more realistic soundstage (music tending to be performed in a down-to-earth fashion), and could produce more substantial bass than the 6-IC, which I noticed most with kick drum. I thought the 6-IC more accurate in the midbass; the Carnival2 lacked some definition around the 60Hz level, which tended to make bass-guitar notes blend together. It was an honest draw between the soft-dome tweeters in each model, with no glaring errors or omissions to note.
As surround or background-music speakers, Aperion Audio’s Intimus 6-IC is a winner. I would never suggest that the 6-ICs replace conventional loudspeakers in a conventional system, but then the 6-IC was never intended to be all things to all people. Keeping its inherent limitations in mind, I can say that the Aperion Intimus 6-IC is a most satisfying in-ceiling loudspeaker.
. . . Colin Smith
Aperion Audio Intimus 6-IC In-Ceiling Loudspeakers
Price: $149 USD each.
Warranty: Ten years parts and labor.
18151 SW Boones Ferry Road
Portland, OR 97224
Phone: (888) 880-8992, (503) 598-8815
Fax: (503) 598-8831
The home-electronics industry is a greatly competitive one that offers a plethora of products to the merciless scrutiny of the consumer. So how does a company competing in such an industry persuade consumers to purchase their products? By offering excellent performance at affordable prices. This is the philosophy adopted by Polk Audio, and by adhering to it over the years, have transformed their name into one widely recognized for quality and performance. So when I was approached to review a Polk Audio RTi-series home-theater speaker system, I was intrigued to see and hear what they could do.
I was sent four RTi A1 bookshelf speakers ($339.95 USD per pair), a CSi A4 center-channel speaker ($279.95 each), and a DSW Pro 400 subwoofer ($449.95), all but one finished in handsome real-wood cherry veneer (the subwoofer is painted black). The RTi A1 is the only speaker I know of that sports real-wood finishes at so low a price. (It’s also available in black ash.) List price for the system, as described, is $1409.80.
Underneath that wonderful cherry veneer are five more layers of viscous laminate that comprise the non-rectilinear shape of each speaker. In all five of their RTi A models, Polk employs what they call Damped Asymmetric Hex Laminate Isolation (DAHLI), a cabinet design that reportedly results in a stronger, stiffer, more acoustically inert enclosure. As well, all RTi speakers have gold-plated five-way connection posts spaced far enough apart to make hooking up speaker cables a breeze, regardless of method.
The RTi A1 is a magnetically shielded, dual-ported, two-way speaker with a 1” silk/polymer-composite dome tweeter and a 5.25” polymer/mineral-composite mid/woofer. The technologies developed by Polk for the RTi series are many for a speaker at this price. In addition to the DAHLI system mentioned above, Polk Dynamically Balances and Klippel Optimizes their speakers. What this means in English is that, in an effort to reduce or eliminate factors that deleteriously color the sound, they microscopically observe the operation of each component of each speaker. Along with this, Klippel Optimization makes sure the speaker will perform well at both low and high volumes, to offer a balanced yet dynamic performance.
Once Polk was satisfied with the driver and cabinet designs, they turned their focus to the ports, in an effort to ensure that the air moving in and out of them did so quietly and smoothly, and that the bass output was maximized with a minimum of distortion. This they accomplished in two ways, first by using a unique rear-firing port that Polk calls the PowerPort -- essentially, a long, flared port with a dispersing cone mounted just past its outer end. This reduces turbulence in the air exiting the port, thereby diminishing noise, or “chuffing,” while providing deeper, cleaner, more authoritative bass.
The front port, just below the mid/woofer, uses a technology Polk calls Acoustic Resonance Control (ARC), which takes advantage of the internal resonance created by the driver’s backwave. Polk matches the frequency of this resonance with the front port’s tuning frequency. Because the port’s and the cabinet’s internal resonances are thus the same but out of phase, the peak resonances within the cabinet are canceled, resulting, Polk claims, in a more natural sound, with lower midrange distortion.
All of these technologies combine in this little bookshelf -- it measures only 12"H x 7.375"W x 11.5” D -- to help it reach as deep as 60Hz, -3dB, while maintaining an efficiency rating of 89dB.
The CSi A4 center-channel speaker, designed to partner the RTi speakers, is, in my opinion, the jewel of the quintet, especially considering its price of $279.95. Measuring a modest 20"W x 6.875"H x 8.75” D, the CSi A4 uses the same 1” silk/polymer-composite dome tweeter as the RTi A1, along with much of the same technology and components, but differs in having two 5.25” drivers. The CSi A4 doesn’t dig quite as deep as the RTi A1 but comes close, with a claimed frequency response of 65Hz-26kHz, -3dB, and the same claimed efficiency of 89dB. The CSi A4 has only one set of speaker terminals on its rear panel, which prevents biwiring, and vents via a single front-firing ARC port. It seemed to work -- the CSi A4 exhibited an almost complete lack of boxiness.
Also contributing to that lack of boxiness is the contoured top of the cabinet, whose shape creates an asymmetrical internal space to help eliminate resonances there, but also gives the listener the option of flipping the speaker upside down and placing it on the floor, so that the driver axes point up, toward the listener. Whether placed atop or below my display, voices sounded clear and concise through the CSi A4, with lifelike presence. The off-axis sound, too, was excellent.
DSW 400 Pro subwoofer
Keeping in mind that flexibility of setup is key in a system of small bookshelf models such as this, Polk offers three subwoofers that mate well with the RTi series, yet occupy little floor space. Included with the review system was the smallest of the three, the DSW Pro 400 powered subwoofer ($449.95 each), whose digital amplifier, Polk claims, puts out 360W peak to drive its single 8” composite polypropylene cone down to 30Hz, -3dB. Measuring just 14.625"H x 13.75"W x 13.75"D, the DSW Pro 400 takes up less than two cubic feet of space, and can be oriented so that its cone fires either downward or to the front.
To my disappointment, Polk’s three DSW-series subs don’t share the RTi and CSi series’ high-quality real-wood veneers. Instead, they’re finished in an attractive flat black that’s sure to fit any décor (it can be painted). Under the finish is an extensively braced cabinet of MDF with a slot-loaded port.
Around back are two pairs of line-level inputs, an LFE input, a low-pass filter adjustment, an On/Off/Auto switch, and two pairs of five-way binding posts. To control the remaining adjustments and setup options, Polk has included a fantastic remote control, the size of a credit card, that I found so easy and intuitive to use that opening the manual to complete the setup proved unnecessary. Other than basic power and volume control, the remote lets you switch among four phase positions in 90-degree increments, from 0 to 270 degrees.
Depending on the size of the room and the sub’s location in it, the DSW Pro 400 offers a choice of four equalization settings: Corner, Cabinet, Mid Wall, or Mid Room. I found this approach refreshingly straightforward and very effective: you simply select the appropriate position, and the DSW Pro 400 optimizes itself with preset slopes to provide the best performance possible from its position.
I set up the Polk system in my 13’ x 25’ listening room with the front speakers sitting on a pair of 24”-tall speaker stands, each 1’ from the front wall and from the side of my TV cabinet. The rears were placed on 30” speaker stands about 1’ to the side and behind my couch, and the sub midwall, roughly 2’ from the right front speaker. Power was provided via a Rotel RSX-1058 A/V receiver delivering 75Wpc through River Cable Flexygy 8 speaker cables, and all source material was played by a Denon DVD-5910CI DVD player via River Cable Audioflex Gold Plus analog and HDMI cables. After positioning the DSW Pro 400 subwoofer to fire downward and taking about five seconds to set it up, I toed-in all four RTi A1s about 15 degrees toward my listening position and was ready to go.
Movies and music
I was eager to hear if the RTi A1 system’s performance would match its outstanding build quality, and I wasn’t disappointed. One thing I love about small, well-built bookshelf speakers is their uncanny ability to image and “disappear” from room, system, and sound. For the most part, the Polks did just that. When playing chapter 29 of James Cameron’s Aliens, in which the team attempts to draw the aliens toward them by directing them down two corridors, into an ambush of automated machine guns, the RTi A1s did an excellent job of conveying intensity, displaying surprisingly good dynamic range and decent midbass punch for such small speakers. This was evident with each shot the machine guns fired down the corridors, and by the sheer volume of what was going on. The DSW Pro 400 did a great job of conveying impact with each shot, while never making me aware that it was 2’ outside the “circle” described by the five non-sub speakers. Detail from both the RTi A1s and the CSi A4 was clean and well defined yet never brash, as some smaller systems can sound when pushed to higher volumes.
When I watched chapter 11 of The Descent, the RTi A1s worked together to convincingly reproduce the aural experience of being in a cave -- I could hear water trickling down walls around and behind me, even though I was much more focused on watching the spelunkers trying to cross the underground crevasse. I was also very pleased with the performance from the center channel with this film’s soundtrack. Most of the characters have thick accents that can be difficult to understand unless heard clearly, especially when they’re talking fast or screaming in fear, yet the CSi A4 did an admirable job of articulating every word. In fact, voices -- quiet or loud, male or female -- were lucid and concise from every source signal I fed the CSi A4. Although the center-channel speaker is timbrally perfectly matched to the RTi A1s, it was so tonally correct that it could easily be used in a system with higher-end speakers.
The Polks’ dynamic, hard-hitting sound made watching action movies a particular treat. No matter what I played, the speakers always seemed to beg for more, as if to say, “Go for it -- we can take it.” In chapter 21 of Transformers, a battle between Optimus Prime and Megatron, the Polks’ dynamic nature paid dividends: explosions had smooth yet taut bass from the DSW Pro 400, and ample detail and texture from the RTi A1s and CSi A4. Each time a piece of concrete, stone, or glass was smashed to bits, The RTi A1s did a terrific job of providing the impending crack on impact, and also of resolving the intricate sounds of the stone or glass crumbling, and the pieces hitting the ground.
The RTi A1s and CSi A4 also presented transients with momentum and precision. In chapter 8 of Daredevil, when the Daredevil is brawling with a criminal in a grungy pub, the camera floats through the air as various sounds are highlighted on the soundtrack -- background music, overlapping voices, bullet casings hitting the floor -- even as a consistent sound picture is retained of what’s happening front and center. All of these sounds started and stopped very quickly, yet all were presented clearly enough to be understood -- a perfect example of just how well the Polk speakers could work together to create a holistic theater experience.
The DSW Pro 400 didn’t offer the lowest octaves or highest volume levels that I was hoping for. This was no doubt partially due to my slightly large room; most people with a room my size would probably choose Polk’s larger, more powerful DSW Pro 500 or even the DSW Pro 600.
What the DSW Pro 400 did deliver was a bulletproof confidence toward movies and music, yielding smooth, controlled, punchy bass while seamlessly integrating its sound into that of the rest of the system. In fact, when listening to two-channel material, I found the DSW Pro 400 quite musical, especially with jazz and blues. “Cold Cold Heart,” from Nora Jones’s Come Away with Me (CD, Capitol 5 32088 2), was quite enjoyable through the RTis plus DSW Pro 400. Voices were vivid yet smooth, sounding slightly forward. Bass-guitar plucks had a lingering finish that added a nice richness to the music, and piano notes seemed to hang in the air longer than I’d expected them to.
Polk Audio has built another quality product at an affordable price. The RTi A1s not only looked brilliant in their real-wood veneer, they offered plenty of detail, control, and excellent dynamics, which all came together to reproduce multichannel source signals with an invitingly three-dimensional soundstage. The CSi A4 further upped the ante with a sound almost entirely free of coloration, clear and articulate and devoid of any dreaded boxiness. Rounding out the system was the DSW Pro 400, which, when used in a room of appropriate size, proved to be a good, easy-to-use subwoofer that excelled with music and movies alike.
Put it all together and you have a true winner that deserves to be auditioned by anyone looking for a killer entry-level home-theater speaker system.
. . . Aron Garrecht
Polk Audio RTi A1 / CSi A4 / DSW Pro 400 Home-Theater Speaker System
System Price: $1409.80 USD.
Warranty: Five years parts and labor (subwoofer amplifier: three years).
5601 Metro Drive
Baltimore, MD 21215
Phone: (800) 377-7655
Fax: (410) 764-5470
There’s an old story from the 1950s about President Eisenhower touring one of the first rooms to house a large mainframe computer. The electronic behemoth rang and whistled and flashed, and the head computer scientist challenged the President to ask it a question, any question at all. Eisenhower thought for a moment, then said, “Computer, is there a god?” More bells and whistles and flashing, and out spat a card with the computer’s answer: “There is now.”
Naim Audio’s Uniti ($3795 USD) hasn’t quite been sent from the heavens, but it marks an evolution -- and a revolution -- in audio engineering. Its acceptance of and reliance on computer technology, as well as its complete refutation of the idea that separate components make the best audio system, mark a sea change in high-end audio.
The Uniti combines Naim’s Nait 5i integrated amplifier and CD5i CD player, adds an FM tuner (no AM), and is enabled for Internet access, opening up the listening possibilities to a computer-based music server and Internet Radio.
Were this all it could handle, it would be impressive enough, but the Uniti is just getting started -- it’s outfitted to connect to a home network and play audio files stored on UPnP drives, and also plays audio files stored on USB memory sticks.
The Uniti measures a standard 23.25”W x 9.5”H x 19.75”D and weighs 25 pounds. It retains Naim’s trademark look and sophisticated styling: subtly textured, sharply cornered black metal. In the left third of the faceplate is Naim’s trademark CD drawer: to open it, you pinch a handle and pull it out in an arc. Below that are a mini-stereo input (it accepts analog and digital plugs), a mini-headphone socket, and a USB port. In the center is Naim’s logo, which glows green when the Uniti is powered up, and on the right are the display, and a pad of buttons that nearly repeat the functionality of the remote control.
It’s hardly surprising that any Naim product embodies high-end design standards. Their aesthetic speaks class, and imparts the look and feel of quality. Many power amps weigh twice as much as the Uniti (you can put a brick in a Sony receiver and it, too, would be heavy). But the Uniti is rock solid: I could have sworn it weighed more than its 25 pounds. Its rubber feet make it nearly impossible to budge even slightly, and I can’t imagine it being the slightest bit susceptible to vibration.
Of course, the foundation of the Uniti is the Nait 5i, an integrated amplifier that has remained at the top of its class through many iterations; its 50Wpc into 8 ohms or 90Wpc into 4 ohms should be more than enough to power all but the most ornery speakers. Naim supplies European-style speaker inputs that, in the spirit of safety, accept only banana plugs (no spades, lugs, or bare wire allowed).
Also on the rear panel are the power-cord socket and main power switch. This switch is the only way to turn the Uniti off, so it must remain accessible to the user. Also on the back are sockets for the supplied WiFi antenna or a network cable, and an iPod dock connection that runs off Naim’s n-Link iPod connector cable ($150). There are two five-pin DIN sockets for Naim preamps (the Uniti lacks a dedicated phono stage), subwoofer outputs, a line out, a socket for an FM aerial (not supplied), three standard analog and four digital inputs, and a few other features that are unique to Naim systems.
The Uniti isn’t a simple plug-and-play component, but initial setup took about 30 minutes without my having to read too far into the manual (available online). There are a lot of settings to scroll through via the remote control, but if most users are like me, they’ll find that few of the Uniti’s default settings will need to be changed, the notable exceptions being configuring the network connection and adjusting the front-panel display. More ambitious users can customize the Uniti as much as is imaginable. There are ten input options alone, as well as options for the speaker (subwoofer) and headphone outputs (the headphones respond to their own volume setting, separate from the loudspeakers), and options for customizing CD playback, such as Auto Play and Auto Select. You can even reprogram the keys on the remote, a task that seems reserved for those whose obsessive-compulsiveness might need professional attention.
The Uniti was remarkably skilled at finding the wireless network in my home, a process that, outside my home, is almost always mysterious and too often hit-or-miss. Usually I get to “Select Network” and hope for the best. The Uniti obliterated any frustrations by performing as expected, simply requesting my network password (entered via the remote), and connecting when confirmed.
The display can be programmed to illuminate for anywhere from ten seconds to an hour. Heat -- of which the Uniti generates a significant amount -- is bad for the display, so keeping the display on for more than an hour at a stretch would be unwise. Fortunately, the blank display comes back to life whenever the remote is used (or simply if you press the Disp key). The remote is essential to the Uniti’s operation, even if the buttons on the front panel perform the same tasks: the Uniti, meant to be engaged from a distance, isn’t really a hands-on machine. Thankfully, Naim has designed a slim, sleek, solid plastic remote that is substantial and weighty without being the least bit clunky, and that balances comfortably in the hand.
The Uniti took the place of my NAD C 325BEE integrated amplifier, the Oppo Digital DV-970H DVD player I’ve been using to play CDs, the Tivoli radio I’ve been using as a tuner, my NAD iPod dock, and all the interconnects that link that system. It also at least postponed my desire to acquire a standalone Internet table radio. Consider that: The Uniti upgraded and replaced four beloved components and their cables -- and added the riches of the Internet -- in one fell swoop. And it has the ability to change with the changing digital times with features I didn’t readily need to use.
Sound and functionality
At this point, the reputation of Naim’s Nait line of integrated amplifiers is beyond reproach. Silky-smooth throughout the entire audioband, they’re responsible for the captivatingly clean and endlessly satisfying musical reproduction delivered by the Uniti, whatever input was selected. The NAD C 325BEE is a respectable, workmanlike amp more admired for its bang for the buck than for its nuance, subtlety, or refinement. These qualities, however, are exactly what the Nait 5i is known for. On the other hand, it costs three to four times the NAD’s price. But even on its own, the Nait might just be worth it.
The Nait 5i brought out the best from whatever it played. I loaded disc 3 of King of the Blues, which covers B.B. King’s career from his rawly recorded early tracks through the slick, heavily produced work of the 1980s and early ’90s (MCA MCAD-D4-10677). “Chains and Things,” however, comes from his commercial and, arguably, artistic apotheosis in the mid- to late 1960s, and in the tray of the CD5i section of the Uniti, there was clear separation among B.B.’s stinging embellishments, his controlled, slightly desperate vocals, and the bedrock backbeat laid down by his band. My reference speakers are a set of B&W 303s -- well-balanced bookshelf monitors that don’t go terribly low (due to obvious size limitations) but do exceptionally well with voices, and generally get the midrange just right. The combo of CD5i and Nait 5i was able to go just a little bit lower than my NAD-Oppo pairing, and took me a bit by surprise. “The Thrill Is Gone” delivered drama and gravitas, the strings accounting for the emotional highs, while the slightly richer, fuller, more enveloping bass kept B.B.’s lament grounded in a reality that was all too present. Using the Uniti to play CDs gave me a top-of-the-line feeling I never quite get from my solid but entry-level gear. The proof was not just in my mind but in my ears.
These days, much of my CD playing is done for product auditions. I confess that the listening I do for pleasure is almost always to Apple Lossless files via my 80GB iPod. Hooking up an MP3 player to an integrated amplifier has become common practice (the front-panel audio input offered with the NAD C 325BEE was the main reason I upgraded from the NAD 320). I jacked into the Uniti with a simple Belkin mini-to-mini patch cord, put the player on Shuffle, and let it rip. Pink Floyd’s “The Great Gig in the Sky,” from Dark Side of the Moon (CD, Capitol C2 81479), was resolved and detailed, and its bits and pieces -- the soaring, moaning voice, the delicate piano, the drums -- added up to a great, soulful whole. The Uniti dug deeper than the professional sheen Floyd is famous for; it plumbed the music’s depths.
“New York State of Mind” may be Billy Joel’s greatest, most versatile song. Its fine craftsmanship resists oversinging, and Joel’s own version was brash and knowing, the Uniti able to get just a little wistful along with the singer-songwriter. The Uniti’s spatial cues were right on target: each musical element -- Joel’s voice out front, the drums giving the song height, the sax first recessed and then coming forward -- was clearly delineated and crisp without being antiseptic.
The Uniti’s front-panel input behaves as any other: the iPod was the source, and the device itself controlled its internal organization. Shuffle play can be as seductive as an online session of World of Warcraft, the hours vaporizing in a cloud of random segues, the listener hanging on for another three or four minutes, over and over, to find out what might come next. Unfortunately, without the benefit of a dock connection, the iPod inevitably runs its battery down. The Uniti’s n-Link cable charges the iPod, but also takes over navigation. You can’t search through your playlists, tracks, albums, and songs as you would with the iPod’s click wheel, but instead you can use the Uniti’s handset and display to monitor your progress. I was disappointed, however, when I couldn’t seem to retain the random sequence I’d begun while away from home. I could Shuffle songs in total, but I couldn’t Shuffle by playlist, at least not without starting over. I would have preferred to avoid repeating songs I’d already heard.
CDs may be disappearing from my life, daily replaced by a larger iTunes database, but the feature that makes the Uniti a revolutionary product is its ability to stream Internet Radio. And not just stream it, mind you, but stream it in the sort of high-quality sound you experience in its more “traditional” modes of music making.
Once the Uniti is connected to a network, wireless or otherwise, the world is suddenly available at the tip of a thumb. Navigating with the Uniti’s handset is plain, simple, and straightforward. The iRadio menu offers Genre, Location, Podcasts by Location, and Podcasts by Genre. Searching by Location funnels to Continent and Region, then to Country, then by Stations within that country: conventional radio stations that broadcast over the Internet as well as Internet-only offerings. Japan, Poland, Nigeria, Argentina, Nebraska -- you name it. There are more than 300 choices in New York State alone. The mind boggles.
I jumped from the BBC to techno from Tokyo, to “Smoke on the Water” and similar rock classics on Cyber FM, to the Texas Tornados on Tucson’s KXCI. Internet Radio is not for those inclined to attention-deficit disorder. (The Uniti’s 40 presets will help you focus your choices.) The sound was as reliable as FM or CD, better than adequate in even the most obscure case, and a stake through the heart of terrestrial broadcasting. My Tivoli AM/FM tuner is officially on notice. Come to think of it, so is my TV. Who has time to watch television when thousands and thousands of songs and voices are available to be uncovered by the Uniti?
Not only does Naim innovate with the excellence of its integrated amplifier and CD technology, their engineers have delivered a remarkably versatile all-in-one integrated amplifier system that suits the age of consolidation as well as the age of the Internet. The Uniti is upscale -- in appearance, in sound, and, let’s be fair, in price.
To spend $3795 on a Uniti is a lifestyle choice, a cliché commonly misapplied but here apt. The Uniti is not for the casual listener. It simply has too much to offer not to be used and loved for all it can do, no matter how attractive or appealing its package, or how enticing the idea of a single component taking the place of four or five boxes and their attending cables.
The Uniti, a pair of speakers designed for 50Wpc of power, and a set of solid speaker cables terminated in banana plugs, and you have a state-of-the-art sound system that begs to be a way of life.
I’ve owned power amps and preamps, rack systems and receivers, turntables and CD changers, and more radios than I can remember. The Naim Uniti, however, is a component for listening in 2010, with an eye and an ear to 2020. Sure, it plays CDs and plays them well, but the Uniti’s real benefits -- its integration with the Apple iPod and its ability to stream Internet Radio -- render everything else redundant at best, and at worst, obsolete.
. . Jeff Stockton
Naim Uniti All-in-One Audio Player
Price: $3795 USD.
Warranty: Two years parts and labor.
Naim Audio Ltd.
Salisbury SP1 2LN
Phone: + 44 (0)1722-426600
Fax: + 44 (0)871-230-10-12