Net radar dsp review3/30/2023 ![]() Where the Z7 gives way to its bigger brother is at the extreme ends of the audio picture. This receiver's overall stance – natural and detailed sound with a huge low-frequency punch – is right out of the DSP-Z11's list of appealing attributes. The subtle car noises, gentle breeze and distant sounds of people, guns and sirens are placed to perfection – painting the scene as accurately as the blistering high-def picture.įASCIA FACTS: Behind the DSP-Z7's pull-down flap are additional inputs, including USB and HDMI The moody opening scene on the roof top is delivered with all the dark presence of Basin City below. With intense material, like the recently-released Blu-ray of Sin City, it proved to be light and agile with superb projection of dialogue. Yet the Z7 is not just a beef-cake, it can do subtle as well. The result is a very solid, very tactile sound that left me ooohing and aaahing at the movie's sonic details. The soundstage is rendered as a tangible vista, with superb steering around the room, and even tricky outdoor scenes have great space and perfect ambience.įrom the top to the bottom of the frequency range the Z7 feels immensely sure-footed and in control. It wraps you up in the story with its immersive presence. Helped in no small way by T2's awesome DTS-HD MA 6.1 soundtrack, the Z7 turns watching this action-fest into a whole-body experience. Basically, it feels like you have been shot the Z7 has ample reserves of power to make things seem like the real deal live event and, given decent speakers, packs a dynamic range that makes most local cinema audio systems sound compressed. Gun shots are not just huge great visceral booms but each one is crafted with a complete mechanical symphony of moving metal parts, clattering ammunition and a reverberating thump in your chest. The bass effects are massively potent but equally tight and agile. ![]() The action sequences throughout the new edition Blu-ray of Terminator 2: Judgement Day explode out of the speakers with pace and power aplenty. Punch, in fact, is something that the Z7 has by the truck-load. YPAO isn't an overt filtering and boosting system that trashes fidelity, but a careful trimming of some problem frequencies to give a sprightly and detailed sound with plenty of punch. Gone was a slight room-induced boom around 50Hz, and the dip in the front-right channel – due to the sound disappearing out of my bay window – had been balanced out. The Z7's implementation is no exception, and, after running a simple three-position setup with the supplied boomerang stand, the results were subtle yet impressive. Yamaha's Parametric room Acoustic Optimiser (YPAO) has proven to be one of the most effective room EQ systems on the market. Setup is fully automated – saving you moving the mic around – and the overall ease-of-use is none too bad at all. You can't fault the Z7's robust build and purposeful stance on the rack, though, and the drop-down fascia offers access to almost all functions should you manage to lose both the main and secondary remotes. Twenty years on and I still don't like it. I have now been around long enough for Yamaha's black fascia and orange display cosmetic to come back into fashion – for the second time. Ironic, then, that the Z7 doesn't yet offer Dolby Pro Logic IIz, which can drive front height channels. Yamaha continues to allow you to switch the rear-channel output to its front 'presence' channels if desired. COMPREHENSIVE: Go on, fill all of these then.
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