Yamaha R-N2000A Network Hi-Fi Receiver Review

Yamaha R-N2000A Introduction

The Yamaha R-N2000A is a high-performance 2-channel network hi-fi receiver designed for audiophiles, delivering Yamaha’s signature “True Sound” experience. It features a floating, balanced, MOSFET-based high-current amplifier and symmetrical construction, rated conservatively at 90 watts per channel into 8 ohms and 145 watts per channel into 4 ohms, with both channels driven. Yamaha claims their mechanical ground concept maximizes rigidity, enhancing expressive and rhythmic bass for a clean, detailed sound with low distortion, favoring the analog warmth that audiophiles often appreciate.

The R-N2000A lets you enjoy high-resolution music with the convenience of a USB DAC and HDMI eARC, along with Yamaha’s proprietary MusicCast music management system. MusicCast allows you to stream from popular services such as Tidal, Spotify, and Pandora, or take full advantage of the built-in high-quality ESS Sabre ES9026PRO Ultra DAC via USB for native DSD 11.2 MHz or 384kHz playback. Yamaha also includes a high-quality MM phono preamp for vinyl enthusiasts.

The R-N2000A incorporates YPAO™ (Yamaha Parametric Acoustic Optimizer) and R.S.C. (Reflected Sound Control), which Yamaha claims work together to actively control critical early reflection sounds, automatically adjusting and optimizing how sound is perceived in your room based on wall materials and speaker placement. Yamaha’s YPAO operates with a full resolution of up to 192kHz / 64-bit, without down-converting high-resolution formats, unlike many competitor room correction systems.

Compared to the less expensive R-N1000A, the R-N2000A offers a higher-grade DAC, upgraded build quality, and a more stable power platform under high-current demands, making it an ideal choice for audiophiles seeking uncompromised performance in a single, stylish package. The elegant VU level meters add a touch of class and bring a nostalgic charm that especially resonates with audiophiles who grew up in the '70s and '80s. In this bench test report and review, I will be comparing the R-N2000A to the R-N1000A to showcase the associated similarities and differences between these two receivers to help you better understand their capabilities.

Yamaha R-N2000A Backpanel       

The Yamaha R-N2000A features two sets of audiophile-grade, gold-plated speaker binding posts, allowing you to connect two pairs of speakers simultaneously in parallel or select between two pairs, perhaps located in different rooms, from the hi-fi receiver. The R-N2000A also has pre-outs and a subwoofer output with bass management accessible through the MusicCast App. Additionally, it offers similar connectivity to the R-N1000A, with one HDMI eARC for easy streaming access from your display device, two Toslink inputs, one coaxial input, USB-B for digital sources, and phono MM and three additional analog inputs for analog sources.

Yamaha R-N2000A Top View

With its top cover removed, the Yamaha R-N2000A reveals significant upgrades over the R-N1000A, including a high-current toroidal transformer instead of an E-core, double the power supply capacitors, and heavy-duty heatsinks housing MOSFET output devices instead of BJTs for true 4-ohm stability and sustained high current delivery. Its floating and balanced power amplifier design isolates left and right channel grounding, which Yamaha claims minimizes interference and enhancing signal purity. Combined with anti-resonance construction, these features are said to deliver powerful, low-noise, and dynamic audio performance which is what we plan to test in the bench test portion of this review.

Yamaha RN-2000A Set Up

I set up the R-N2000A in the AH Smarthome Guest Room system, which currently features a pair of Arendal Sound 1528 Bookshelf 8 speakers wired with Kimber 8TC speaker cables and Bluejeanscable Belden 1694A interconnects, along with a Denon DCD-A110 SACD player.

I initially had my Emotiva CMX6+ Precision Common Mode AC Line Filter connected to the system, but it caused an internal humming noise in the R-N2000A when my Denon DCD-A110 was also connected. This was an odd issue, as it did not result in audible ground loop noise or hum through the loudspeakers. Consequently, I removed the filter from the system for my listening tests.

Yamaha R-N2000A w Arendal 1528 Bookshelf 8 in AH Guest Room

The seating in this room is non-ideal, as the daybed is positioned against the wall opposite the speakers. This places the listener in a maximum pressure area of the room, which accentuates bass. Depending on how capable the speakers are with bass and whether the amplifier includes room correction or manual PEQ to tame excessive room modes, this can be either beneficial or problematic. Unfortunately, the R-N2000A does not include manual PEQ, unlike Yamaha's AVRs, so you have to rely entirely on what YPAO achieves. There is no option to tweak beyond turning the EQ on or off, or adjusting delay, level, and bass management if your speakers are set to "small."

RT60 Decay Time of Audioholics Smarthome Guest Room

This listening room has good acoustics naturally from all of the mass in the room and it being relatively small 14’x16’. The RT60 decay time is roughly 450 msec which is about right for music listening. There are problems with bass peaks and nulls at my seating location since it’s relatively close to the backwall. EQ can really help minimize those peaks if implemented properly.

Yamaha YPAO Results

The initial YPAO calibration results nailed the delays and levels correctly relative to my listening position where I placed the microphone (about 2 ft from the back wall on a stand at seated ear level).

Arendal Sound 1528 Left Speaker @ MLP – Blue – No YPAO; Yellow -YPAO

YPAO altered the frequency response of the left speaker below 1kHz and pretty much left everything above unchanged. You can see it did tame a room mode in the 60-80Hz region by about 10dB but it also created a couple of high Q notches, one at 35Hz and the other about one octave above at 75Hz. The bass response below 20Hz was actually significantly boosted (+4dB @ 15Hz) by YPAO which I found interesting.

Arendal Sound 1528 Right Speaker @ MLP – Blue – No YPAO; Yellow -YPAO

For the right speaker, we see similar results with YPAO engaged. The bass bump at 45Hz was flatted but not without the penalty of an added high Q notch at 40Hz. Bass was boosted but this time below 30Hz with a whopping +5dB at 18Hz.

Arendal Sound 1528 L+R @ MLP – Blue – No YPAO; Yellow -YPAO

To better understand the effects YPAO had on the bass response of the Arendal 1528 Bookshelf 8 speakers, I measured them together at the MLP. The suckout between 90-120 Hz is present in both YPAO and non-YPAO measurements and is a result of SBIR (Speaker Boundary Interference Response) between the speakers and the front wall. The only solutions for this issue would be to place thick absorption behind the speakers or move them further away from the wall. Unfortunately, neither option was feasible in this listening space.

With YPAO engaged, the overall bass level was too low. Yamaha explains that YPAO attempts to match the bass response of the left and right speakers rather than EQing the bass as a summed response. I believe this approach contributes to the problem here, particularly because the left and right speakers load bass into the room differently which is why I prefer to EQ bass as a mono mix of all sources.

I would have much preferred if Yamaha offered a target curve adjustment or manual PEQ, allowing me to fine-tune the response myself. While I do appreciate the bass gain below 30 Hz from YPAO—especially since these speakers can deliver it impressively—the resultant high-Q notches at 40 Hz and 75 Hz, combined with the overall reduction in bass level, created a response that was too thin, as demonstrated in my listening tests below.

Editorial Note on YPAO: Please keep in mind that the results I achieved with YPAO in my guest room will likely differ from what you achieve in your own listening space due to variations in room acoustics, loudspeaker placement, and seating arrangements. Always give YPAO a chance to improve your listening experience before deciding not to use it.

Wavelet Comparison – YPAO off (left graph) ; YPAO on (right graph)

I ran a wavelet spectrogram comparing YPAO on/off and found YPAO on increased the bass delay from 25ms to 55ms around 60-80Hz which correlates to some of the problems we saw in the amplitude response with YPAO engaged.

Yamaha YPAO Volume Comparison - Yellow YPAO Vol ; Blue - No YPAO Vol

YPAO Volume functions similarly to a loudness button, but the amount of bass and treble boost adjusts based on the master volume level. At loud listening levels (>75 dB), there is almost no measurable or audible difference when YPAO Volume is engaged. However, at lower levels, a slight bass and treble boost becomes noticeable, which can be beneficial since our hearing is less sensitive to these frequencies at quieter volumes. This is certainly a welcome feature worth trying in your listening environment to see if it suits your preferences.

Yamaha R-N2000A Listening Tests

The Yamaha R-N2000A  really surprised me during my extensive listening test sessions. I was concerned that the amp section wouldn’t be powerful enough to drive the Arendal Sound 1528 Bookshelf 8 speakers at reference levels in my listening space since those speakers trade sensitivity (84.5dB @ 2.83Vrms/1m) for deep bass extension (f3=22Hz). The Bookshelf 8 speakers sucked the life out of my Cambridge Audio EVO 150 amp despite it had a higher power rating into 8-ohms. The Yamaha R-N2000A on the other hand demonstrated its superior sustained current drive when powering the 4-ohm Arendal speakers. I underwent extended listening sessions using the Cambridge Audio EVO 150, Yamaha R-N1000A and R-N2000A powering the Arendal 1528 Bookshelf 8 speakers. The source was Tidal Connect via the Yamaha MusicCAST App and my Denon DCD-A110 SACD player when noted.

In this listening session, I offer my subjective impressions between the R-N2000A and its less expensive sibling the R-N1000A using Tidal Connect. I also compare YPAO vs no YPAO and the DAC sound quality vs my Denon SACD player.

Ida Sand – Ain’t No Sunshine
Listening to Ida Sand's cover of "Ain’t No Sunshine" felt like being transported to a jazz club. The bass drum was so deeply resonant that it created an intoxicating experience. The female vocals were beautifully rendered, free of any stringency, thanks to the Arendal 1528s. Yamaha’s “natural sound,” touted as a hallmark of the R-N2000A, perfectly captured the essence of what I was hearing. At this point of my listening, I did NOT run YPAO and just enjoyed what I was hearing out of the box with ALL tone controls defeated with “Pure Direct” engaged.

Peter Cincoti – Sway
In my opinion, Peter Cincotti delivered the best version of the classic song Sway. His recording showcased the strengths of the Yamaha R-N2000A meaty amplifier section by delivering exceptional bass authority and control, with deep, resonant tones and rim shots that retained their crisp precision through the Arendal Sound 1528 Bookshelf speakers. The piano’s dynamics felt incredibly lifelike, while Peter's voice exuded intimacy and remained firmly anchored within the mix.

With YPAO room correction engaged, I noticed that the deep bass was attenuated more than I preferred, though it remained tight and well-controlled. Imaging improved slightly, with a more focused presentation and a stronger phantom center emphasizing Peter’s vocals. The high frequencies gained a touch more detail especially in the brushes with YPAO engaged but it wasn’t enough to win me over.

To address the bass reduction caused by standing wave buildup in my room’s maximum pressure area, I experimented with repositioning the microphone. Moving it farther from the back wall and more forward of my listening position helped mitigate the issue to some extent. However, despite these adjustments, I ultimately preferred the overall sound of this track with YPAO disengaged, as it preserved the natural warmth and depth that made Peter’s rendition so captivating.

 

Against the Grain – Rebelution
Listening to a beautiful acoustic track called “Against the Grain” by a band called Rebelution, I noticed that YPAO made the sound slightly more intimate and brighter during the opening acoustic guitar part, which I appreciated—until the bass dropped. The body and punch you feel in your chest were greatly diminished with YPAO enabled. Disabling the YPAO EQ while keeping the time alignment engaged proved to be a much more satisfying listening experience.

James Blake - Limit to Your Love is a fantastic track to test the infrasonic capabilities of your loudspeakers and/or powered subwoofers. The bass on this track pressurized my room, which was surprising given that the Arendals only feature a single 8" bass driver in a standmount form factor. I could feel the walls "breathing," while the R-N2000A delivered deep, sustained, and effortless bass with no hint of strain or compression at moderately loud listening levels.

Rim shots had a nice pop to them from the left speaker, and the bass did not muddy James's vocals. The piano remained clean and distinct, even during the heavy deep bass sections. In contrast, the noise floor seemed higher on the R-N1000A, and less detail was noticeable in those rim shots. Music from the R-N1000A sounded slightly more processed and less effortless, though the bass was still powerful and present. However, the bass appeared less damped on the R-N1000A compared to the R-N2000A. I sensed the Arendal 1528 Bookshelf 8 speakers were happier with the R-N2000A powering them than the R-N1000A.

The R-N2000A exhibited better control over the bass, which sounded more natural overall. Quiet parts of the song were dead silent on the R-N2000A, whereas the R-N1000A couldn't match this level of silence. Toward the end of the track, I noticed more detail in the cymbals with the R-N2000A as well.

I noticed a similar sonic experience when comparing the R-N1000A to the R-N2000A on an intimately familiar track, 'Birds' by Dominique Fils-Aimé. The clapping effect exhibited slightly better transients and more bass control when the Yamaha R-N2000A powered the Arendal Sound 1723 bookshelf speakers.

That said, if I hadn't done a direct comparison between the R-N2000A and R-N1000A, I would have been satisfied with the latter. In my experience, the R-N2000A does deliver marked improvements in fidelity over the R-N1000A, but the price jump required to achieve these enhancements might understandably be off-putting for some buyers.

Source: SACD - Rebecca Pidgeon – The Raven
An oldie but a goodie, Rebecca Pidgeon’s The Raven is a sonic delight with a touch of obscurity that will leave you pondering the lyrics while your ears are treated to pure joy. Rebecca’s cover of “Spanish Harlem” is my all-time favorite, and the Yamaha R-N2000A brought out all the detail and vibrancy of the recording. The bass was tight, her voice resonated with plenty of reverb, and you can even hear subtle shuffling in the background at the beginning of the song. The piano sounded remarkably natural, the violin from the right speaker was lifelike, and the raspy shaker percussion added a unique texture. The distinct sound of fingers sliding on the guitar frets in the left speaker was captured with exceptional clarity.

When I switched over to the R-N1000A, the bass sounded thicker but less controlled, the noise floor seemed slightly elevated, and the tonality was warmer though with less perceived reverb in the vocals. Overall, the presentation on the R-N1000A just sounded less holographic.

Yamaha DAC Listening Comparison

Next  up, I wanted to determine if I could hear any sonic differences comparing the DACs of my Denon DCD-A110 SACD player verse the internal DACs of the Yamaha R-N2000A. Historically I’ve always been a fan of the top-tier Burr Brown DACs which the Denon employs in a dual-differential configuration (PCM1795(192k/32bit) ×4). But, I assumed there’d be little to no sonic differences between them and the top-tier ESS DACs Yamaha used in the R-N2000A. I put my assumption to the test and was surprised to be proven wrong!  I brought my 17-year-old daughter, with her superior young ears, for a blind test comparison, and she noticed similar sonic differences between the DACs as I did. What was going on? DACs from top-tier products like Yamaha and Denon produce should be virtually sonically indistinguishable at least for redbook CD 44.1kHz / 16bit. I just had to investigate and make sure of repeatability in a controlled manner.

Source: CD - James Taylor -That's Why I'm Here
Comparing the DACs in the Denon DCD-A110 and Yamaha R-N2000 revealed surprising, though subtle, sonic differences that were audible in recordings with repetitive high-frequency transient events, like cymbal crashes or rim shots. The Denon played the rim shots and percussion sounds of Russell Kunkel’s drums on the James Taylor track – “That’s Why I’m Here” in the left speaker with greater clarity than I heard using the internal DACs in the R-N2000A. The differences were subtle but noticeable in a direct comparison. We observed similar results on a Steely Dan track, 'Gaslighting Abby' from Two Against Nature. The rim shots just stood out more with the Denon DAC. The bass and vocals sounded virtually identical on both DACs, however. The sonic differences between the Denon and Yamaha DACs were less noticeable on other source material, such as the live version of the Eagles' 'Hotel California' from Hell Freezes Over.

Why the Sonic Difference Between the DACs?

I wasn’t entirely satisfied that my testing was valid, as it was possible our ears were being fooled by a slight level difference between the DACs—one that may have been imperceptible during steady-state listening. To address this, I used my trusty SPL meter and played a CD with pink noise to compare the levels between the Denon and Yamaha DACs, switching between analog and COAX on the R-N2000A inputs.

I discovered that the Denon output was exactly +1dB louder than the Yamaha. The simple solution would have been to lower the input gain on the analog input or boost the gain on the COAX input of the R-N2000A by 1dB. Unfortunately, this wasn’t possible, as the R-N2000A lacks input level configurability, unlike Yamaha AVRs. As a workaround, I had to quickly adjust the master volume by 1dB each time I toggled the inputs for comparison. I’m fairly quick with my hands, so the adjustment was seamless and resulted no increase in switch-over time.

Once I re-listened to the James Taylor and Steely Dan comparisons with proper level matching, the sonic differences between the Yamaha and Denon DACs virtually disappeared. To verify, I had my daughter sit in for another listen without telling her what I had changed. She was unable to pick a “winning” DAC with any statistical certainty.

This experience highlights just how imperative proper level matching is when comparing the sonic differences between audio devices.

Yamaha R-N2000A Areas for Improvement

As good as the R-N2000A is, I believe there are areas that could be improved via the MusicCast App or in future iterations of the product.

• The inability to access delay, speaker levels, or bass management without first running YPAO is an odd choice that should be reconsidered.
• YPAO lack of manual PEQ feature like the Yamaha AVRs. This should be included in the MusicCast app, as many competitors already offer this functionality which is essential for precise bass tuning.
• The lack of independent input level adjustments, which should also be available in the MusicCast app. Instead, Yamaha only lets you hide sources on the R-N2000A.
  
• While the analog level meters are undeniably beautiful, they should offer a VU option to display power at the load, not just the line-level signal.

Yamaha R-N2000A Bench Test Results

originally published on 12/14/24

All measurements were conducted using our Audio Precision APx585 8 Channel HDMI Audio Analyzer. 

For more information about how we measure power amplifiers, please see:

Basic Amplifier Measurement Techniques

Yamaha R-N2000A Preamp

The Yamaha R-N2000A preamp outputs are strong just how I like them. Whether I tested the analog or digital inputs, the R-N2000A was able to muster a clean 4Vrms output free from clipping. The pure-direct analog input path had significantly lower distortion than with the DSP engaged. SINAD below 1Vrms was 96dB for analog pure-direct or via a digital input source which is superb. This dropped to about 86dB for analog sources with pure-direct bypassed. Above 1.14Vrms, you can see distortion rise due to the amplifier circuits reaching clipping and feeding back some of the clipping distortion into the signal path. Curious as I did not observe this behavior on the R-N1000A. Regardless, the distortion level below 3.5Vrms is still about 86dB or 0.005% THD+N which is inaudible.

Yamaha R-N2000A Preout Output Voltage vs Distortion

Yamaha R-N2000A 1 kHz FFT @ 1Vrms Preout, 1Vrms input

With the R-N2000A in analog Pure Direct driven by 1Vrms input, and output voltage of 1Vrms from the preouts, the FFT looked excellent with the 3^rd order harmonic being 103dB below the 1kHz fundamental.

Yamaha R-N2000A 1 kHz FFT @ 1Vrms Preout, -20dBFs Input

With a -20dBFs input, and output voltage of 1Vrms from the preouts, the FFT looks very good with the 3^rd order harmonic being 95dB below the 1kHz fundamental. The distortion products rose significantly (when the input was driven to 0dBFs even if the volume level was readjusted to the same 1Vrms output as seen below. 

Yamaha R-N2000A 1 kHz FFT @ 1Vrms Preout, 0dBFs Input

While this is likely not an issue of audibility, I believe Yamaha should look into the DAC setting of the R-N2000A to see if they can add a little headroom to handle digital full scale signals without an appreciable increase in distortion since the circuit paths are extremely transparent and NOT a bottleneck in achieving great performance. I didn’t observe this behavior on the R-N1000A so I believe it is something fixable with a firmware update.

Yamaha R-N2000A Preout Output Frequency Response      

The Yamaha R-N2000A frequency response is ruler flat from 10Hz to 80kHz (-3dB) when driven with a 0dBFs 192kHz/24bit input.

Yamaha R-N2000A Preout Output SNR

With a 44.1kHz/ 16 bit signal and 0dBFs input, I measured 96dB SNR (a-wt) which is theoretical perfection for 16 bit audio. With a 192kHz / 24 bit digital source of 0dBFs, I measured 117dB SNR (a-wt) at 2Vrms via the analog outputs in pure-direct and 113dB non pure-direct, which are excellent results and beat the R-N1000A by 6dB under the exact same test conditions!  

With an analog source of 200mVrms , I measured 107dB @ 2Vrms pure-direct, 99dB non-pure direct via the pre-outputs. The R-N1000A was surprisingly about 6dB better in pure-direct under similar test conditions but this figure is low that the difference is inconsequential.

Yamaha R-N2000A FFT Noise Spectrum (fs = 44.1kHz)

With a 44.1kHz digital input, I checked the stopband rolloff and found it to have a smooth rolloff below ½ Nyquist as expected with no residual out of band nasties. I observed similar excellent behavior at higher sampling rates of 96KHz and 192kHz, respectively.

Yamaha R-N2000A Phono Frequency Response (5mVrms input)

The Yamaha R-N2000A has a Moving Magnet (MM) phono preamp. Using the original 3-time constant RIAA curve, I EQ’ed the APx585 source to get the expected flat response of the phono preamp. The source was driven from 1mVrms up to 50mVrms to determine frequency response, distortion and linearity. The typical MM cartridge voltage is anywhere from 2.5mVrms  to 5mVrms so the fact that the Yamaha was able to handle 50mVrms input cleanly shows how overdesigned and serious their phono preamp section is on the R-N2000A.

Yamaha R-N2000A Phono Distortion vs Frequency Response @ 1 watt

I varied input signal from 5mVrms up to 50mVrms on the phono input and measured the speaker outputs of the Yamaha R-N2000A at 1 watt and the distortion performance was excellent at around 0.005% THD+N or 86dB SINAD which is about 10dB better than we’ve seen in the R-N1000A in pure-direct mode preouts.

Yamaha R-N2000A Phono SNR a-wt

With 5mVrms input to the phono stage, I measured 80dB SNR a-wt from the speaker outputs at 1 watt which is superb. This is a very low noisefloor for a phono stage and about +5dB better measurement than what was achieved on the R-N1000A under similar testing conditions. Make no mistake, Yamaha put a superb phono stage into the R-N2000A so if you’re a vinyl enthusiast, you’re gonna love this receiver.

Yamaha R-N2000A Power Amp

With the recent FTC Final Amplifier Rule of August 2024 (16 CFR Part 432), I thought it would be a good idea to torture test the R-N2000A by driving the amplifier section at 1/3^rd power for a full hour (per 1974 standard) even though the new rule states 1/8^th power. 1/3^rd power is where the amplifier dissipates the most heat which can lead to shut down or failure if the amplifier isn’t built to dissipate the heat over extended periods of time.  During these tests, I never heard any mechanical distress in the unit, and the chassis only got warm, NOT hot to the touch.

Frequency Response & FFT Distortion Tests

Yamaha R-N2000A Regulated Frequency Response @ 100 wpc, 8 ohms, 2CH Driven

After preconditioning the R-N2000A I ran my standard power tests but also added a 5min regulated Frequency Response vs Power distortion sweep which is absolute murder on an amplifier and perfect to test the meddle of this Yamaha. This 90 watt/ch Yamaha was able to belt out 100 watts/ch full bandwidth and regulated to 1% THD+N for both channels driven!

Yamaha R-N2000A Power Bandwidth 4 ohms 2CH Driven

With both channels driven into 4-ohms at < 0.1% THD+N, the R-N2000A was able to deliver 165 watts/ch which exceeds its 145 watts/ch rating.

Yamaha R-N2000A 1 kHz FFT @ 2.83Vrms (1 watt, 8 ohms)

There is some residual noise and power supply hum, but at inaudible levels (-90dB at 120Hz) from the amp section of the R-N2000A which is surprising given the floating grounding scheme Yamaha touts for this model. The 2^nd order harmonic is 84dB below the fundamental which is good though not as stellar as we’ve seen most recently with the Arcam A25 (-109dB) under the exact same test conditions nor as good as the older A-S801 we measured back in 2015.

Yamaha R-N2000A Power Sweep Tests

I ran power sweeps on the R-N2000A before and after preconditioning and was pleasantly surprised to find the unit delivered more power after the 1hr conditioning period than when it was cold.

Yamaha R-N2000A  1kHz PSweep (2CH) - 8 ohms

The Yamaha R-N2000A produced a beautifully horizontal power vs distortion graph all the way to clipping. Before conditioning, I measured 105 watts/ch, 2CH driven, 8 ohms at 0.1% THD+N and 112 watts/ch at 1% THD+N. After preconditioning, I measured 111 watts/ch, 2CH driven, 8 ohms 0.1% THD+N and 120 watts/ch at 1% THD+N. Kudos to Yamaha for rating the amplifier power well before the knee of the power vs distortion graph and they get BIG Truth in Power points from Audioholics. Although the R-N2000A is slightly less powerful (about 10 watts/ch) than the R-N1000A, the power vs distortion graph is a bit more linear especially at low power levels thanks to the very low noise design. SINAD was around 85dB which was about 9dB worse than the R-N1000A but we are comparing distortion in the thousandths place to the right of the decimal point (0.008% on the R-N2000A vs 0.002% THD+N on the R-N1000A).

Yamaha R-N2000A  1kHz PSweep (2CH) - 4 ohms

The R-N2000A maintained impressively low distortion even when driving 4 ohm loads. With 2CH driven, the R-N2000A delivered 148 watts/ch 0.1% THD+N and 179 watts/ch at 1% THD+N into 4-ohms. This was slightly less power (20-30 watts/ch) compared to the R-N1000A under similar test conditions.

Yamaha R-N2000A  1kHz PSweep (2CH) - 2 ohms

I don’t normally test receivers into 2-ohm loads because most simply can’t handle it without current protection or worse, overheating and shutting down. The R-N2000A was built of “sterner stuff” that would make Optimus Prime proud.  With 2CH driven, the R-N2000A delivered 258 watts/ch 0.1% THD+N and 288 watts/ch at 1% THD+N into 2-ohms. Worry not, for this receiver can handle very difficult loudspeaker loads with no complaints.

Yamaha R-N2000A CEA 2006 Dynamic Power – 2 ohms

The Yamaha R-N2000A exhibited impressive dynamic power test results able to deliver 125 watts/ch into 8-ohms and 223 watts/ch into 4 ohms with both channels driven at 1% THD+N, which was about 25 watts/ch less than the R-N1000A was able to deliver under similar test conditions. That’s almost 1.4dB of dynamic headroom over its rated power. Into 2 ohms, the R-N2000A was able to muster up a whopping 361 watts/ch. Excellent!

Yamaha R-N2000A Power Table

   Yamaha R-N2000A Power Measurement Table

*tested as a regulated 5 min sweep per FTC 2024.

Yamaha R-N1000A vs. R-N2000A Low Impedance Power Comparison

The Yamaha R-N2000A met or exceeded its power ratings in all of my testing, handling 4-ohm loads at high output levels with ease and even performing well with 2-ohm loads—a rare feat for receivers. While the R-N1000A offers slightly more power with 8- or 4-ohm loads, the R-N2000A provides greater stability for sustained high output with low-impedance loads without power sag. The R-N20000A features a larger heatsink area, a bigger 603VA toroidal power supply, and a 4 x 18,000uF capacitor bank. In comparison, the R-N1000A is equipped with a 503VA E-Core and a 2 x 12,000uF capacitor bank. These enhancements enable the R-N20000A to handle 2-ohm loads reliably. This amp is built to endure hard use without faltering. So if you like to party, the R-N2000A will happily oblige.

Signal to Noise Ratio (SNR)

Yamaha R-N2000A SNR @ 1 Watt (a-wt)

I always measure amplifiers at 1 watt so that apples to apples comparisons can be made between different products that have different maximum output capabilities.  If you want to know the SNR at rated power, then you simply take the 1 watt rating and add 20* log (V*R)^1/2 / 2.83) where V = Vrms and R is the load. With a 0dBFs input signal, I measured 92dB (a-wt) at 1 watt (8 ohms) which is  an excellent figure. In comparison, this is about +2dB better than the R-N1000A under similar test conditions. This is a very quiet piece of hi-fi audio gear from input to output.

Yamaha R-N2000A 1kHz Square Wave (0dBFS in, 2Vrms out)

Last but not least, I ran a 0dBFS square wave signal into the digital input to see if the Yamaha R-N2000A faithfully reproduced it without flipping phase or suffering from overshoot or ringing. This is a very clean response.           

Yamaha R-N2000A Conclusion

Despite a few nitpicks about the R-N2000A, I thoroughly enjoyed the sonic delight it provided and appreciated what a finely engineered piece of machinery it was to operate. No matter the source I used, the Yamaha handled it masterfully. Whether I powered challenging loudspeakers or pushed it hard on the test bench with demanding loads, the R-N2000A never lost its composure or faltered. Instead, it delivered the level of performance I’ve come to expect from Yamaha’s top-tier products.

If you’re in the market for a truly high-fidelity receiver that blends the brand’s heritage with modern conveniences like network streaming, the R-N2000A should be at the top of your list. MusicCast Tidal Connect is a seamless feature I enjoyed using throughout most of my listening tests. If you’re fortunate enough to own a Yamaha R-N2000A, make sure to keep it on full display—it’s a beautifully crafted piece of gear that’s as satisfying to look at as it is to listen to.

The Yamaha R-N2000A Network Stereo Receiver delivers mostly outstanding bench test results, making it a top performer in its price range and category. Its build quality and craftsmanship are leagues ahead of the already excellent R-N1000A model—a difference one should expect given the $2,200 price gap.

While some may scrutinize the bench test comparisons and question whether the cost difference is justified—especially since the R-N1000A is slightly more powerful in 8-ohm and 4-ohm testing—the true distinction lies in the finer details. The R-N2000A boasts a significantly lower noise floor, an improved phono preamp stage (one of the best I’ve ever measured), and the most stable power delivery I’ve encountered in a hi-fi receiver.

In fact, I would strongly suggest Yamaha consider bumping the rail voltage to increase power output on future iterations of this model, as its power supply, heatsink design, and output devices are more than capable of handling the demand. This is the most over-engineered 90-watt-per-channel amplifier I’ve encountered in all my years of testing amplifiers. It's a true tank of an amplifier, with impeccable craftsmanship.

The VU meters are simply stunning—a nostalgic nod to the golden age of hi-fi audio. The pride of ownership this unit inspires is off the charts; it’s the kind of piece you’ll want to showcase, inviting admiration and envy from your friends. The bearing-based volume control adds a refined touch absent in the R-N1000A. While less noticeable in the era of remote controls, it’s a tangible marker of luxury and craftsmanship that justifies the added investment in a high-end product like this.

Nothing about the R-N2000A feels like a cost-cutting compromise or a half-baked effort. It exudes high-end quality, both in appearance and performance, standing as a testament to Yamaha's dedication to excellence.

Yamaha R-N2000A (black finish)

The R-N2000A is an excellent choice for building a high-quality two-channel music system that seamlessly integrates with your TV and streaming devices. Its HDMI eARC function delivers high-fidelity sound to your display without the need for a complex multi-channel surround system. I’d much rather have this receiver paired with a set of high-quality speakers plugged into my TV to enjoy movies and music than rely on a mediocre soundbar or multi-channel surround system. I do suggest taking full advantage of the superb phono preamp built into this unit by pairing it with a top notch turntable and MM cartridge.

Yamaha MusicCast App Speaker Set Up and YPAO

The fact that Yamaha includes bass management via their MusicCast App and a limited version of their YPAO with R.S.C. (Reflected Sound Control), with up to 192 kHz/64-bit resolution, as tools to help enhance system performance adds the icing on this already impressive audiophile cake. Highly recommended!