Enter the RX-Z1, Yamaha's current flagship home theater masterpiece. The RX-Z1 is the successor to the highly acclaimed RX-V1. While the two units share the same price points, the former offers many new key features previously not available on the latter:

• New Touch Screen Remote (Phillips Clone in Yamaha Dressing).
• DTS 96/24, PLII, DTS Neo.
• 20 watts/ch more for all five channels, and 15 watt/ch more for the front effects channels.
• Upgraded DAC's (Burr Brown PCM 1704) and Front End Processor.
• 100MHz Component Video Switching (Only a select few Receivers offer this).

The RX-Z1 incorporates just about every major commercially available surround format and music enhancement mode, including Yamaha's renowned DSP processing which has algorithms based on real world measurements in various acoustical environments as opposed to just computer simulated concoctions. So you are probably wondering at this point, what do the mega $4000 Receivers have that this 64lbs beast does not? Well, here are a few significant features absent from the RX-Z1 that some of the other hard hitters do offer. Keep in mind however, that not all of the $4000 Mega-Receivers and a majority of the dedicated $4000 and up Processors offer many of the features listed below:

• Adjustable cross over options (very useful).
• Bass management and digital delay compensation on 6 Ch inputs (somewhat of a mixed blessing, more on this later).
• Independent bass management and level control settings for each mode of operation (IE. Two channel, Digital Inputs, Six Channel Analog Inputs).

Unfortunately since the RX-Z1 has a fixed and non defeatable 90Hz global crossover, I had to implement my subwoofer crossover to compensate. While it isn't usually a good idea to cascade two crossovers in series because of the added group delay and/or bumps and dips in the frequency band of concern, I did so with care. I configured my subwoofer crossover at 70Hz and thoroughly checked for phasing problems between my subwoofer and main channels using the infamous Avia set-up disc and excellent internal bass test tones of the RX-Z1. The internal bass test tones in screen #2 of the RX-Z1 allows the user to sweep bass frequencies from 250Hz down to 35Hz in 1/6 th octave increments for all channels, or each channel individually. This is a great feature rarely found on most costlier dedicated Processors, let alone Receivers. I managed to get satisfactory results by cascading the crossovers and found a good compromise of level setting so that the bass wasn't too overpowering in a multi channel mode while still using the "Both" setting.

One surprising feature I discovered was that the RX-Z1 did retain different channel level calibrations for its dedicated six channel analog inputs. However, for some strange reason, the levels defaulted back to my primary global settings on more than one occasion and I was unable to determine the mechanism that caused it. I recommend checking it from time to time to ensure this doesn't happen to you. For me it was obvious because when the RX-Z1 was engaged in six channel direct, I had to boost the sub level by almost 10dB to achieve nominal levels. I don't fully understand why this was so, but it was no big deal considering that the sub out level of the RX-Z1 is more than ample to easily drive my subwoofer to its limits.

I managed to get very precise level matching with my Radio Shack SPL meter thanks to the accurate internal channel trims and master volume controls 0.5dB incremental steps. Aside from the minor gripes I previously mentioned, which probably would only bother audio fanatics with elaborate speaker systems like myself, the RX-Z1 was relatively easy to set-up and was endowed with good tools to help you do so.

Yamaha RAV-2000 Universal / Learning Touch Screen Remote

The Yamaha RAV-2000 is actually a Phillips Pronto replica dressed up in Yamaha clothes. Many other electronics companies also offer Pronto clones with their own signature and custom firmware to support their products. Pronto was the first LCD touchscreen remote of its kind in a market segment it helped to create. I suppose as the old saying goes, "if you can't beat 'em, join 'em".

What can I say about this sophisticated remote that hasn't already been said by various reviews of equipment incorporating a derivative of it since its inception several years ago? The Rav-2000 is one cool cat. It is certainly the most advanced and well thought out remote I ever had the luxury of using. I really enjoyed simply typing in the name of the manufacturer of the device I wanted the RAV-2000 to operate, while it gave me a list of options to test before I accepted any of the codes. Within 10-15 minutes I had all of the devices in my home theater system categorized and operated through this remote, and with the touch of a single button, I powered on and off my entire system! Many competing devices offer the user a sheet of codes to manually enter, or force the user to download codes via RS-232 from their websites to program their remotes to operate your equipment. This is certainly more time consuming, and can be a more painful process, than the RAV-2000 integrated solution. The RAV-2000 even offers firmware upgrades and expansions of features for custom installers through Yamaha's website.

On the downside, I wish the RAV-2000 would have incorporated shortcut keys to take me to a direct device without having to scroll through a series of menus. I can't tell you how many times I set the RX-Z1's DSP mode and then had to click through a few menus in agony to get my DVD configured before viewing. Also, I must warn to be careful when changing a code for a particular device. I accidentally selected the wrong code for a specific device and deleted the actual graphic instead of just the specific code forcing me to purge the entire memory and start all over again. I also recommend buying a spare set of batteries, as programming the remote significantly uses up battery power and you may find yourself replacing the batteries, as I did, with in a month of doing the initial programming.

The RX-Z1 comes with every imaginable DSP mode currently offered by Yamaha. DSP processing is handled by Yamaha's proprietary twin 44 bit YSS-910 DSP's while digital decoding by the 32bit YSS-938 decoder. The DSP Processor offers 41 DSP soundfields with a total of 61 variations to tailor the sound to your liking, allowing you to transform your living room into the Village Gate Jazz Club of New York or the Roxy Rock Club of LA, and much more.

While I found a majority of the DSP modes to be too overwhelming, I managed to tone down a few of my favorites to achieve an expanded and very enjoyable soundfield which is ordinarily not possible with conventional Processors. The jazz club modes worked very well in my set-up when listening to concert DVD's such as those from Eric Clapton, and Steely Dan. The Rock Concert DSP modes favored concert DVD's from Shakira, Janet Jackson, and Fleetwood Mac. Even old VHS concerts such as "The Way We Walk" from Genesis took on new life when I engaged some of the Hall DSP settings offered on the RX-Z1. It really gave me the illusion of when I personally attended the last Genesis live performance, as we knew them. And, it had me longing for those days, wishing the band was still at the forefront in a world where two chord rock, prefabricated gangster Rap, and MTV cribs now seems more prevalent.

I personally enjoyed the Prologic II and DTS Neo music modes over any of the DSP modes when listening to conventional CD's. These modes really helped expand some of my older recordings such as U2's Joshua Tree, and Marillions "Six of One, Half Dozen of the Other" making them listenable again on my reference system. However, when I decided to engage in serious two channel listening on well recorded sources, I preferred bypassing all processing and letting my front speakers and sub handle all the music.

Listening to movies decoded in Yamaha's proprietary DSP movie modes, which utilizes dedicated front effects channels was a real eye opener. Yamaha offers dedicated front effects channels to help preserve the imaging of the main channels by sending the DSP signals to dedicated speakers located on the front wall usually a few feet above and slightly wider apart from the main speakers. I really like this approach with DSP processing and I personally wouldn't have it any other way after hearing just how effective this solution really was. I don't have any major qualms adding an extra two speakers up front since in my opinion, it's usually easy for folks to add a couple of more speakers on the front wall then the rear wall in a typical living room environment, and the benefits to me are clearly worthwhile if you are a DSP enthusiast.

My favorite mode for watching just about every DVD movie I threw at the RX-Z1 was the 70mm Digital Adventure mode. My past experience with the DSP A1 was similar in this surround mode, but I don't recall the center channel remaining so clearly focused and echo free on the DSP A1 without significantly turning down the parameters of this mode. The RX-Z1 DSP default settings seemed to be more conservatively chosen in my opinion. I never heard the center channel sound hollow or loose intelligibility when engaged in the major 70mm movie DSP modes. I was particularly blown away by the expansive rear surround field of these DSP enhancement modes, making me realize wonder what the beef is about THX, and just how silly it would be for my application to add another speaker to the back wall for a dedicated rear channel for ex/es modes.

In case you didn't know, I am really not the greatest advocate of adding another speaker or pair of speakers for rear center channel applications since a majority of DVD's currently available don't even offer EX/ES encoding, and those that do take advantage of this feature are usually encoded only in Dolby Digital EX which simply matrixes the rear center channels from the rear channels much like old prologic used to derive a front center channel from the mains. Only DTS ES offers a discrete rear center channel, however the software, at the time of this review, is very limited. In addition, most peoples rooms, mine included, cannot accommodate any more speakers on the rear wall. Usually the primary listeners are seated pretty closely to the rear wall where ideally the rear center speaker(s) would be located. Thus these speakers would fire at the listeners ear and may make them very localizable and unnatural sounding. Also, I believe if your rear speakers image well enough, the phantom center should be quite effective.

Listening to the extended release four disc boxset of "Lord of the Rings" was breathtaking on the Yamaha RX-Z1. In fact, I never had such an involving experience with any other Processor I had the privilege of reviewing, including my own reference Processor which when it was current sold for over $1200 more than the RX-Z1. Since this movie was encoded with DTS ES, I briefly hooked up a rear center channel, using the Yamaha's internal amps, and replayed specific scenes that I was familiar with. Adding the rear center in this case did have some advantages as it helped to focus the soundfield specific for rear center placement, while providing a more fluidic rear surround soundfield. Although the advantages were less obvious to me when playing DD EX movies with the added rear center and at times it was actually distracting to me given that the rear center was located too closely to the listening position in my living room. It wasn't long before the wife noticed the cosmetic compromise of our livening room with the added speaker, and thus its benefit was soon nullified.

Switching back to 7.1 (5.1 + 2 front effect channels) I was continually amazed that the front to rear panning was so incredibly fluid and seamless, while the clarity and focus was second to none in my experience. I had similar experiences while listening to movies such as "Monsters Inc", and "Ice Age". I noticed that my movie viewing increased nearly double from my norm when evaluating the RX-Z1. I must have watched, or should I say listened, to some of these movies over again in their entirety just out of sheer sonic enjoyment that I perceived.

I must say I was a bit skeptical of this new format and questioned just how significantly it would raise the bar of the fidelity of the DTS format and make it a serious contender in the high resolution format wars. To my surprise the few DVD Audio discs featuring DTS 96/24 soundtracks I had in my collection turned out to be a wonderfull sonic treat in DTS 96/24 mode. In fact, given the set-up of my system, especially with the RX-Z1 as the Processor, I actually preferred listening to these discs in DTS 96/24 mode over the MLP soundtracks.

I know many audiophiles are probably shocked to hear me say this, but let me defend my bold statements before you scold me. In this set-up, which unfortunately constitutes the majority of most of today's home theater environments, DVD Audio has no bass management or digital delay compensation via the DVD-Audio player or the Receiver. Currently, in order to get this, you have to spend considerably more on proprietary solutions from companies such as Denon, Pioneer Elite, or Meridian . Some Receivers do offer bass management and digital delay compensation via their analog six channel inputs. However, as I stated before, this is a mixed blessing. While it corrects the problems I previously mentioned, it does so by compromising resolution by taking the high resolution analog signal, converting back to digital for processing, and then back to analog again for amplification. To me this seems self defeating and I question why any serious audiophile would want to do this to an allegedly high resolution signal. In addition, I felt the DAC's and analog sections of the RX-Z1 audibly performed better than those in my Panasonic DVD-RP91K DVD Audio/Video player. Thus, listening to DTS 96/24 DVD Audio discs on a DTS 96/24 Processor sounded superbly to my ears.

CD: Brazilian Bossa Brazilian Bossa
I was stunned by the quality of the recordings of track #'s 1, 3 and 6. Incidentally these tracks were mastered in 96/24. I constantly had to convince myself by looking at the front panel of the RX-Z1 that I was listening to the DTS 96/24 layer and not MLP. The music was pristinely clean and dynamic, and the surround experience was involving, not artificial sounding, while the bass was tight and deep. This was just about one of the best multi channel audio experiences I could remember having in my home. I preferred using straight DTS 96/24 with no DSP processing because it was so clean sounding, I just didn't want to add anything to the mix that shouldn't be there. To me there was nothing missing as the surround field was fully enveloping. When I switched to the MLP soundtrack, it also sounded superbly, however the lack of bass management and digital delay compensation was apparent by the slightly thinner bass and less natural sounding panning between the front and rear channels.

SACD: Patricia Barber - Café Blue
I started my critical listening evaluation with one of the fabulous SACD hybrids from Patricia Barber. I really dig this CD. It's lumpy jazz in a smooth jazz environment. You won't find repetitive and annoying saxophone scales, single stroke drumming, and simplistic guitar rifts, instead you're showered with snappy jazz and provocative lyrics, slamming drums and memorable instrumental solos. The SACD layer of Track #2, "Morning Grace" sounded phenomenal. In fact, I found myself repeating this track several times floored by its sound quality and utter coolness of the song. The RX-Z1 in this instance sounded quite transparent, and almost on par, with maybe only a touch of edginess compared to my dedicated Preamp Processor costing considerably more.

So far the RX-Z1 proved to be a very competent preamp and home theater processor. The only question remaining now is how would it fair as a multi channel amp to power a full home theater 7.1 channel speaker system? I suppose it was time to retire my reference amps for the moment (sniff sniff) and switch the power duties to the internal amps in the RX-Z1 to answer this question. I rerouted the front effect channels back to their dedicated amps and connected all of my speakers to the appropriate speaker level connections on the RX-Z1.

All Good Things Must Come To An End