Synthesized bass is a common element in movie scores, and in Arbitrage—with Richard Gere as a morally challenged Wall Street whiz—the level continued to be too high. Male voices were occasionally localized in the sub, though I must admit that had I not been listening for it, I might not have noticed it. A brief but loud car crash was palatable, as expected with this receiver. A taste of Billie Holiday with string orchestra reminded me how gorgeous Harman receivers often sound with well-recorded music. Before and After Science I finished the movie sessions and started the music sessions with two full viewings of the 2013 DTS Demo Disc, which alternates movie clips with songs. First I ran through it with EzSet/EQ still operating. My perception of the obese bass remained intact in the Hunger Games excerpt. Harman Kardon engineers have built the AVR 1. Speaking of the channels: With 5. 70 immerses you in a true surround- sound environment. Find helpful customer reviews and review ratings for Harman Kardon AVR 1700 5.1-Channel Network-Connected Audio/Video Receiver with AirPlay. Find helpful customer reviews and review ratings for Harman Kardon AVR. Software, Sports & Outdoors, Tools & Home Improvement, Toys & Games. Harman Kardon AVR 1700 5.1-Channel Network-Connected Audio/Video. I will update this as soon as I get it along with the new Full HD (1080p @ 120Hz) 32' Led TV. Surround effects seemed vague and elusive in Prometheus. However, in “Listing”—a song by Minus the Bear with a 24/96 multichannel mix—the instruments in the surround channels sounded just right. EzSet/EQ did not obscure dialogue in any of the movies, though it did tone down the clatter in the Snow White castle battle scene. Since EzSet/EQ cannot be switched off, and there is no pure mode that would bypass it, nothing short of a full system reset would defeat it—something I confirmed with Harman Kardon. I executed the reset by holding down the front panel’s surround-mode button for five seconds, then re-entered the speaker distances and balanced the channel levels with a meter. Alur cerita yang baik, lalu pesan yang bisa diberikan kepada penonton pada sebuah, tentu saja akan enak ditonton oleh Anda. Download korea pinocchio subtitle indonesia. Michael brecker sax. “I had this brilliant idea that if I practiced scales 11 hours a day I’d become really good. Richard started giving me this deep tissue massage and also prescribed exercises to go along with the work, and I started feeling the benefits right away. From there I got into yoga and also started studying the body-tension-reducing Alexander technique and figured out how to apply it all to what I do.” Guitarist Dave Fiuczynski of the Screaming Headless Torsos, a schoolmate of Medeski’s at the New England Conservatory, suffered similar problems from repetitive stress syndrome in the fall of ’85. He brought in these students and other practitioners to examine me and he told them, ‘This 19-year-old man has the arms of a 60-year-old.’ He recommended that I stay down there and continue the therapy, but I was going back to school in Boston, so I ended up finding Zukowski, who had opened a Hoshino-style clinic in the Berkshires. Along the way, I noticed that the test tone for the subwoofer channel was a great deal higher than the other tones—for a moment, I was afraid it had damaged the sub. I turned it down to –10 decibels, the minimum setting, then adjusted the sub volume dial to an unprecedentedly low 9 o’clock, versus the customary 10 o’clock to noon. (A speculation crossed my mind: Had EzSet/EQ’s bass correction been thrown off by a flaw elsewhere in the receiver that boosted the sub channel?) Minus EzSet/EQ, my perception of some tracks on the DTS disc altered. In The Hunger Games, bass was far less boomy. In Prometheus, surround levels strengthened, enabling me to notice the quiet rainfall in the cave. Another effect I hadn’t previously noticed was a subtle metallic sheen to the sound effects that accompanied flickering red light effects that shuttled through the cave. An almost subliminal acoustic guitar part in JJAMZ’s “Suicide Pact” became audible for the first time, and the vocal had a more breathy quality. Not everything sounded notably different. But I concluded that anything the receiver could do with EzSet/EQ, it could do as well or better without it. I left it off for the rest of the music demos to gauge the amp’s intrinsic qualities. ![]() Getting Off EZ Street For orchestral material, I turned to the ballet suites from Menotti’s Sebastian and Prokofiev’s Romeo and Juliet, which share disc three of the 14-CD box set Leopold Stokowski: The Stereo Collection 1954 to 1975. Much as I would love to hear this on mint-condition RCA Living Stereo vinyl—which would be above my pay grade—the CD transfer still made the NBC Symphony Orchestra sound smooth, sweet, spacious, rich, and well balanced through Harman’s un-room-corrected amp. When the string section rose above the rest of the orchestra, it was not without bite, but not tinny or out of proportion. Using Harman’s Logic 7 mode to rechannel two channels to 5.1 resulted in a slightly fuller sound with softer edges. With no buttons on the remote to change modes, I resorted to the plain-looking but functional graphic user interface. Pink Floyd’s Meddle is criminally underrated—it really deserves to get the full Immersion box-set treatment (with 5.1 mixes) accorded to Dark Side of the Moon and Wish You Were Here. My secondhand U.K. LP is slightly scuffed but more vivid in every respect than my first-generation U.S. The AVR 1700 did not flinch at the double-bass-guitar attack of “One of These Days,” including the awe-inspiring tremolo-bass solo in the middle, which required the receiver to make my Paradigms’ 7-inch metal-coned woofers repeatedly, rapidly, relentlessly start and stop on a dime. And I was playing it pretty loud. The crispness and sparkle of acoustic guitars on subsequent tracks were not dumbed down or rolled off, despite what I’ve characterized as the amp’s polite top end. In the screaming-gull section of “Echoes,” modified wah-wah-induced guitar effects soared high over the abyss of slide-rubbed bass strings (you can find tutorials on how to reproduce these effects on the Internet). The sound’s room-filling three-dimensionality was impressive—it almost sounded as if the receiver were running height channels, though it does not have that feature. Going to Logic 7 didn’t really enhance it much: There was magic in the original two channels. My copy of Kind of Blue, the Miles Davis milestone, is not one of the classic Six Eyes or 360 Sound pressings.
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