Product Review: Yamaha YSP-4000 Sound Projector

Is the age of the traditional loudspeaker almost over? Never before has there been so many alternatives to the typical monolith speaker, from in-walls that disappear into the décor to ultra-tiny speaker enclosures that sit on a shelf. A general aversion to complex and highly visible multichannel audio systems has left a good many consumers with only half the home theater experience. According to a September 2006 article from the Consumer Electronics Association, called “Home Theater Opportunities,” 76% of all flat panel TV users are not using a separate audio system. As the article points out there are a good deal of opportunities for audio equipment manufacturers to develop alternate methods for delivering quality audio for high-definition TVs.

The Yamaha YSP-4000 Digital Sound Projector ($1,799) is one of the simplest solutions this speaker-shy demographic could embrace. One could call the YSP-4000 the ultimate HTiB (Home Theater in a Box) because it contains speakers (or what Yamaha calls “sound beams”), amplification and complex signal processing that emulates surround sound, and video switching in a single enclosure.

What It Is
At 40w x 8h x 6d and weighing only 35 pounds, it’s essentially the same size as many “sound bar” style speakers that only contain the front left, center, and right speakers. With those types of sound bars you still need rear channel speakers and an A/ V Receiver for surround sound. The YSP-4000 can be placed underneath a cabinet, on a shelf, or on-wall using the optional SPM-K30 bracket ($80).

The YSP-4000 does not use conventional speaker drivers, but is equipped with 40, 1.5-inch “beam” drivers and two 4.25-inch woofers. Each beam driver is precisely directed based on Yamaha’s proprietary IntelliBeam auto calibration process, which optimizes the beam angle of each beam driver to match the individual listening room.

The YSP-4000′s built-in amplification delivers 2-Watts per beam and an additional 20-Watts per woofer for a system total of 120-Watts. Using the multiple beam arrays to direct sound in specific directions, in conjunction with some fancy digital signal processing, the YSP-4000 is capable of replicating a pretty realistic multichannel surround experience from a single sound bar.

In addition to providing complete amplification for the internal speakers, the YSP-4000 provides all signal processing including surround sound decoding for Dolby Digital, DTS, Dolby Pro Logic II and DTS Neo: 6 compatibility. Seven Cinema DSP settings (three for movies, three for music and one for sports) are also provided, in addition to SRS Labs’ TruBass enhancement technology.

Hooking Up
Despite its size, there are quite a few connection options available with the YSP-4000, but nothing like a full-featured A/V Receiver. That, however, is the point. The YSP-4000 is meant for simple systems with fast and easy setup and operation. There are two HDMI inputs with a single HDMI output, which are 1080p/24 and 1080p/60 compatible. Since both audio and video are transmitted via HDMI, it’s not necessary to use separate audio hook-ups for your HDMI sources.

For the type of user who would gravitate to the YSP-4000, there is no question that the HDMI hook-up is the easiest way to go and if the system is super basic it might be all a person would ever need. In fact, the HDMI inputs are marked specifically for DVD and Sat/Cable boxes. For additional video sources there are two component inputs along with a set of component outputs. For digital audio inputs, the YSP-4000 provides two optical and two coax connections plus there are two sets of analog audio inputs.

The YSP-4000 does demonstrate some surprising sophistication with unconversion of analog video sources to HDMI. Sources using the composite or component inputs can be output via the single HDMI port, as well as upconverted to your choice of resolution–480p, 720p, or 1080i. As a result, no matter how many video sources you have, all that is needed for an output is a single HDMI cable from the YSP-4000 to the video display.

Sometimes in the quest to simplify it’s possible to create greater confusion. And that is the case with the YSP-4000′s component inputs, which are assigned specific digital audio inputs. For example, both my DirecTV satellite receiver and Toshiba HD-DVD player have only optical digital audio outputs. Only one of the component inputs on the YSP-4000 accepts an optical input, the other requires a coax input. This could cause frustration for users in the same predicament.

Three composite inputs are provided, along with a single composite output, but there are no S-Video connections. A special jack is provided for using one of Yamaha’s recommended subwoofers, though there is a (RCA) LFE output for using a subwoofer of your choice (I used the YSP-400 with my SPB SubSeries 5i throughout this review). Connections for a XM mini-tuner and an iPod dock are also included.

The optional iPod dock [$199] allows access to the iPod’s menu via the on-screen display and is controlled with the YSP-4000 remote. I would have liked to see a more interesting GUI interface but it got the job done. All my playlists were there and I could scroll through them with the remote, playing songs at random. Other MP3 devices can be hooked into the YSP-4000 using the 3.5mm mini-jack on the front panel.

Beam Me Up
The YSP-4000′s auto-calibration method could not be any easier. A cardboard stand places the supplied microphone at the main seating position. Select Auto Setup and the YSP-4000′s proprietary IntelliBeam technology generates a series of test tones to measure speaker distances, levels and set room EQ. In less than three minutes you’re ready to begin watching movies.

While most people will probably “set it and forget it” with the auto setting, I had to tweak quite a few settings to create a more pleasing soundstage and frequency response. Fortunately, it’s possible to save up to three IntelliBeam settings.

There are also four Beam modes on the YSP-4000 remote control. The performance of the Beam modes will vary depending on your overall settings. 5 Beam outputs sound beams for the front left, center and right array, in addition to the left and right surrounds. This is considered ideal for multichannel sources or playing two-channel sources in surround. Stereo + 3 Beam outputs the front left and right channels normally then uses sound beams to create the center and two surrounds. Yamaha recommends this for live recordings since vocals and instruments appear closer to the center and the surround effects replicate the venue’s ambience. 3 Beam only outputs left, right and center without surrounds.

Performance
I started out my evaluation with “Nothing At All” from Santana’s Shaman album and it was here I made quite a few manual adjustments. I began in the 5 Beam mode, and found it to be very spacious with a remarkably defined center. However, vocals were slightly subdued and lacked a distinctive punch.

Going into the manual setup I changed the focal length and center channel treble gain, which pulled the vocals out a bit more. I them switched to the Stereo + 3 Beam, which gave the vocals the presence and body I wanted.

The Auto Setup calculated the installation height at 3.5 ft., which seemed accurate, but I liked it better at 5 ft. because the sound distribution seemed closer to ear height, which is the most appropriate positioning for the front speaker array. This, in no small way, resulted in a far more satisfying spatial image across the front.

Also, the individual treble gain controls that are available for all five channels were extremely useful in fine-tuning the overall frequency response of the system. I fiddled with the settings for different sources and never found the perfect “leave it alone” setting, so the three IntelliBeam user settings came in handy.

And finally, there was an audible void between my PSB sub and the YSP-4000′s midbass frequencies. After some judicious tuning of the bass tone controls and changing the auto-calibrated distance between the subwoofer and the main seating position, I was able to create a smoother, more cohesive blend.

The track “Enchanted Life” from Samantha James’ Rise CD has a nice, laidback chill vibe with lots of ambience. However, when I threw it into the Stereo mode the image collapsed and I lost the wide soundfield. For this particular track I preferred the 5 Beam mode, which pulled the vocal back into the mix, creating a more pleasant blend from channel to channel while providing a realistic and immersive surround environment.

While I was in the middle of my evaluation, I received a new Melissa Etheridge DVD called The Awakening Live, which is a concert performance at the New York City Hard Rock. The YSP-4000 recreated a very effective and believable live setting, providing plenty of concert hall ambience. In the 5 Beam position vocals were well placed in the center with an excellent balance between the band and backing vocals.

Moving to movies, during the heavy storm scene from The Perfect Storm on HD DVD, several members of the crew and rescue copter are floundering in the water. During this scene dialog has to be strong or it will get lost among the sound of the thundering wind and crashing waves. I found the 3 Beam mode worked best because voices sounded weak in relation to the rest of the busy soundtrack.

In Quentin Tarantino’s quirky Death Proof, there is a bombastic drum soundtrack mingled with the sound of these souped-up muscle cars that totally drives the off-the-charts car chase in the movie’s climax. The YSP-4000 delivered the depth to make this scene exciting and yet the dialog was clear and present.

Conclusion
If you object to having your music digitally poked, prodded and generally manipulated this is probably not the right product for you. However, for the MP3 generation, this was surely made for them. Add on the optional iPod dock, and the YSP-4000 turns into the ultimate iPod sound system and yeah, it plays everything else, too.

Between the auto-calibration, the additional manual adjustments and the Beam modes, the YSP-4000 offers plenty of adjustability for fine-tuning the system, more so than most simplified HTiB systems. Just by playing with the three key Beam modes you can find a sound palette that best suits your source. The $1,799 manufacturer’s list price is decidedly more than a wide range of available HTiBs, however, the performance capabilities of the YSP-4000 are far superior..

Ultimately, I liked the YSP-4000 probably more for its design and intent than its actual implementation. It didn’t have the scale of dynamics or the sheer power of my reference system, but I still found it to be very convincing and I certainly recognize its obvious appeal. I was able to audition the YSP-4000 to several of my friends who I felt would be the right demographic for this product and they all loved the concept and thought it sounded great. And lest we forget, there is zero speaker wire clutter, and that alone will appeal to a lot of consumers

Highlights
• Contains all electronics, amplification and speakers for complete 5.1 surround system in a single enclosure
• Extremely fast Auto Setup and easy operation
• HDMI Switching, though limited by only two inputs

(Article Source:cnet.com)

Product Review: URC MX-900 Universal Remote

If you had to pick the one piece of your home-theater puzzle that ties all of the components together to make them work as one, what would it be?

A processor is a good choice. It acts as the brain of your system — almost every component feeds a signal into or gets a signal out of it. Others might point to their speakers: without a good set of speakers, your system’s performance can’t be optimized. Then there’s your amplifier, your DVD player, your TV or projector, even your power conditioner — each could be considered quite valuable.

Everyone values something different in a system. My system’s MVP (Most Valued Product) — the thing ties all my components together and lets me enjoy them every time I use them — is my universal remote control. With one push of a button on the remote, everything is turned on, and each component is automatically adjusted to the proper settings. I can then control the devices individually. My universal remote lets me enjoy my system by simplifying everything about its operation.

Over the last few years, as the high-definition boom has begun to reach my friends and family and they’ve asked me for advice, the one purchase I’ve always recommended is a universal remote. Although these new enthusiasts have mainly been concerned with the size of their new TVs or the placement of their new speakers, such details wouldn’t matter if they couldn’t actually use them. Place three or four different remotes in their hands and there’s a good chance they’ll never figure it out. The new A/V system will become a frustration because they can’t get it to work.

A really good remote can change that. Think of it as a book titled Home Theater Operation for Dummies. I have owned my reference remote, the MX-850 from Universal Remote Control, for about two years. In that time it has faithfully served me and kept my attention on my system’s performance, not on which remote does what.

Meet the new boss

A few months back, while scanning Universal Remote Control’s website, I stumbled across a list of their other models. Just above the MX-850 was the slimmer, more streamlined MX-900, with a layout slightly different from the MX-850’s, and only six LCD buttons instead of ten. (The LCD buttons can be custom-named and -programmed via the remote’s Programming menu.) I asked my editor to contact Universal to request a review sample, and within a few days, an MX-900 ($449.95) was in my hand.

A big change from the MX-850 is the replacement of its Main button with the MX-900’s Watch and Listen controls, for those times when the user wants to use an A/V system for (respectively) video and sound, or only for listening. To hear the radio or a CD, you press Listen. Otherwise, the MX-900 and MX-850 are very similar. The slimmer MX-900 fits the hand better, but the MX-850’s layout is more spacious. On both, the illumination button is on the right side.

To program the MX-900, I had to download its software from Universal’s website. These downloads are not available to everyone. The MX-900 is sold mainly through audio/video retailers and custom installers, and should be programmed for the user by the store that sells it. If a novice attempts to program an MX-900 without assistance from an experienced professional, it could turn into an expensive paperweight.

But if you insist on doing it yourself, I do have some advice. First, you’ll need a list of all of the components you wish to control. With this list, you navigate the device menus on the Universal Remote Control website and locate the appropriate codes for each component. In a few instances I was unable to find the correct codes for my TV and a DVD player, but was able to use the codes for different models from the same manufacturers. This process was pretty cut-and-dried.

Next I had to set up Device Macros and Punch Throughs. According to my dictionary, in computer science, a macro is an abstraction that defines how a certain input pattern is replaced by an output pattern according to a defined set of rules. In lay terms, it’s a set of signals the remote can output, via either an infrared or a radio frequency, to a component — e.g., “Power on” or “Power off.” At the same time, the macro can also choose the settings for your TV or receiver. For example, I’ve named the MX-900’s top LCD button “HDTV,” and have programmed it to adjust my system to watch and listen to my TV through my home-theater system. When I press HDTV, the MX-900 emits these commands: 1) TV powers on. 2) Anthem AVM 50 processor powers on. 3) Anthem AVM 50 switches to TV mode. 4) Cable box powers on. 5) Remote function switches to cable box.

Punch Through gives greater flexibility of system control to those who run an entire system through an A/V processor or receiver. Punch Through allows functions like the volume to be controlled by your receiver, regardless of which device the remote may be controlling. For instance, if I’m watching TV, the MX-900 functions as the cable-box remote, but designates that the volume of the system be controlled by the receiver instead of controlling the volume settings of the cable box.

After all of the commands are set via computer, you must download these settings to the remote. The MX-850 had to be connected to a computer via the computer’s serial port and its own mini stereo plug. The download process took only a minute or so, but the MX-900’s USB 2.0 connection does the job in seconds — so fast that, the first time I downloaded the commands, I assumed the program wasn’t working properly. This is a tremendous improvement, especially when you’re trying to fine-tune your settings. Although you may download new settings only once in a blue moon, when you’re first tweaking the remote’s programming, the quicker you can download settings, the better.

Once I’d programmed the MX-900, its performance was very consistent. The only time it failed was when its four AAA batteries ran low. I replaced them, and the remote was back up and running flawlessly.

Functionally, the MX-900 and MX-850 have a few differences. The MX-900 is capable of replacing up to 40 different remote controls, the MX-850 only 20. This is hardly reason to disparage the MX-850 — few people have 20 different devices to control, let alone 40. The biggest difference for me was the way the MX-900 fit my hand. After a year of using the MX-850, I found it difficult to adjust, though over time I did become more comfortable with the slimmer MX-900. With the MX-900’s fewer programmable LCD buttons, I had to adjust my standard settings. Batteries seemed to last longer in the MX-900; each set of four AAAs endured several weeks of heavy use.

The MX-900’s biggest competitor is probably Logitech’s 890 universal remote ($399.99 including RF sensor). The 890 is a consumer remote that can be purchased from one of the big-box retail stores. Areas where the 890 excels include how easily it can be programmed. Logitech’s programming software is very intuitive and user-friendly, and setup is much faster than with the MX-900, though not as flexible. In short, the Logitech doesn’t require professional setup. The fact that the Universal MX-900 does could be a deal breaker for some.

I found the MX-900 the more consistent performer: It worked every time I pushed a button. Whether aimed precisely at the intended device or anywhere else in the room, its signal reached the component every time. If the Logitech’s signal didn’t hit its target, I had to reset the remote to its main page and try again. In such cases I pressed the Logitech 890’s Help button, which let me find the step in the programming macro that had been skipped, then re-send it. Usually, this worked. There was also a short delay between the time I pressed a button on the 890 to its sending of the IR signal. The MX-900 seemed to emit a stronger signal, making aim not nearly as important. Both remotes have programmable LCD screens, but the Logitech’s is a color display.

While I’ve been using the MX-900, my MX-850 has been on loan to a friend. I set up the MX-850 to suit his system, and after about three minutes of showing him how to operate it, he was using it like an old pro. He uses it every time he operates his system, and always mentions how much he loves it. His wife can now operate their A/V system without his assistance, and so uses the system much more often. But the review process is over, I have to send the MX-900 back to Universal, and soon I’ll be asking my friend to return the MX-850. He’ll then have to remember how to use the four remotes that control his system, and his wife will probably stop using the system altogether. If I know him, he’ll probably buy a Universal remote ASAP.

Conclusion

When you fork over the considerable amount of dough needed to buy a new TV or audio system, any additional expenditure — especially a $450 remote control — can seem unwarranted, even foolish. But the Universal Remote Control MX-900 can tie everything together and greatly simplify the operation of a complex system — a key to enjoyment. It can do this for even for the most technologically challenged person. Without reservation, I recommend it to every home-theater user I know — and to every one I don’t know, too.

(Article Source:cnet.com)

Product Review: Sony BDP-S350 BluRay Player

Since the Sony PlayStation 3 appeared on the scene, it’s been CNET’s go-to choice for those interested in Blu-ray–even if they weren’t interested in gaming. At $400, the PS3 was delivering a full-service Blu-ray player, with the added value of being a top-notch digital media device and gaming machine as well. But as Blu-ray players get better and cheaper, the equation is no longer so cut and dry. Sony’s own BDP-S350 is a good example. With its latest firmware update in place, the S350 adds full BD-Live (Profile 2.0) compatibility to its bag of tricks. That leaves only its annoyingly recessed USB port (for added storage) and its lack of onboard DTS-HD Master Audio decoding (not a huge issue outside of audiophile circles) as the remaining red flags–and neither is a deal-killer. The Sony is in a neck-and-neck battle with such other full-featured standalone Blu-ray players as the Panasonic DMP-BD35 and the Samsung BD-P1500. And now that all of those models can be found for as low as $300, they’re realistic alternatives to the PS3 (for nongamers, at least).

Design
Nearly all standalone Blu-ray players so far have looked like oversize DVD players, requiring a lot of depth and width in your rack to make ‘em fit. The BDP-S350 is radically different in this regard; it’s about half as deep as every other Blu-ray player we’ve tested, coming in at 17 inches wide by 8.75 inches deep by 2.38 inches high. The front of the player is mostly covered by a blue-tinted, reflective faceplate, and there’s an LCD screen on the right. On the far right are a couple playback controls, although there are no chapter forward/backward buttons for when you can’t find the remote control. There is also a single blue indicator light, which tells you if the player is outputting at 24 frames per second. Altogether, it’s a sharp-looking player–albeit not as sharp as the Samsung BD-P1500–and its small footprint is a welcome design touch.

The BDP-S350 is easily the smallest Blu-ray player we’ve seen so far.

The included remote is pretty good. The center is dominated by a directional pad, which is surrounded by important buttons such as menu, options, and home. Toward the bottom are separate rockers for volume and channel changing, for those who want to use the remote to control their TV as well. We generally liked the layout, and there’s enough button differentiation to navigate by feel in a darkened home theater.

One major design flaw is the deeply recessed USB port–used for BD-Live compatibility–on the rear of the unit. Our first problem is that it’s located on the rear of the unit in the first place, as that can be a pain to get to in many home theater cabinets and you may not want to dedicate a USB memory stick solely to the BDP-S350. Secondly, because of how deep the USB cavity is, many types of USB memory sticks won’t fit–you’ll need a long slim one to fit properly. The deep recess means you won’t have a USB stick protruding too far from the back of your player, but since the player is already quite shallow and there will already be cables connected to the back, we can’t see it being much of an advantage.

Sony’s XMB graphical user interface looks great in high-definition, and we liked that you could access it without stopping the movie.

The BDP-S350 also uses a version of Sony’s XMB graphical user interface, which should be familiar to anyone who has used a PlayStation 3, PSP, or a recent Sony HDTV. The high-definition graphics are a nice touch, and we found it easy enough to make tweaks in the menus. Geeks will enjoy the amount of tweakable options, including the highly desired capability to force the BDP-S350 to output 24 frames per second. A somewhat esoteric perk we enjoyed is that it’s possible to access the XMB menu without stopping a disk, so you can make minor tweaks like changing the resolution without having to reload the entire movie.

Features
Originally sold as “BD-Live ready,” Sony issued the promised firmware update for the BDP-S350 in September 2008. So long as the player is connected to your home network, the update is available at the click of a button, and automatically installs after a few minutes. Thereafter, the player becomes fully BD-Live/Profile 2.0 compatible, meaning that it can access the online features available on certain discs. To date, there hasn’t been a lot of compelling content, but the point is that you’re getting a player that’s as close to state-of-the-art as possible. The feature is there when and if better BD-Live content turns up down the road.

High-resolution soundtrack support on the BDP-S350 is good, although not perfect. There’s onboard decoding for Dolby TrueHD–which means you can hear Dolby TrueHD on any HDMI-compatible receiver–but DTS-HD Master Audio cannot be decoded by the player. On the other hand, the BDP-S350 can output both Dolby TrueHD and DTS-HD Master Audio in bit stream format, which means that people with newer receivers with onboard decoding can still take advantage of DTS-HD Master Audio. Of course, the similarly priced Sony PlayStation 3 can decode both formats, which means you only need a receiver with HDMI support to take advantage of both formats. However, keep in mind that the differences between these high-resolution soundtracks and standard Dolby Digital and DTS may be hard to hear unless you have a high-end listening environment.

Connectivity is fairly standard on the Sony BDP-S350. The main connection is the HDMI output, which can handle HD video up to 1080p as well as multichannel high-resolution audio. There’s also a component video output, which can output Blu-ray movies at 1080i and DVD at 480p. There are also two legacy standard-definition video outputs, S-Video and composite video, but you should stick with the high-definition connections to take advantage of Blu-ray.

For audio, the HDMI output is the best option for those with HDMI receivers. There are also both optical and coaxial digital audio outputs, although these can’t handle the full resolution of Dolby TrueHD and DTS-HD Master Audio. For analog audio, there is a stereo RCA-style output. The big omission is the lack of analog 5.1 outputs, which means that those with older receivers won’t be able to take advantage of Dolby TrueHD decoded by the BDP-S350.

It’s tough to tell from the image, but the USB port is actually recessed inside the player, so you’ll need a slim USB stick to reach it.

Rounding out the rest of the connectivity is a USB port and an Ethernet port. While you might think the USB port is used for looking at some JPEGs or listening to MP3s, actually its only purpose is to serve as external memory for advanced Blu-ray features–which is why the port is labeled “EXT.” You’ll need to connect a USB drive for storage to use the BD-Live features. Likewise, the Ethernet port can’t be used to stream files from your computer; it’s dedicated to accessing firmware updates and pulling Blu-ray-specific content off the Internet.

Blu-ray performance
Blu-ray playback performance from all Blu-ray players is generally excellent, providing a far superior image to DVD when viewed on a large HDTV in darkroom environment. We have, however, seen some flaws on less-expensive Blu-ray players–particularly when the players are set to output 1080p signals at 60 frames per second–so we were interested to see how the BDP-S350 measured up.

We began our high-definition tests with Silicon Optix’s HQV test suite on Blu-ray. During the Film Resolution Loss Test, the BDP-S350 looked good on both the test pattern and the slow pan across Raymond James Stadium, showing none of the moire or jaggies that we often see on cheaper players. Next were some video-based tests, which are considerably less important, as the number of video-based Blu-ray Discs is pretty small. We looked at the Video Resolution Loss Test, and the BDP-S350 was not able to correctly display this test pattern, as the most detailed resolution box had a strobelike effect. Next up were a pair of jaggies tests, and the BDP-S350 handled them with ease, clearly rendering both three pivoting lines and a rotating white line without excessive jaggies.

Switching from test patterns to program material, we popped in Ghost Rider on Blu-ray, and the BDP-S350 had no issues rendering the end of Chapter 6, as the grille of the RV remained perfectly detailed as the camera pulled away. We also looked at the beginning of Chapter 8 of Mission Impossible: III, and we saw no moire in the stairs in the background, which confirms what we saw in the test patterns–the BDP-S350 handles film material well. Next up we tried Tony Bennett: American Classic, and at the beginning of Chapter 7–which includes some video-based footage–we did see some minor jaggies on the clapperboard, but not quite as many as we saw on the BD-P1500.

It’s important to stress that the differences between these players is slight, and that only the most perceptive videophiles will notice the difference. Overall we found the DMP-BD50 to have slightly less jaggies on video-based titles, but you’ll notice them very rarely. Also note that if you plan on using these players in 1080p/24 mode, the differences essentially disappear, as we noticed virtually no differences between the players in 1080p at 24 frames per second mode.

We also tested how quickly the BDP-S350 powers on and loads discs, and it’s a step above other players released this year–but with a major caveat. The caveat is that to take advantage of the speedier load times you need to set the player to Quick Start mode, which means the BDP-S350 uses power even when you turn it “off.” In our tests, the BDP-S350 used 16 watts while playing a Blu-ray movie, 9.3 watts when off in Quick Start mode and 0.5 watt when off in normal mode. That being said, the BDP-S350 powers on in a very speedy six seconds in Quick Start mode. Once on, the BDP-S350 also loads discs about as quickly as other new Blu-ray players, with Mission Impossible: III loading in about 27 seconds, and the BD-Java heavy Pirates of the Caribbean II: Dead Man’s Chest in 2 minutes and 6 seconds.

Standard DVD performance
The number of movies available on DVD still dwarfs the number of available Blu-ray movies, so DVD performance remains an important factor. We started off looking at test patterns from Silicon Optix’s HQV test suite on DVD. The BDP-S350 handled the initial resolution test well, depicting all the detail that DVD is capable of–although we did notice some very slight image instability. The next two video-based jaggies tests were a mixed bag–it performed admirably on a test with a rotating white line, but it was just mediocre on a test with three shifting lines. On the other hand, we were impressed that it passed the difficult 2:3 pull-down test, as it kicked into film mode in less than a second, resulting in no moire in the grandstands as a racecar drove by. It also handled scrolling CNN ticker-style text competently, as well as a credits sequence.

The BDP-S350′s performance on test patterns was pretty solid, so we expected similar results with actual program material and were not disappointed. We popped in Star Trek: Insurrection and the BDP-S350 did a solid job on the introduction, as the curved railings of the bridge and hulls of the boats were rendered smoothly. We switched over to Seabiscuit and took a long look at the opening sequence. While we did notice a few subtle jaggies, we were overall very impressed. The BDP-S350 handled the black-and-white photos better than most players we tested. In all, the BDP-S350 should satisfy all but those that need the absolute best DVD playback–and if you’re one of those, you should check out the Oppo DV-983H.

(Article Source:cnet.com)