Yamaha's RX-A8A announced on May 13th. This product is positioned as the latest flagship of the company's high-end AV amplifier series "AVENTAGE", but "STAY HOME" was strongly desired, and the main movie theaters in Tokyo were closed during this Golden Week. , I was able to carefully handle this unit in my room, so I would like to deliver that impression here.
The AVENTAGE series that will appear this summer consists of 4 models, but as mentioned above, this machine is the top model. The price is 418,000 yen (tax included) for a machine with a built-in 11-channel amplifier.
- 11ch "RX-A8A" September 30 release 418,000 yen (tax included)
- 9ch "RX-A6A" released on September 30, 275,000 yen (tax included)
- 7ch "RX-A4A" released on August 27, 132,000 yen (tax included)
- 7ch "RX-A2A" now on sale 88,000 yen (tax included)
I have listened to all the flagship models of Yamaha AV amps so far, but after testing this unit in various ways, I am convinced that it is the best-sounding model ever. From the point of view of the sound that fits my senses perfectly, I think it's better than the separate type "CX-A5200/MX-A5200" that costs 682,000 yen (tax included) for a pair.
Where are you drawn to? It is because of its natural tone that you will not get bored or tired even if you listen to it for a long time. There is no tension or unnaturalness in the sound, so as you use it, you will not be conscious of the existence of the machine, and you will be able to immerse yourself in the world of the work. Inviting the listener to such a state of mind is probably the best role for audio/AV equipment.
The sound and functions have greatly evolved from the RX-A3080
Before listening at home, I compared it with the company's top-end integrated AV amplifier "RX-A3080" (280,000 yen excluding tax at the time of release) announced in 2018 in the listening room of Yamaha Music Japan in Tokyo. I saw it, but the sound quality of the A8A was outstanding.
Whether it's 2-channel playback using CDs or high-resolution files, or movie playback using Blu-ray, the A8A's three-dimensional sound spread is absolutely wonderful, and at the same time, the depiction of the end of the sound is exquisite and the expression is truly dynamic. . I was made to realize that it was a model that was subjected to high-fidelity tuning away from AV amps.
Let's take a look at the details of the RX-A8A. As mentioned earlier, this unit has a built-in 11-channel amplifier, and in addition to Dolby Atmos and DTS:X, it is claimed to be compatible with AURO-3D (will be supported with a firmware update after the release). When playing Atmos, a 7.2.4 configuration (7 floor channels, 2 subwoofers, 4 top speakers) is possible with this unit.
According to the engineer in charge, the sound concept of this unit and the points of pursuing sound quality are "contrast between silence and energy", "accurate tone expression", and "description of space".
The first thing we worked on in order to achieve those three issues was to increase the slew rate of the power amplifier. Slew rate is a measure of how quickly an amplifier can respond to changes in input signal level. By adopting a new circuit, this value has been improved to about twice that of the RX-A3080, achieving almost the same level of performance as the separate power amplifier MX-A5200.
Another important approach is structural reinforcement. By optimizing the position of the power transformer and the fifth foot that supports it, and strengthening the cross frame inside the chassis, we have increased rigidity and taken thorough measures to prevent vibration, which is a factor that makes the sound muddy and blurry. It seems that brass is also installed inside the fifth foot.
It is also worth noting that the printed circuit board and power supply circuit have been completely renewed since the RX-A3040 announced in 2014. First, a multi-layer board was used in the preamplifier section, and the SN ratio and crosstalk were improved by optimizing the signal path, power supply, and ground wiring. In addition, by reviewing the wire material of the power supply section and devising windings, it is said that the bass reproduction has been strengthened and the expressiveness of fine sounds has been improved.
The HDMI terminal has 7 inputs and 3 outputs. All are compliant with the latest format HDMI 2.1, and all 7 inputs support 8K/60Hz and 4K/120Hz repeater functions.
The SoC (System on a Chip), which is the heart of the signal processing, has newly adopted a Qualcomm chip, and Yamaha's unique "SURROUND: AI" is capable of 64-bit calculation (RX-A3080 is 32-bit). Errors are minimized, making it possible to create a more precise sound field.
By the way, the adopted DAC element is 8ch type "ES9026PRO" made by ESS. Two of these chips are used to cover DA conversion for 13 channels, including two subwoofer outputs.
Similarly, Yamaha's unique sound field measurement and correction function Yamaha Parametric Room Acoustic Optimizer uses the same 64-bit calculation 32-bit processing "High Precision EQ" type as the separate type.
New design, YPAO with higher accuracy
The RX-A8A has a new center volume design introduced from the entry-level model released last year. The front panel also has a simple appearance, which is very desirable. It does not make you feel the intimidating feeling peculiar to AV amplifiers. The simplicity of the appearance is very important so that general users will not be afraid of the complexity and strangeness of AV amplifiers (although the number of input and output terminals on the rear panel may scare everyone...) .
Remove the Denon "AVC-A110", which is the current favorite AV amp, from the rack, and put this unit RX-A8A in the same place. I connected the front L/R line outputs of this unit to the processor input (unity gain) of the octave "Jubilee Pre" audio preamplifier, and tested it in the usual style by playing only the front channel with the octave power amplifier "MRE220". It is a centerless 6.1.4 configuration.
UHD Blu-ray player, Panasonic "DP-UB9000" and projector "JVC DLA-V9R" are connected to A8A via HDMI (using the repeater function). First, use the microphone attached to this unit to measure the sound field with YPAO.
A microphone installation board is placed at the listening point, a test tone is generated, measurement is performed at four points, and arithmetic processing is performed, but the required time is about 3 minutes. It's very fast and easy for a 4-point measurement.
The built-in YPAO can adjust the reflected sound from walls and ceilings, and the height and angle of each speaker can be measured more accurately by 4-point multi-measurement. It can be said that the most advanced content is included among the sound field correction functions of domestic AV amplifiers.
Also, I would like you to pay attention to the addition of a new mode called "low frequency area" as a target curve of YPAO's parametric equalizer.
This mode suppresses the effects of room-specific standing waves, clears the bass, and improves the outlook of the sound field. From 15.6 Hz to 200 Hz, it is finely corrected in 1/12 octave intervals.
YPAO's parametric EQ target curve has other modes such as "Flat", "Front approximation" and "Natural", but these are only corrections in 1/3 octave divisions.
I actually tried this "low frequency range" and the effect was amazing. The prospect of the sound field becomes clearer, and the charm of the sound design of the work can be felt more clearly.
For users like me who don't want to use the equalizer for anything other than the low frequencies affected by standing waves, the new "low frequency range" mode is very welcome. It's perfect for people who find the other modes "over-compensated" or sound raw compared to when no EQ is applied. This time, I fixed to this EQ and decided to watch various software.
SURROUND: Experience the wonders of AI once again
Just a little manual fine-tuning from the YPAO measurement results before viewing. The high-pass filter settings of the surround/surround back/top speakers judged to be "small" were adjusted to 80Hz. Another point to note when setting is to set the "dynamic range" in "audio settings" to "maximum". By doing so, the input signal is set so as not to be corrected.
In addition, for the "DAC digital filter", we chose "Short Latency", which is quick to rise and excels in rhythmic expression. Then, when the dimmer adjustment was set to "-5" from this unit, the light on the display was completely turned off. In an environment like my home where a projector is used, this is a very welcome specification change.
Now, let's set it to "SURROUND:AI", which is the biggest selling point of current Yamaha AV amplifiers, and watch UHD BD/BD movies. I want to explain.
Since the 1970s, Yamaha, a manufacturer of musical instruments, architectural acoustics, and audio equipment, has been steadily working to measure the early reflections and late reverberations of famous music halls around the world using a unique method. After that, famous live houses, discotheques, clubs, etc. also measured acoustics, and using those data, they announced the epoch-making sound field creation processor "DSP-1" which added new reverberations to the reproduced sound in 1986. It was about
In the 1990s, by fine-tuning the "sound" data in various ways, he announced a novel concept called "CINEMA DSP" that creates sound suitable for movie software. It was implemented in an AV amplifier, and it came to be enthusiastically supported by many movie fans/AV fans.
Yamaha has provided CINEMA DSP with various sound field programs to match the characteristics of the sound effects of each movie. "Sci-Fi" and "Spectacle" for flashy sci-fi and action movies, "Drama" for quiet movies with dialogue, and "Mono Movie" for plain monaural movies.
However, even a movie with flashy sound effects does not always consist of lively sound. Of course, there are scenes where quiet conversations are exchanged, so naturally there will be cases where you feel uncomfortable with "Sci-Fi" and "Spectacle".
So, the idea was "SURROUND: AI", which was first implemented in the RX-A3080 announced in 2018. The DSP extracts and analyzes the constantly incoming audio signal, and selects and reflects the sound field most suitable for the input signal in real time.
The audio input signal consists of 6 types: "1. Dialogue", "2. Sound effect", "3. Channel balance", "4. Dynamic range", "5. LFE (Low Frequency Effect)", and "6. BGM". Items are analyzed as a guideline.
When using SURROUND:AI, it does not switch to the existing fixed program more and more, but a sound field program that "no one has heard yet" that perfectly matches the input audio signal is generated in real time. It will be. Also, if you choose SURROUND:AI, you can't choose another sound field program, and you can't adjust the parameters. It becomes a state of complete entrustment.
Then, let's specifically describe the impression of the sound of this unit, focusing on movie software.
The first thing I tried was the UHD BD "Apocalypse Now/Final Cut". The movie has been famous as a masterpiece of surround since the Dolby Stereo era, but Dolby Atmos sound is newly recorded in this UHD.
The Doors' "The End" is montaged to the circling sound of a helicopter, and the monologue of the main character, Captain Willard, is impressive at the beginning.
The moving sound of a helicopter circling clockwise from the right side. At the time of straight decoding, the trajectory was depicted very clearly, and I was first impressed by the crisp and clear sound. After that, when SURROUND:AI is turned on, the trajectory is depicted wider, as if the walls of the room were removed, while maintaining the clear movement sound. I believe that this vast, three-dimensional reproducibility is the true value of Yamaha's long-cultivated sound field creation technology.
The subsequent performance of "The End" is also described with a more dynamic sound than straight decoding, and it takes your breath away. Captain Willard's monologue doesn't sound strange, and his despair, which is a mixture of frustration and fatigue, is vividly conveyed.
Indeed, the degree of perfection of SURROUND:AI of this machine is amazing. Because there is absolutely no sense of incongruity in the sound. Still, you can feel the effect of making the playback space feel even wider.
In addition to this work, I tried playing UHD BDs recorded at Atmos, such as "1917 The Messenger of Life" and "Back to the Future Part 3", which I usually use to check the surround playback, but the impression was are the same. I was able to enjoy the dynamic spatial expression without any sense of discomfort, whether it was a flashy explosion scene or a quiet conversation scene.
After all, the fact that the ability as an amplifier has risen is probably the biggest factor that produced this splendid performance. Since the basic sound is good, it seems that SURROUND: AI may have a more aggressive sound.
Therefore, while playing "1917 Life-Staking Messenger", turn off SURROUND:AI, set the sound field program to "Drama", and use the DSP parameters to adjust the "effect amount" and "sound field space size". I listened to it with "sa" etc. set to the maximum value, but this was not bad at all. Even if you add an exaggerated reverberation, you can enjoy the fun of space expansion without the sound becoming sharp or distorted like the old CINEMA DSP.
However, on the premise of watching the entire movie, it would be best to entrust yourself to SURROUND: AI, which is the sum of the intelligence of the Yamaha development team. It is more important than anything else to be able to immerse yourself in the world of the work without being conscious of the existence of the machine.
However, it is also true that there is software that wants to take advantage of the "excessive sound" that is unique to CINEMA DSP. It is an old monaural movie. CINEMA DSP has a sound field program called "Mono Movie" that revives the atmosphere of Showa's masterpiece theater from before. ) on Blu-ray.
This is good again. I tried increasing the value of "Amount of effect" and "Size of sound field space" and listened, but the sound did not become thin or difficult to hear. Each line has a sound reminiscent of a high-quality movie theater, and it's kind of a lot of fun. While muttering, "The sound of the masterpiece theater I used to go to wasn't this good...", he enjoyed the charming voice of the youthful Shima Iwashita.
In addition, I tried playing opera and Mariya Takeuchi's live Blu-ray, but it was best to turn off SURROUND:AI and listen to "Pure Direct" for such high-quality music software. By adopting this reproduction method that is faithful to the source, you will be able to realize the high basic performance of this unit as an amplifier.
The RX-A8A was completed by the Yamaha development team with all their might. It's a difficult time to hold trial listening events at dealers due to the corona wreck, but I just hope that many AV fans will experience this sound before the release.
(Cooperation: Yamaha)
Born in 1958. After serving as editor-in-chief of monthly HiVi and quarterly Home Theater (both published by Stereo Sound), he became a freelancer in 2006. He loves 70's rock and black music. Recently, he has been addicted to watching Kabuki.
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