The kit consists of :-
This page was updated on the 18th May, 2002
Is it possible to improve, significantly improve an already good product? I was a bit sceptical at first but now I'm pretty much convinced that you can. The recently introduced VUCD-E9000A upgrade kit for the Sony TA-E9000ES AV Control Pre-amplifier has proved that it is indeed possible to do so. Not only does this upgrade add extra features and decoding soundfields but Sony have made noticeable improvements to the sound quality. Read on further and find out more.......
What is the VUCD-E9000A upgrade kit?
The kit consists of :-
What to
do before you start
Go through all the menus on your TA-E9000ES and record all the set up parameters. For example things like :-
Make sure your power amplifier is switched off at the main switch or unplugged. During the flashwriting process your TA-E9000ES will switch itself off and on several times and signals generated during the upgrade process may well cause damage to your power amplifier or speakers. You have been warned!!!
Installing the new firmware
Installation of the V2.01 firmware is simple. Anyone who has previously performed an upgrade on their amplifier will find the process surprisingly similar and simple, but with one significant exception. The V2.01 firmware requires the user to provide an access code so that the flashwriter program can continue with the upgrading process. By following some simple instructions it is possible to complete the procedure in about 5 minutes. Once completed, you can begin the set up process and start enjoying the benefits and enhanced features that this upgrade provides. You will need an IBM PC/AT or compatible PC installed with Windows 95 / 98 / NT3.51 / NT4, 2000, Me and XP. There currently doesn't appear to be any support for Linux or Mac users. Your PC should have a RS232-C (COM) port and a CD-ROM drive. It is possible to copy the required files to a floppy or ZIP disk using another computer in the unlikely event your PC doesn't have a CD-ROM drive, but these files should then be copied to your PC's hard drive to ensure there are no problems of slow access during the flashwriting process. A suitable null modem cable (supplied with the upgrade kit) is required to be connected between the 9 pin serial (COM) port of your PC and the RS-232 connector located on the rear panel of the TA-E9000ES.
Setting up the TA-E9000ES after the upgrade
Once the firmware had been installed it was time to go about setting up the TA-E9000ES so that speaker types, placement and distance settings were all returned to the correct parameters. What most people probably overlook is that when the flashROM is upgraded with new firmware, the amplifier parameters are reset to factory defaults. This means that all the settings in the <<<SET UP>>> menu initially need to be adjusted to suit the listening environment, speaker type and placement. Levels need to be calibrated for each soundfield and the equaliser adjusted to suit the room acoustics. This takes a little bit of time to complete the process but it is absolutely essential if you want to get the best possible results. Some form of sound level meter is recommended to get the levels correctly matched in a practical listening room. I use the Tandy SPL meter which is inexpensive but highly effective.
One of the new features of the V2.01 firmware is the ability to select the bandwidth of the noise test signal generated within the TA-E9000ES. The choices are WIDE / STD / NARROW and are accessed via the <<< CUSTOMIZE >>> menu. Some users with speakers of differing tonal signatures may find the narrow bandwidth limited test signal facility much easier to use when attempting to level match the front to rear to centre speakers. If all five speakers are tonally equal then the WIDE or STD (standard) signal will be best for this task. Fortunately with V2.01 a choice is now available.
Features that the new V2.01 firmware adds to your TA-E9000ES
Digital Cinema Sound Function additions. There are 7 additional modes. These are :-
CINEMA STUDIO EX A
(note 1)
CINEMA STUDIO EX B
(note 1)
CINEMA STUDIO EX C
(note 1)
VIRTUAL MATRIX 6.1
(note 2)
SEMI CINEMA STUDIO EX A (note 1)
SEMI CINEMA STUDIO EX B (note 1)
SEMI CINEMA STUDIO EX C (note 1)
Note
1: When these modes are selected, the Equaliser Bank functions are not
in operation. Within the set parameters of these modes, the
surround equalizer settings for bass, mid, treble are the same as the following
modes:-
CINEMA STUDIO EX A = VIRTUAL THEATER A
CINEMA STUDIO EX B = VIRTUAL THEATER B
CINEMA STUDIO EX C = VIRTUAL THEATER C
SEMI CINEMA STUDIO EX A = V.SEMI THEATER
A
SEMI CINEMA STUDIO EX B = V.SEMI THEATER
B
SEMI CINEMA STUDIO EX C = V.SEMI THEATER
C
Note
2: In Virtual Matrix 6.1 mode, the surround equalizer function is not available.
The Speaker Setup <<< SP SETUP >>> Menu add the additional function of a high cut filter for the Low Frequency Effects channel with a frequency range adjustable from 40Hz to 200Hz. This feature could be a blessing for those who have experienced problems of bass management with previous firmware versions.
Surround Setup Menu Function
additions
<<<SURROUND>>> VIRTUAL SPEAKER ON / OFF
(note 3)
<<<SURROUND>>> SCREEN DEPTH OFF / MID / DEEP
(note 3)
<<<SURROUND>>> SCREEN DEPTH OFF / ON
(note 4)
<<<SURROUND>>> REAR ENHANCER ON / OFF
(note 3)
<<<SURROUND>>> 6.1 MATRIX ON / OFF
(note 4)
Note
3: Operative for Cinema Studio EX A, B, C, and Semi-Cinema Studio EX A,
B, C
Note
4: Operative for Virtual Matrix 6.1.
Level Setting Menu Function
additions
<<<LEVEL>>> HP (headphone) Level +/-10dB function
addition
<<<LEVEL>>> The upper limit for the LFE-MIX
setting range has been extended from 0dB to +6dB
Customize Setting Menu
Function additions
<<<CUSTOMIZE>>> ABS.PHASE NORMAL / REVERSE functions added
<<<CUSTOMIZE>>> NOISE BAND STD / WIDE / NARROW functions
added
<<<CUSTOMIZE>>> Input function for function names added
(possible to load into remote controller, up to 8 characters).
When the power is turned
on, the new version number is displayed as "TA-E9000ES Ver 2.01".
So what does it sound like?
V2.01 is a definite improvement over previous firmware upgrades. In this context I'll compare the differences with the previously available upgrade of V1.18.
2 Channel Mode
For these tests I selected AUTO FORMAT DECODE. My configuration consists of a pair of full range floorstanding 3-way loudspeakrs (KEF) and a Richter Acoustics Odin sub-woofer which has two 10" drivers and powered by its own amplifier with a rating of 250 watts RMS. The sub is crossed over in the TA-E9000ES at 50Hz.
In 2 channel mode there is a definite improvement in sonic resolution at least to my ears. The soundstage is far better defined. The individual instruments and voices are clearly distinguishable in all but the poorest recordings. The background noise floor is very quiet and perhaps a slight improvement over that gained by the upgrade to V1.18. It is in this department that the fact would be better proved by electrical measurement. What impressed me most was the neutralness of the sound. Uncoloured and effortless for a pre-amp in this price range. Some have described the sound as "tube like" but this is where I tend to disagree. Certainly there is no discernible digital harshness but I do recall quite well the sound of valve (tube) amplifiers. They had a small but slightly perceptible component of second harmonic distortion in triode designs that gave a "warm" sound to them. Albeit that second harmonic distortion (if present) is far less objectionable than odd harmonic distortion, the TA-E9000ES under V2.01 firmware exhibits none of these traits. It is perhaps this lack of "character" to the sound that appeals to me. Being a person of wide and varied musical tastes an amplifier with a particular sonic signature would not suit my needs.
For the evaluation of the 2 channel mode I used the TA-E9000ES with the matching TA-N9000ES power amplifier and sourced my listening material from stereo CD, audio DVD, Digital Compact Cassette and vinyl. The speakers are KEF Concerto which are large full range floorstanding units.
I started out with some
familiar material I had recently listened to extensively under V1.18 of
the firmware. These included a wide variety of musical material of
which some of the recordings are listed below. I will hasten
to point out that these recordings were not necessarily chosen for their
"audiophile" qualities but simply because I enjoy listening to them.
|
|
|
|
|
| Chesky 2K | Various | Chesky JD200 | 96kHz / 24bit mastered CD |
| The Super Audio Collection and Professional Test Disc | Various | Chesky CHDVD171 | 96kHz / 24bit DVD-A |
| Ink | Livingston Taylor | Chesky CHDVD179 | 96kHz / 24bit DVD-A |
| Sheffield Drive | Various | Sheffield Lab 10037-2 | . |
| The Missing Linc | Lincoln Mayorga and Distinguished Colleagues | Sheffield Lab CD-S10 | . |
| Unforgettable | Natalie Cole | Elektra 7559-61049-2 | . |
| Picture Book | Simply Red | Elektra 960452-2 | . |
| Collaboration | Tommy Emmanual | Sony Epic 491738.2 | . |
| George Michael | Songs from the Last Century | Virgin / Aegean 8487402 | . |
| John Mellencamp | John Mellencamp | Columbia 491652 2 | HDCD |
| Wishful Thinking | Earl Klugh | Capitol CDP7 46030 2 | . |
| Pergolesi : Stabat Mater | London Symphony Orchestra / Abbado | DGG 415 103-2 | . |
| I Can't Complain | Pheobe Snow | House Of Blues 51416 1352 2 | ADD |
| Hearts in Armor | Trisha Yearwood | MCA MCAX-10641 | Digital Compact Cassette |
| Fresh Aire II | Mannheim Steamroller | American Gramaphone AGCD-359 | . |
| Paul Simon | Paul Simon | DCC Compact Classics LPZ-2060 | Limited edition 180g virgin vinyl pressing s/n 1503 |
| Magic Touch | Stanley Jordan | Blue Note CDP7 46092 2 | . |
| Bop Till You Drop | Ry Cooder | Warner 7599-27389-2 | . |
| Farinelli, Il Castrato | Ewa Mallas-Godlewska & Derek Lee Ragin | Travelling K1005 | . |
| DMP Music Catalog | Various | DMP CD-1758 | 20 bit recording |
| Missing...Presumed Having a Good Time | The Notting Hillbillies | Vertigo 842671-2 | . |
| GRP Digital Sampler Vol.1 | Various | GRP Records GRP-D-9509 | . |
| Live Conversation | Lackerschmid / Lenz | inak 852 CD | . |
| Canciones de mi Padre | Linda Ronstadt | Asylum 960 762-2 | . |
| Made in England | Elton John | Rocket 526 185-2 | . |
| Voice of the Heart | Carpenters | A&M CD-4954 | . |
| On the Beach | Chris Rea | East West 242375-2 | . |
| Telling Everybody | Human Nature | Columbia 485074.2 and SAMP848* | * possibly not available outside Australia as this sampler is a very limited edition pressing. |
| White Winds | Andreas Vollenweider | CBS CDCBS 26195 | . |
| The Sheffield Track Record / The Sheffield Drum Record | Various | Sheffield Lab CD-14/20 | . |
| Creme de la Creme | Various | Sheffield Lab CD-CRM | . |
| Love Over Gold | Dire Straits | Vertigo 800 088-2 | . |
| Unforgettable | Natalie Cole | Elektra 7559-61049-2 | . |
| Night & Day | Marc Hunter | ABC Records 838 9832 | . |
| Come In Spinner | Vince Jones and Grace Knight | ABC Records 838 984-2 | . |
| Brothers in Arms | Dire Straits | Vertigo 824499-2 | Super Bit Mapped recording |
| Winter Winds | Mickey Newbury | Mountain Retreat MR 3147-2 | i |
In
all cases of the program source being CD the input was a bitstream from
the CD player via the optical input.
In
the case of the source being Audio DVD (DAD) the input was sourced from
the DVD player digital bitstream co-axial output.
In
the case of the source being from DCC the input to the TA-E9000ES was via
the bitstream co-axial connection.
In
the case of analogue source (magnetic cartridge) two inputs were used.
The first via the PHONO input on the TA-E9000ES and secondly via the audio
connectors using the VIDEO 3 input with an outboard phono pre-amp.
Listening to the TA-E9000ES with the new firmware is an absolute delight. I was at first a bit sceptical that a simple software change could make such a difference, but yet it did. I liken the change to have been in a stuffy room and being allowed to go outside for a breath of fresh air. I know this probably sounds a bit radical but it is possibly the best way to describe it. Now before I go much further I would like to point out that when I first listened to the unit immediately after the upgrade I didn't really think I would notice any dramatic difference (well at least at first). I figured that an extended listening session with recently listened to and familiar material was in order to make any meaningful comparison.
I got down a selection of my favourite CDs and started listening. Listening closely. It didn't take long to realise that I was listening to what sounded like a new pre-amp. Yes!! The subtle nuances were there as clear as crystal. It was like listening to new material. I was hearing things I hadn't heard before. Quiet background sounds were clearly evident. Breathing between the breaks in the vocals, the soft sliding of the musician's fingers along the strings of the guitar, the turning of sheet music pages, the tap of the bow of the violin. It isn't that I haven't heard all this before, it just seems to be so much clearer now. The mid range and top end seem liberated and unrestrained. The bass well defined, powerful and tight. A degree of transparency not previously heard with this amplifier. I can only suggest that Sony engineers have done some serious tinkering with the decoding algorithms and dithering to achieve these subtle but yet significant improvements. There is now a distinct three dimensional aspect to the sound. Vocals are particularly clear. The performer or performers literally step into your listening area. The speakers seem to disappear. You become enveloped in sound even though the rear speakers are not functioning. The soundstage has taken on considerable depth, seeming as though the walls behind the front speakers have been pushed back far behind them. The more I listened the less inclined I was to leave my chair. I started to drift away. The room became non existent. Once I had closed my eyes and opened my ears it was akin to being taken into another dimension. It was like being immersed (but not drowned) in the music.
During the listening sessions I made a few notes about certain tracks or recordings which I would like to share with you now. One thing that most will probably notice readily is the limitations of the recording medium or studio electronics. On one of the CDs I listened to (Dire Straits - Love Over Gold), you can clearly hear the engineer opening and closing the faders of the various channels in the final mix down from the original master. Background tape hiss and microphone pre-amplifier noise is quite evident in some parts. Track 2 - Private Investigations is a good example where this occurs. I would suggest that if you have this CD you listen for it. If you can't hear it your system has some weak link in the chain or you are possibly listening to a remastered issue of this title where some effort may have been made to eliminate it.
On the ABC Records "Come in Spinner" very good examples of close and distant microphone techniques have been used. When one listens to this recording most of the tracks have a closeness and intimacy of the vocalist with the microphone. However for a complete contrast you should turn your attention to Track 6 - Don't Get Around Much Anymore. Here Grace Knight appears to be at a considerable distance from the microphone. Likewise the trumpet has a haunting distanceness to it. Reverberation, either added or part of the original recording tends to give emphasis to this effect.
The power of the bass in Andreas Vollenweider's recording White Winds has to be heard on a good system to be fully appreciated. It is amazing how much impact the lower frequencies produced by the harp can impart. This recording is recommended for impressing your fellow audiophiles. It has a huge dynamic range and an immense ensemble of unusual instruments like gothic and wind harps, er-hu (Chinese 2 string violin), moon lutes, glass bells and gongs, drone tubes and boards and carillon to name just a few. It is unlikely many would have previously heard this CD so there are likely to be no preconceptions of what it should sound like. One thing you will immediately notice is the wonderful transparency and separation that has been made between the instruments. The natural sounds will sound just like that - natural. Listen closely to the boat oars as they lap against the water in the opening track. The magnificent power of the bass on the harp can be fully realised in Track 4 - The Woman and the Stone. Later a similar impact is made in the earlier part of the final track - Trilogy. As a matter of idle interest how many voices can you make out in the Canopy Choir towards the end of Track 3 - The Glass Hall?
You start to appreciate good performance and sound engineering when you listen to George Michael's album Songs From the Last Century. If you are a listener who appreciates wide dynamics and attention to detail you will surely enjoy listening to this album through your TA-E9000ES. There is huge and deep bass on Track 1 - Brother Can You Spare a Dime. Listen to the brilliant detail of the piano, double bass and percussion on the instrumental conclusion to Track 10 - Where or When.
I wanted to evaluate the presence of the amplifier. In this context I mean how well defined the human voice can be reproduced as to appear to be right there in front of you but without any falseness to the midrange. I chose to do this with two particular a cappella tracks from a sampler CD on the Columbia label (Human Nature - Telling Everybody SAMP848). In the tracks Last Christmas (Track 2) and Wishes (Track 4) you can clearly pick the separation between the four voices of Michael, Toby, Phil and Andrew even though they are in near perfect harmony. On Track 4 listen for the little recording anomalies at the 0:43, 1:57 and 3:13 minute marks.
Still on the point of vocals I really can't go any further without making mention of the beautiful voice of Karen Carpenter on Voice of the Heart. I dragged this CD out of the archives especially to listen to it. I must admit I haven't listen to this one in some years but was once again thrilled by the performance. Likewise the clarity and distinctiveness of the female voices of Pheobe Snow and Linda Rondstat can't be dismissed in there respective recordings of I Can't Complain and Canciones de mi Padre. The latter featuring some fantastic guitar work.
A recent release (2002) by Mickey Newbury of his album Winter Winds (Mountian Retreat MR 3147-2) needs a special mention. This recording has so much presence it is difficult to believe you aren't listening to a surround recording. The soundstage is huge. You are literally enveloped in sound as if you were listening to Mickey sing and play his guitar right in your living room, complete with venue ambience. The guitar work is superb and the transient response is so good it sends a shiver down my spine everytime I play this CD. It is amazing how much performance can be generated by a solo vocalist, guitar, mandolin, bass and cello.
As a child I grew up in a household that frequently had Nat King Cole on the radio-gram. I wasn't hesitant to purchase Natalie Cole's album Unforgettable when it first became available. Like her father this lady has a wonderful and smooth voice and this comes through clear and concisely on the Sony. There is absolutely no hint of harshness - just a deep richness and warmth that leaves little to be desired by even the most demanding listener. I listened to this CD a second time within a few days with the intent of picking out something of particular note to mention here. I sat down with pen and paper at the sweet spot and started with Track 1 - The Very Thought of You. It wasn't long before the purpose of the exercise was lost. I just couldn't be distracted from the music long enough to write something deep and meaningful, but I did want to make mention of a few things. There is no doubt in my mind that this is a first rate performance and recording. Right down to the last instrument, the backing performance fully compliments Natalie's voice. The guitar work on Track 4 - Mona Lisa is particularly satisfying as are the string arrangements on many other tracks on the album. Right until the every end this is a feast for the ears. The album finally concludes with Unforgettable. And how unforgettable it is! The sound engineers must take credit for the digital reconstruction work of Nat's voice. This is one of the best discs to show off the resolution of your sound system. For anyone contemplating the V2.01 upgrade I suggest you listen to this album first before performing the upgrade, then again afterwards. You'll be amazed just how much more detail you will hear in this recording after you have installed V2.01.
I could go on for ages just making comment on the recordings I used to evaluate the 2 channel performance of the TA-E9000ES under V2.01 firmware but I'll spare you the boredom. I think the Sheffield Lab and Chesky recordings speak for themselves. Most audiophiles will be familiar with the reputations of both of these labels for outstanding performances and attention to detail in the engineering. I'm looking forward to more releases in the 24bit / 96kHz format as I believe the Sony really performs well with this format. I have very few Chesky 24 / 96 recordings, but of those I have, I chose to use Livingston Taylor's - Ink and The Super Audio Collection and Professional Test Disc to check out how well the Sony handled this format. Needless to say I wasn't disappointed. Livingston's voice and guitar work come through with a clarity and presence that sends a shiver up your spine. Similarly the indisputable brilliance of Rebecca Pigeon shines through on her two tracks MacDougall's Men and Fhear A Bhata.
One thing I firmly believe
in, is the marque of a good amplifier is one that doesn't induce listening
fatigue after extended listening sessions. In this respect the Sony
TA-E9000ES using the new firmware is an outstanding performer.
Until recently I was contemplating the purchase of a separate pre-amp purely
for stereo listening and running the outputs of that pre-amp into the spare
inputs on the TA-N9000ES power amp. This decision was based
on the pre V2.01 performance of the Sony. In the past the TA-E9000ES
has come under considerable negative criticism by audiophiles about its
two channel stereo performance. I believe these latest improvements
may well make them eat their words. Sure, this unit is no ultra high
end stereo performer but then it doesn't pretend to be. In consideration
of the price of the hardware and even taking into account the cost of the
V2.01 upgrade kit, it still represents excellent value for money.
On stereo performance improvement alone, anyone contemplating the purchase
on a new TA-E9000ES should insist on the dealer having the unit flashROM
upgraded to V2.01 before auditioning it.
Existing Enhanced Surround Modes
In this part I'll describe my impressions of the digital signal processing modes not the decoding modes of Dolby Pro-Logic, Dolby Digital, dts, MPEG or EX. I'll leave those until a bit later.
To be frank, I haven't extensively tested these modes. I was initially more interested in seeing if the much talked about improvements in the two channel performance were all they were cracked up to be. But hand in hand with the two channel performance improvements there are once again significant sonic improvements to the surround modes much on the lines I have described above. I have previously been only using a handful of the enhanced surround modes for music listening. These being SMALL HALL, LARGE HALL, JAZZ CLUB and LIVE HOUSE. One thing I have noticed is that the SMALL HALL doesn't seem as small as it used to be and the LARGE HALL seems a bit bigger. It could just be my imagination but remember I've been comparing performance with recently listened to material, so for all intent and purpose if there are any differences I should be picking them up readily. I've been diligent to ensure all settings have been returned to the same parameters I was using under V1.18. I attribute the apparent increase in room size in SMALL HALL and LARGE HALL modes to be linked to the increase in soundstage and the three dimensional qualities I described earlier for the 2ch mode. Certainly nothing has been compromised in the enhanced modes that one can readily detect. You could be rest assured that if you had a favourite enhancement mode and liked what you heard before, you are most likely to be equally if not more impressed under V2.01.
With all things being
equal the upgrade hasn't taken away any of the features of the V1.18 surround
modes. For those who have a sub woofer and have been dissatisfied
with how this has blended with your existing main speakers can now breathe
a sigh of relief. The new added feature is the high cut filter
which can be adjusted over the range from 40Hz to 200Hz. This
in my opinion is a worthwhile additional feature for those who have experienced
bass management problems under previous firmware versions.
The other nice touch is the ability to adjust the mix level of the LFE
channel to allow a gain of up to 6dB.
Surround Decoding Modes
To perform these listening tests I returned the TA-E9000ES to the NORMAL SURROUND mode, effectively bypassing the DSP enhancements. I was interested to observe what "improvements" if any had been done to decoding Dolby Pro-Logic, Dolby Digital 5.1, dts and MPEG multi-channel material. For this purpose I armed myself with a selection of dtsCDs, DVDs with Pro-Logic, Dolby Digital 5.1 and dts soundtracks. I also dusted off some LaserDiscs with a selection of soundtracks encoded in Pro-Logic, Dolby Digital AC-3 5.1 and dts.
Dolby
Pro-Logic decoding
There was nothing obvious about the new V2.01 firmware with this mode. It sounded much the same as V1.18 with one important exception - Bass Management! As I have previously mentioned the blending of a sub-woofer is much better now.
Dolby
Digital decoding
For standard DD2/0 and DD3/2 material the reproduction is faultless. I don't have any different configuration modes on hand to test so I have to assume the other configurations are correctly decoded.
dts
decoding
This seemed a bit better defined in 5.1 surround than V1.18. Control of the LFE channel was easier due once again to the new bass management features. Roy Orbison's Black & White Night DVD proved to be a good test to evalute the sound quality. Comparing this with my initial observations under V1.18, I would say that the V2.01 software made a small but noticeable improvement to the soundstaging.
MPEG
decoding
For the first time I have
had the opportunity to evaluate the MPEG decoding performance of the TA-E9000ES.
In January 2001, terrestrial Digital Video Broadcasting (Digital TV) began
here in Australia. I purchased the DGTEC
DH-2000A Standard and High Defintion set to box to address my ailing
analogue television reception. This STB has optical and co-axial
digital outputs for Dolby Digital and MPEG signals. As the TA-E9000ES
only has an TOSLINK optical input associated with the TV input I am limited
to comment about the performance via the optical connection.
DVB in Australia can
support three different sound streams. Dolby Digital, MPEG1 and MPEG2.
Selecting MPEG2 decoding yields a two channel signal that may or may not
be Dolby Pro-Logic encoded depending on programme content.
The MPEG2 digital stream is at a bit rate of 2304kbits/s and a sampling
rate of 48kHz. This results in a wonderfully clear signal that just
beats the analogue A2 stereo multiplexing system hands down.
Enhanced
Surround Modes added by V2.01
CINEMA STUDIO EX.A
This mode reproduces the
sound characteristics of the most traditional editing theatre of Sony Pictures
Entertainment. The three dimensional sound imaging of VIRTUAL MULTI
DIMENSION creates five sets of virtual speakers surrounding the listener
from two actual rear speakers.. Sony's information leaflet suggests
that this mode is suitable for any type of movie.
CINEMA STUDIO EX.B
This mode reproduces the
sound characteristic of the mixing studio of Sony Pictures Entertainment
which is equiped with the forefront-class acoustics facilities in Hollywood.
The 3D sound imaging of Virtual Multi Dimension creates five sets of virtual
speakers from a single pair of actual rear speakers.
CINEMA STUDIO EX.C
This mode reproduces the sound characteristic of the studio of Sony Pictures Entertainment for the recording of the background music of movies. The 3D sound imaging of Virtual Multi Dimension creates five sets of virtual speakers from a single pair of actual rear speakers.
Of the three aforementioned
soundfields I found the EX.A the better of the three for general movie
watching. It seemed to be more effective on 5.1 surround sources
rather than Pro-Logic which to me seemed to make the dialogue become a
bit misdirected away from being focussed on the front centre channel.
VIRTUAL MATRIX 6.1
This mode reproduces the environment of an actual movie theatre using the the sound characteristics and 3D sound imaging of CINEMA STUDIO EX.B with 6.1 channel encoded sources. The 3D sound imaging creates five sets of virtual speakers and one set of virtual rear centre speakers placed at the ideal angle of 30 degrees of elevation above and behind the listener from two sets of actual rear speakers The decoded centre rear channel signal is reproduced by the virtual rear centre speakers.
This mode can be very
convincing with the right source material. I used the DVD "The Perfect
Storm" which has a DD 6.1 encoded soundtrack to conduct my initial tests.
The on deck shots of the trawler during the storm had an engaging soundtrack.
You really felt like you were right there on the deck as the waves came
crashing in from all directions and elevations. More than simply
being surrounded by sound you felt you were more like immersed in it.
This adds just another perspective to the importance the audio plays in
creating the illusion in movies.
Star Wars - The Phantom
Menace is another good movie that lends itself well to this mode of decoding.
The race scenes come alive with the pods crashing into the canyon walls,
explosions from every direction (including above). This is great
demo material to impress your movie buff friends on how well the Sony handles
and reproduces this kind of material.
SEMI CINEMA STUDIO EX.A
This mode reproduces the
sound characteristics of the most traditional editing theatre of Sony Pictures
Entertainment. The three dimensional sound imaging of VIRTUAL MULTI
DIMENSION creates five sets of virtual speakers surrounding the listener
without using actual rear speakers. Sony's information leaflet suggests
that this mode is suitable for any type of movie.
SEMI CINEMA STUDIO EX.B
This mode reproduces the
sound characteristic of the mixing studio of Sony Pictures Entertainment
which is equiped with the forefront-class acoustics facilities in Hollywood.
The 3D sound imaging of Virtual Multi Dimension creates five sets of virtual
speakers without using any actual rear speakers.
SEMI CINEMA STUDIO EX.C
This mode reproduces the sound characteristic of the studio of Sony Pictures Entertainment for the recording of the background music of movies. The 3D sound imaging of Virtual Multi Dimension creates five sets of virtual speakers without using any actual rear speakers.
These last three modes
were of little value in my system as it has a full compliment of speakers.
However the Sony did create the illusion of sound coming from around you
even though the rear speakers aren't making any sound in these modes.
The soundfields were not as convincing as the CINEMA STUDIO EX modes, but
I guess if you happened to have a set up devoid of rear speakers this would
at least in part make up for that.
Conclusions
This is a very worthwhile upgrade for any TA-E9000ES owner. The sonic improvements are significant enough to warrant the expenditure even if you don't want the new soundfield capabilities. The big pluses are the improved bass management and the convenience of the smaller remote control for day to day function access from your armchair. The Virtual Matrix 6.1 mode seems to work convincingly when playing back DVDs with Dolby Digital EX 6.1 soundtracks.
My
only dissapointments with this upgrade is the availability and the price
that Sony is asking for it in some parts of the world and the lack of Dolby
Pro-Logic II decoding. As the rumoured replacement, the TA-10ES is
just that (a rumour), this AV processor still ranks up there with the best
of them. Released in the late 1990's this amp is still going strong
and has a dedicated following. I'm unsure if Sony intends to release
any further software enhancements beyond V2.50
Links
Review and General information page on the TA-E9000ES
Technical information and pictures of the inside of the TA-E9000ES
Frequently Asked Questions about the TA-E9000ES
The Sony TA-N9000ES matching 5 channel power amplifier
The Sony TA-P9000ES Multi-channel Analogue Pre-Amplifier
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Last Update : 18 May, 2002
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