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Tuesday, April 11, 2017

Live/Studio Review
Audix Performance Series
Wireless Mic/Instrument Systems
"Pro Caliber Wireless Capability"

©Everything Audio Network

Brevis
Price: starts at $500
Likes: price, excellent performance
Dislikes: mic mute button a little big
Wow Factor: one sleeper of a wireless
More Info: Audix Performance 

by Dave O’Brien
  Ever since the first wireless audio systems were introduced by highly skilled radio engineers in the late 1950s, manufacturers have been striving to provide wider range, higher fidelity, and better reliability. For many years, transmitters only operated on fixed frequencies. If interference occurred, the engineer would need to break out another transmitter operating on a different frequency. Fortunately for them radio traffic was far sparser then.
  Today, the available RF spectrum is considerably more limited and the potential for interference is much higher. In an effort to keep up with the times manufacturers now offer systems that are capable of operating on many frequencies. These systems are known to be frequency agile. 
   The Audix Performance Series wireless systems combine Diversity and True Diversity reception with their highly revered microphone capsules, sturdy construction, and two-touch operation to set the standard in high quality, moderately priced, easy-to-operate wireless systems. Audix is no stranger to microphone technology; the company has been making top-notch mics for over 30 years, including the live-sound vocal staples OM5 and OM6, the ubiquitous i5 and D6 dynamics and one of our favorite recording mics for piano and guitar: the SCX25A condenser.

Features
  All Audix Performance Series systems share certain features. Among them are one-touch auto scan to search for a clear RF channel and one-touch sync that links the transmitter to the base via infrared beam. These two features provide a system of frequency selection and programming so simple a child could do it.
  An easy-to-read, high-contrast LCD display provides status information, including operating frequency, RF level, AF level, battery level, link loss indicator, and also provides a clear and intuitive programming interface. 
  All of the systems are housed in a durable metal chassis and provide both XLR and 1/4-inch connectors for greater flexibility. A rack-mount kit is included with every 2-channel system complete with BNC cables to relocate the antennas to the front panel.
  If you are looking for a high-quality, great-sounding wireless system for music, presentations, stage or other types of audio productions, Audix's new Performance Series wireless systems are worthy candidates for purchase

  What is particularly impressive about the Audix Performance Series systems are all the available options. Handheld, lavaliere, head-worn, and instrument microphones are the main categories of transmitter options. Within these categories, are numerous options for selecting various types of microphones depending on application. 
  From there, the line is divided into two levels: the 40 Series offering Diversity operation and the 60 Series offering True Diversity operation. Diversity operation provides reception through two antennas that are internally combined and processed by one radio module. True Diversity operation provides reception through two antennas that are internally combined and processed by two radio modules from which the strongest signal is continually and seamlessly selected. Both 40 and 60 Series systems are available in single-and dual-channel models, a unique feature in these price ranges.
  Our test samples included the AP42 C2 Guitar package, priced at $1,000 retail and the AP61 OM5 wireless mic package, priced at $800 retail Prices range from a basic wireless mic system ($500 retail — all the way to $1,500 for more comprehensive needs.
  The Audix 40 Series receivers feature 106 pre-coordinated frequencies over a 32 MHz band. When combining multiple systems, up to 16 unique channels may be used simultaneously. The 40 Series systems are designed for a 300-foot operating range.


Audix Performance Wireless 42 Option


  The 60 Series receivers double the bandwidth to 64 MHz and increase the number of pre-coordinated frequencies to 207. The 60 Series receivers also offer the ability to manually tune in to 2,560 individual frequencies. The wider bandwidth also allows for more systems to operate. Up to 24 unique channels may be used simultaneously. The operating range is increased to 450 feet.
  To simplify operation, ALL transmitters are 64 MHz and will work with both the 40 Series and 60 Series receivers. No need to keep track of which transmitters go with which receiver.    
  Also available as an optional accessory is the ADS48 antenna distribution system to help simplify multi-system set-ups. Up to four single channel receivers or 4 dual channel receivers can be combined with each ADS48. This means that 8 channels of wireless can be combined on one distribution system taking up only 5 rack spaces. This is an excellent feature!

The audition
  The first thing I noticed about the review sample of the Audix Performance Wireless System H60 was the solid and sleek build quality. The handheld microphone exhibits an attractive style, is easy to hold and its well-voiced tone is what I expect from the Audix camp. Ergonomically, the receiver has a large display, nice, soft, touch buttons and the sturdy feel of a professional quality unit. 
  To confirm operability and to get to know the Audix operation parameters, I powered the two systems up in my home studio to become familiar with the products before taking them into the field. Ultimately, I used 60 Series for most of the field testing.
  Ease of operation was clearly a strong focus of the Audix design team. Setting the frequency was as simple as pressing and holding the up or down button on the receiver, waiting about 10-15 seconds for a clear channel to be selected, and then pressing the “sync” button on the receiver while holding the transmitter in front of the unit. That's it. No rotary switches. No math. No degree in Radio Frequency engineering needed.
  Audix has successfully incorporated high-performance into their wireless systems. Quite simply, the clear, natural vocal sound, along with Audix's clean, wireless signal path, competes with any system out there, especially at these price points.

  I plugged the microphone receiver into a small PA system for a quick test: a Mackie 1H604 VLZ with 2 JBL 515XT speakers. The resulting signal was dead quiet with none of the low-level hiss or interference sometimes present in wireless mics. Sound quality was excellent. Side by side with my Shure Beta SM58 dynamic microphone, the Audix H60 transmitter fitted with the acclaimed OM5 dynamic cardioid capsule, performed very well. The system relayed a full, rich signal and exceptionally broad dynamic range.
  One of my concerns with using modern wireless microphone systems is that companies apply dynamic range compression to the signal at the transmitter, and often times the compression is too heavy handed for my tastes, resulting in a squashed, boxy sound.
  That was not the case with the Audix. The H60 handheld transmitter does a great job of handling soft, intimate passages and louder transients with no tonal coloring — providing all the dynamic response of a wired mic. This is a really good sounding wireless system!

The intuitive receiver
  The menus on the receiver are simple and intuitive, and I found that the default settings worked quite well — with one exception. Instead of leaving it active per the default settings, I elected to lock out the mute button on the transmitter. It's a very useful feature to have as I was going to be giving this to a singer that had never used it. The mute button, although recessed, is prominently positioned in the middle of the mic. I did not want any unintended dropouts because of an inadvertent mute activation. To change back to the default mute active status, you make a change to the transmitter setting via the receiver menu; a re-sync is required to insure the previously saved settings are overwritten. 

Guitar wireless testing
  I plugged in the B60 instrument transmitter and tested the Audix Performance Wireless System with my Custom Epiphone Casino Elitist (the made-in-Japan model) into a Marshall JMJ30 tube amp. The JMJ is a handmade amp closely modeled after the fabled Vox AC30. This setup is widely known for the chiming sound quality generated by the Gibson P90 single coil pickups (similar to the Elitist P/Us), combined with an incredibly clear, Top Boost tube amp channel.




  To test the wireless instrument sound quality quotient, the Audix wireless would be replacing a 20-foot Belden 8218, low-capacitance guitar cable with George L connectors. Matching the tonal quality of the Belden cable would prove to be a tall order for the Audix Performance Series Wireless B60 body pack transmitter. But the Audix delivered. The bright, airy, guitar chime came through mostly intact, compared to the Belden cable. Plus, the Audix was very quiet as far as background noise that always seems to permeate long, passive, instrument cables. I have never come across a wireless system that handled my guitar so well.
  The real value of this transmitter became evident when I added my pedal board to the rig. The difference in response and tone was nil with the Audix, and as a guitarist, the ability to walk around free, unencumbered by a cable, is truly liberating! Both 40 and 60 Series systems provided excellent range — more than 200 feet without a single dropout. 

Getting vocal
  I also put the 60 Series system through a vocal field test with a variety band in a medium-size club setting — about 350 people. The console was a Presonus StudioLive 24.4 feeding audio to JBL 515XT speakers — with subs and vocal wedges. The band's female lead vocalist had been using a comparable wireless mic for several years and agreed to try the Audix wireless for lead vocal. Setup was quick; I performed the frequency scan and sync without incident.
  The real value of this transmitter became evident when I added my pedal board to the rig. The difference in response and tone was nil with the Audix, and as a guitarist, the ability to walk around free, unencumbered by a cable, is truly liberating! Both 40 and 60 Series systems provided excellent range — more than 200 feet without a single dropout.

  The handheld transmitter exhibited excellent feedback rejection. Even when the singer was directly in front of the mains there was little to no feedback. In this setting, the OM5 wireless transmitter proved to be clear and open sounding with impressive high-frequency response and dynamic range. The band's sound man (a big fan of Audix's legendary OM5 dynamic microphone) was quite impressed with the Audix wireless OM5 and its “openness and clarity.” 
  The singer, who was used to being vocally processed with compression in the vocal channel, was shocked at how different she sounded using the Audix rig. Since she relied on extensive compression from her normal wireless to handle her typical live vocal performances, it took her a bit of time to get use to the much-more natural, live, dynamic audio quality of her voice through the Audix system. Her vocal really opened up.


  I was really impressed with her voice via Audix, as I prefer less processing on good singers. Besides, why would anyone want to color or compress such good audio quality? Audix has successfully incorporated high-performance into their wireless systems. Quite simply, the clear, natural vocal sound along with Audix's clean, wireless signal path competes with any system out there, especially at these price points.

The verdict
  If you are looking for a high-quality, great-sounding wireless system for music, presentations, stage or other types of audio productions, Audix's new Performance Series wireless systems are worthy candidates for purchase. There are a wide variety of configurations available to suit virtually any requirement, and the ease of setup, along with the incredible bang for your buck, puts them at the top of my list. The Audix Performance Series wireless systems also earns an Everything Audio Network Stellar Sound Award.

  Dave O’Brien is a sound engineer who has worked in the professional broadcast industry for over 20 years. He is also a musician who lives and works in the Washington, DC area and a regular contributor to the Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited..

Friday, February 24, 2017

Home Theater Receiver Review!
Anthem MRX 720 7-Channel Receiver
“Nets AKM DAC/140 WPC Amp Section"



Brevis
Price: $2,499
Likes: high-end sound, easy setup
Dislikes: DSD converted to PCM
Wow Factor: a step-up HT receiver
More info: Anthem MRX 720

by John Gatski
  I have always liked the multi-channel Anthem receivers and preamp processors. The  previous generation MRX 710 was a good receiver, and the AVM-50 pre-pro was quite capable, handling high-end, multi-channel duties with Anthem and other user-selected amps.
  From my lengthy review tenure, I will tell you that the new MRX 720 (and through extrapolation, the big brother MRX 1120) is a fantastic receiver that combines a significant step up in audio quality, thanks to implementation of the AKM 4458 DAC chip and an  internal amp design that features 140 wpc Class A/B bipolar amp channels for the five main channels and a Class D amp section for two additional channels, such as height or used in a zone setup.
  If you combine its upper-echelon receiver sound quality withs its ease of use and the plethora of bells and whistles that keep it modern, the MRX 720 is as good as a receiver as any at twice the price. I normally don’t do this so early in the review, but my opinion is that the MRX 720 is an award-garnering receiver — and it only costs $2,499.

Features
  The MRX 720 is a full-featured, multichannel receiver that includes such features as Dolby Atmos, AKM 4458 D/A converters. 140 Class AB watts per channel x 5 main channels (and 100 Class D watts per channel for either two additional surround channels or in a zone), 11.2 channels preamp output, DTS-X-capability, DTS Play-Fi wireless streaming, High Dynamic Range/4K HDMI 2.0a video output, and Anthem Room Correction. There are also various DSP sound settings including DTS Neo.
  The welcome, uncluttered front panels sports a center panel-located, LED display, large volume control, function/navigation buttons that duplicate essential remote functions, various mode buttons — including setup, mode, display brightness, level set, zone and input. Behind a removable cover on the left side is an extra HDMI input, USB input for software upgrades, and a headphone jack.

 If you are in the market for a new surround receiver that is not that expensive, but sounds like it is comprised of better separates, the Anthem MRX 720 should be on your buy list.

  The receiver features five line inputs, seven HDMI inputs/two HDMI outputs, zone I/O, two SPDIF coax inputs, three TOSlink inputs, one TOSlink output, Ethernet port, RS-232 port, an IR receiver port, 12-volt trigger and a USB input.
  The unit comes with a remote control, which is lightweight plastic, but exhibits a solid feel and not so many buttons to overwhelm the user. The included Anthem Room Correction (ARC) is contained in a smaller box and includes a plastic mic stand, the measurement mic, a USB cable and the downloadable software. Older versions of the ARC used to include a real metal mic stand with a heavy base. This new one sports a combo plastic leg/metal tube mic stand, which can be knocked over easier as the old one, but it gets the job done.

Lots of connections, but easy to connect

   Unlike many other receivers and pre/pros out in the surround world, the MRX 720 is a breeze to set up with easy-to-read, marked input/output jacks on the back panels and a logical, minimized setup menu function. I had this receiver up and running in 20 minutes, including the ARC setup process and a subsequent manual set up. It is indeed that easy. The ease of use is the result of fewer menus, plus the menu adjustment windows and parameters are easy to understand.
  The main Setup menu includes the sub menus, including Speaker Setup, Bass Management, Listener Position, Level Calibration, Input Setup, Preferences/Line Input, Network/Remote Control, General Configuration, Save/Load Systems. Even a newbie can figure out what the adjustments do.
  The MRX includes the acclaimed Anthem Room Correction (ARC), which automatically measures and corrects room boundary anomalies through equalization. It can also be run manually as well as through an automated software process. The ARC process works through a calibrated mic that measures the rooms response and sends, the results to the host Windows OS computer (still no Mac software — boo-hoo), which then provides the software-adjusted EQ curves that “flattens” the sound to optimize its listenability. The new EQ settings are than transmitted to the MRX’s internal CPU and, voila, you get a cleaner sounding system.


Anthem Room Correction (ARC) hardware

  According to Anthem, “ARC corrects the effects of reflective surfaces and room boundaries on sound quality by measuring the response of each speaker relative to the listening area and equalizing it. ARC equalizes response without stressing the amplifier or speakers and does not downsample the source material to process it. ARC’s filters are neither graphic nor parametric – ARC is a sophisticated system that flattens response using its ability to create practically any suitable function, inherently correcting phase effects created by the room.”
  I have reviewed a number of Anthem surround products over the years, and the ARC works splendidly. Unlike other room correction systems I have used from other brands, the ARC does not add additional mid bass in my room. My room is pretty flat in its bass response at the listener position any EQ, and does not need much correcting.
  But I always run self-correcting EQ system, such as ARC, during the review to see if these software based tools can read the room correctly. ARC and a few others do a good job; lesser correction software that comes with many budget priced surround gear always overcompensate the bass, adding a woofy, thick, mid bass, which is not accurate. It is nice to know that ARC can correctly read a room, and, if necessary, apply EQ to reduce the  aberrant response to make it more listenable.

  The MRX 720 is a breeze to set up — with easy-to-read, marked input/output jacks on the back panels and logical, minimized menu functions/GUI. I had this receiver up and running in 20 minutes, including the ARC setup process and a subsequent manual set up.

  Besides the ARC, you can also do the old fashioned manual speaker setup through the MRX 720’s own set up parameters for distance and level, as well as set the crossover frequencies for each speaker and activate the number of desired channels. The manual set up is so darn easy that any neophyte with a reasonably accurate handheld decibel meter can do it. I set up the MRX’s manual mode with a professional Real Time Analyzer, but you can do it with a tablet/phone decibel meter.
  From a feature standpoint, I really like the Anthem MRX line’s simpler-is-better design. Sure it has the new wireless, stereo streaming option via the DTS Play-Fi feature and a pretty good sounding headphone circuit derived from the main L and R amp channels, but this receiver is optimized for multichannel sound quality and useful, flexible, connectivity.
  For example, it has a full set of 11.2 preamp outputs so you can use those wonderful converters with bigger amps in a bigger room for a full Dolby Atmos system. Many receivers no longer have preamp outputs (none have preamp inputs since the receivers have such good converters). The pre-outs’ inclusion on the MRX 720 shows Anthem's commitment to the true multichannel audio enthusiast.


MRX remote: not so many buttons

  For music, the MRX 720 decodes up to 24/192 in PCM. However, its only omissive flaw, in the otherwise excellent design, is no direct DSD decoding. Multichannel or stereo DSD via HDMI is converted to 24/88.2 PCM. A number of competitors do have direct DSD decoding from the HDMI bitstream to at least the standard 2.8 MHz DSD. And we know that the AKM chips can certainly decode DSD.
  Since the receiver does not have multichannel analog input, you also cannot use a SACD player to output its multichannel DSD analog to the MRX either. You can, however, play DSD stereo music via your player’s analog output when connected to a pair of the stereo inputs of the MRX 720.
  I bring the DSD compatibility up because the receiver sounds so good on PCM, for even high-end audiophiles, that inclusion of DSD decoding would make it even better. The DSD-to-24/88 PCM is okay, but not as good as straight DSD decoding. Anthem engineers say that DSD cannot be processed in its native form for EQ, etc. and must be converted to PCM to enables various MRX features.

The set up
  In my room, I ran the MRX 720 in a 5.1 set up with the three Westlake LC Series professional cinema speakers (two LC 8.1 for L-R and one center-channel LC 2.65) set to full size — with no crossover. Rear channels were NHT One surrounds set to 80 Hz. The Paradigm Sub 15 subwoofer crossover was bypassed to enable the MRX 80 Hz crossover. The MRX 720 was connected to a Sony full array backlight 60-inch LED, and the source was a new Oppo BDP-203, an excellent universal player with impressive picture quality and multichannel/stereo output, thanks to the same AKM chip set used in the Anthem.
   I connected the speakers to the receiver using MIT cables; all HDMI cables including the 12 ft. long run to the Sony LED were provided by the Wireworld’s Platinum series. Speaking of LED and video, unlike previous Anthem receivers this one has no video scaler circuitry for the video path. You basically are running your video directly to the video screen, which I always did anyway. And that feature also helps to simplify the setup process.
  I have reviewed numerous receivers and pre-pros with an overabundance of video adjustment parameters that often confused the end user. Not the MRX. For example, the only HDMI video adjustment parameter is assigning the audio and video from the HDMI input to the correct overall input. No scaler, or video parameters, such as sharpness, contrast and chroma, to adjust on the receiver. The HDMI 2.0a does meet the spec for High Dynamic Range and 4K video, so if you have those sources it gets passed on untouched by the receiver.

The audition
  Per my usual audition material, I popped in the 2008 animated Blu-ray, titled Bolt. The opening chase sequence, where pet owner Penny and cartoon doggie Bolt (voiced by John Travolta) are shooting a fantasy action show about the super hero dog, is an immersive DTS Master HD surround track with considerable dynamic range, steering effects (speeding motorcycles, helicopters, gun fire and more), a driving music presence and deep subwoofer sounds.

Great sonics equal a great DAC chip!

  Immediately, I noticed how good the Anthem MRX 720 relays a Blu-ray’s soundtrack. The MRX-delivered Bolt’s multichannel audio with a full range of effects, bass bombast and music. To my ears, the sonics of this $2,500 receiver exhibited the precision of an expensive pre-pro/multiple amplifier combo or a receiver that costs twice the price. Deep separation and depth embody the MRX’s big soundstage with a smoothness that can be attributed to the AKM converters. That tale-tale texture of the transient  sounds is an attribute of AKM that was clearly heard through the MRX 720.
  I then auditioned the fantasy BD movie John Carter, which has equally as good sound effects’ usage, proving that the the Bolt soundtrack’s A+ demo through the MRX was no fluke. The directional sounds moved from front-to-back and side-to-side in convincing fashion, especially the scenes where John Carter is battling the enemy Martians via various kinds of other worldly transport devices. With just five speakers, the sonic spread was immense
  The previous version, MRX 710 was a very good receiver, but I do not remember it having as vivid multichannel soundstage and width impression as the MRX 720. And the MRX 710’s smoothness quotient was not as high as the the 720 either. On every grade A+ soundtrack I ran through the 720, it sounded darn near as fleshed out as my reference AudioControl Maestro 6 receiver, which costs nearly $6,000.
  Another set of movies that really shined, as played through the Anthem MRX 720, was the Lord of The Rings trilogy, the unabridged director’s cut BD series. The battle scenes have hundreds of audio tracks mixed into the master and a really good home cinema surround processor, like the MRX 720, allows one to notice the distinct subtle effects tracks, even in the background, as much more separated.

Not only performs well; the look is high class

  The AKM DAC-equipped receiver is so easy to listen to. Effortless precision is an expression I use when someone asks me about the sonic signature of the AKM converters for audiophile listening. They do an equally beautiful job in multichannel home cinema
  Following numerous movie BIu-rays, I then switched over to some music BDs, such as The WhoLive At The Isle of Wight performance from 1970. The 5.1 DTS Master HD is a 24-bit/96 transfer that showcases The Who at their best. The remote-truck, multitrack recording shakes out nicely — with clearly delineated electric guitar, bass, drums and vocals.
  Pete Townsend’s Gibson SG guitar (with the older P90 single pickups) plugged into the Hi-Watt tube amplifiers is a signature sound that is clearly delivered with an organic accuracy and driving force that the guitarist is noted for. This is one of the best examples of Mr. Townsend’s classic, in-his-prime tone. The mix down 16/48 stereo track sounds good, but not nearly as involving as the multitrack 5.1.


  The 24/96 5.1 mix of  The Talking Heads — Little Creatures title track came through the MRX 7020 like it was playing through separates.

   Switching to other music, via the Oppo HDMI output and decoded by the MRX 720. I found the receiver to be equally as good at all sorts of music — without the video. In multichannel PCM, such as 2L classical BD’s, several DVD-Audio discs and on stereo discs and download tracks, the AKM converters, plus amp section, offer impressive accuracy  — without audible hardness of lower-class receivers I have tested.
  On the Ole Bull Violin Concerto BD  on 2L, the violin tone  (at 24/192) was complex with most of the vivid, string-to-bow textures that I hear in good audiophile systems. The full orchestra was lush and full of life, similar to me playing the album through the TEAC UD-503 standalone DAC, which uses the same chip
  I demo’d the Dual-Disc (remember those) of Talking HeadsLittle Creatures and proceeded to play the 24/96 5.1 mix, which really opens up an already good-sounding stereo recording. The title cut with its more country feel (pedal steel guitar and little bits of Fender Stratocaster fills) was relayed convincingly through this moderately priced Anthem receiver. It helps that the surround tracks for Little Creatures was mixed intelligently — with subtle ambiance sounds and no gimmicky effects rear-channel steering you often hear in Pop/Rock surround music.
  Of course, playing the music and movies through $20,000 worth of Westlake professional cinema speakers enhances the experience. The review also proves that receivers from just a few years ago are obsolete in terms of the sonic finesse and precision, compared to this new breed of receiver that use newer DAC chips. I also believe that using a higher-current Class A/B amplifiers also heightens the result.



  With the receiver’s DSD-to-PCM conversion of my SACDs, I was not as impressed with the decoding, as I was with the MRX 720's straight PCM; the converted 24/88 sounds hi-fi enough, but not as accurate as either discrete PCM decoding or playing DSD from the Oppo’s analog outputs. In my  stereo SACD listening sessions, I preferred using the Oppo BDP-203’s DSD stereo decode/analog output, connected to the MRX 720’s analog input jacks.
  I tested the DTS Play-Fi wireless playback function  with the MRX, downloading the app from the Google Play Store and playing several 24/192 HDtracks downloads via the onboard Android phone. You can play lossless FLACs and WAV files, as well as MP3 and AAC lossy music. From my Android phone, I enjoyed some Linda Ronstadt and Eagles classic album in 24 bit. You can play from phone or tablet storage, a network drive, or stream from Pandora or Spdify.


MRX 720 features DTS Play-Fi wireless streaming

  I listened through the main speakers and a zone speaker set up — one floor up using  my Legacy Studio HD stand speakers. The sound was as good as wired sources, especially with the receiver's brilliant amp section and 24-bit audio.

The verdict
  Out of the box, I was impressed with the MRX 720’s audio and video performance and a tight band of features and easy set up and operation. The longer I used it, the better I liked the MRX. The awesome audio quality for a moderately priced receiver is to be commended. I have not been excited about a surround receiver in some time. For movies and music, the MRX 720 will fill the needs of majority of its intended users. Even those with are inclined to buy separates will love this receiver.
  If you are in the market for a new surround receiver that is not that expensive, but sounds like it is comprised of better separates, this is your receiver. As stated early in the review we are bestowing a Everything Audio Network Stellar Sound Award and a nomination for  an 2017 EAN Product of The Year in the receiver category. I know it is early in the year, but the MRX 720 is a note-worthy, high-performance receiver.

   John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via email: everything.audio@verizon.net