Jeremy Anderson
Screenwriter
- Joined
- Nov 23, 1999
- Messages
- 1,049
I've been fairly happy with my Onkyo TX-SR600, despite going through 3 units before getting one that completely worked (because of the EX decoding bug on some of the units). However, there were some minor features that it lacked that made me want to get something else (specifically, having a single delay setting for L/R surround instead of separate settings and 192k DACs on mains but 96k on all other channels, which seemed to give a tonal shift on pans). That being said, my budget and needs kept me from upgrading. So, when I saw Onkyo's addition of Dolby Pro-Logic IIx to their entry level line of receivers, I was intrigued. When I found an online retailer that had the unit for $249.99 shipped, I was even more intrigued and decided to give the Onkyo 502 a test drive. I figured I could always return it if there was no improvement.
The 502 has the typical faceplate features that I'm used to from Onkyo. The most necessary buttons are all there and laid out well so that setup and general use could be performed without the use of a remote. The 502 is slightly shorter than the 600, which didn't surprise me much as the 502 has a lower power rating. The 502 is also noticeably lighter than the 600, though it still felt more heavy than other entry level offerings I've dealt with. The remote control included was also decent enough, and I actually like it better than the one that came with my 600. However, since it uses the same IR codes as my 600 for receiver operation, I quickly threw the new remote in a drawer and continued to use my Radio Shack 15-1994 all-in-one remote.
Setup was roughly the same as the 600, with easy to use options for speaker size, delay, level, etc. The 502, however, had several features that outshone the 600. The newer model offers a wider selection of crossover options, making the 502 more versatile for different size speakers. Also, as I mentioned before, the 502 offers separate distance/delay settings for the left and right surrounds (which is great, because my right surround is 2 feet further away than my left). Something that I also found nice on the 502 was the ability to adjust speaker distance while program material was being played (the 600 turned off the speakers when setting delay). This was helpful in nailing distance and phase, by using the speaker test tones on Digital Video Essentials that are placed between the speakers. Using these tones, I adjusted delay up and down from its physical distance until I found the setting that imaged best between speakers. This also let me hear whether I needed to swap the positive and negative leads of each particular speaker to get speaker phase correct. It may be a minor thing, but I found it very useful. The 502 did lack some features that the 600 had, most notably Intellivolume, which is used to equalize volume levels between different sources. Honestly, that was a feature I never used on the 600 and I don't miss it at all.
After setup with my SPL meter, tweaking with Avia and DVE, and a quick double-check of my subwoofer's equalization (for flat response +/-3dB), I began to explore the 502's many features. The first thing I'll say is this: DPL-IIx rocks! I hadn't expected a huge difference between DD-EX and DD with DPL-IIx engaged, but the resulting rear soundstage is far more cohesive, with pans across the rear moving more smoothly between speakers and front/back pans imaging more precisely. Perhaps it was just DPL-IIx or perhaps it was the combination of that and having the delay times nailed, but the sound with the 502 absolutely demolished anything I had ever heard from my 600. There were two immediately noticeable differences. First, reference level on my 600 was 82 on the volume control, whereas reference level on the 502 was at 54 (not that this makes a difference in the sound). Second, the 502 initially seemed brighter sounding than the 600. However, after very critical listening, the 502 actually has the more detailed sound to it, even in direct or stereo modes (which is strange, considering the 600 had 192k DACs for the mains and the 502 has 96k DACs on all channels). Music on the 502 had more sparkle, detail and life to it. And though some may be worried about the power rating of the 502, I don't think it's an issue in a small to medium room. The 502 held up nicely in my 12'x18'x8' room, moreso in fact than my 600 which had a higher power rating and was a heavier unit. With my SVS sub and a crossover setting of 80Hz, the 502 achieved amazing levels and quality of sound in my room without any noticeable distortion or audio artifacts. Very impressive for such a low-cost unit!
About DPL-IIx: Music mode can be used to derive the center surround information from DD 5.1, DD-EX, or DTS 5.1 sources. However, with DTS-ES matrix or discrete, the 502 locks into those modes, which isn't a problem so much as something to be aware of. With a DD 5.1 or DD-EX source, you can switch the unit to use DPL-IIx Music mode (which I recommend) or DD-EX decoding. With DTS 5.1 sources, you can choose DPL-IIx music mode, DTS+DD-EX for deriving the center surround, or DTS+Neo:6 for deriving the center surround (which sounds essentially like DTS ES Matrix and has the same problems as forced matrix decoding). Again, I recommend using DPL-IIx in all cases, since it definitely improves the rear soundstage. This is especially true with discs that normally collapse to the center surround or seem to lack depth with forced matrix decoding. Most notably, the opening scenes of Saving Private Ryan (DTS) sounded far more 3-dimensional across the rear with DPL-IIx engaged, which definitely added to my enjoyment of it.
About DPL-IIx with music: Again, color me impressed. If you really want to be blown away and you have DPL-IIx (and aren't a stereo purist), listen to Nickel Creek's THIS SIDE or Sean Watkins 26 MILES with DPL-IIX Music Mode engaged. I used the following settings: Panorama ON, Dimension 3, Center Width 4. It's no slouch with Tool or Radiohead either.
Other things of note: The 600 would make an audible CLICK when switching formats. So far, I haven't noticed the 502 making much noise when switching, which is especially nice when my hi-def goes from 2-channel to 5.1. It also seems to switch to 5.1 faster.
Cons and minor nitpicks: There are no pre-outs for using external amplification, though you can't expect that on an entry level model. Also, the unit remembers your preference for DPL-IIx for every format, but defaults to All-Channel Stereo when it receives 2-channel PCM. This isn't that huge an issue as you can switch to DPL-IIx with the press of a button. Finally, there isn't an on-screen display, but honestly the information displayed on the front panel is more than adequate to set up and use the unit. This isn't a feature I miss or would even expect on a receiver at this price point. Another thing is that you can't engage Cinema EQ if you're using DPL-IIx processing. Again, this is kind of a non-issue since I never use Cinema EQ, but it bears mentioning.
Conclusion: How happy am I with the 502? So happy that I sold my 600 to a friend for $100 two days later. I am very anal when it comes to setup of my HT, and this entry level unit packs a real punch for value and features. It does everything I need it to, and I honestly don't think there is a competing product in this price range. I can unequivocally say that, to my knowledge, this is the best entry level receiver any company has ever produced.
Appearance: 9 - Black face and housing is near invisible with the lights down and display dimmed, and is easily arranged for on-receiver adjustment if necessary.
Features: 10 - Maybe the most feature-packed entry level receiver ever!
Sound Quality: 8 - Certainly not as good as separates, but amazingly detailed and neutral for an entry level unit.
Build Quality: 8 - Heavier than it looks, banana plugs on all speaker outputs, neatly arranged inputs and outputs.
Ease of use: 10 - Even though it lacks on-screen display, the setup and operation is easy and intuitive. I never even cracked open the manual.
Value: 10 - DPL-IIx, DTS-ES, DD-EX, component video switching and 6.1 output for $250 shipped. Need I say more?
Equipment used for review:
Polk Audio RTi28 - mains, surrounds, center surround
Polk Audio CSi40 - center channel
SVS 20-39CS+ - subwoofer
Samson 1000 amp (for sub)
ART-351 Equalizer (for sub)
Panasonic RP-56 DVD player, via TOSLINK
Motorola DCT-6200 hi-def digital cable, via TOSLINK
The 502 has the typical faceplate features that I'm used to from Onkyo. The most necessary buttons are all there and laid out well so that setup and general use could be performed without the use of a remote. The 502 is slightly shorter than the 600, which didn't surprise me much as the 502 has a lower power rating. The 502 is also noticeably lighter than the 600, though it still felt more heavy than other entry level offerings I've dealt with. The remote control included was also decent enough, and I actually like it better than the one that came with my 600. However, since it uses the same IR codes as my 600 for receiver operation, I quickly threw the new remote in a drawer and continued to use my Radio Shack 15-1994 all-in-one remote.
Setup was roughly the same as the 600, with easy to use options for speaker size, delay, level, etc. The 502, however, had several features that outshone the 600. The newer model offers a wider selection of crossover options, making the 502 more versatile for different size speakers. Also, as I mentioned before, the 502 offers separate distance/delay settings for the left and right surrounds (which is great, because my right surround is 2 feet further away than my left). Something that I also found nice on the 502 was the ability to adjust speaker distance while program material was being played (the 600 turned off the speakers when setting delay). This was helpful in nailing distance and phase, by using the speaker test tones on Digital Video Essentials that are placed between the speakers. Using these tones, I adjusted delay up and down from its physical distance until I found the setting that imaged best between speakers. This also let me hear whether I needed to swap the positive and negative leads of each particular speaker to get speaker phase correct. It may be a minor thing, but I found it very useful. The 502 did lack some features that the 600 had, most notably Intellivolume, which is used to equalize volume levels between different sources. Honestly, that was a feature I never used on the 600 and I don't miss it at all.
After setup with my SPL meter, tweaking with Avia and DVE, and a quick double-check of my subwoofer's equalization (for flat response +/-3dB), I began to explore the 502's many features. The first thing I'll say is this: DPL-IIx rocks! I hadn't expected a huge difference between DD-EX and DD with DPL-IIx engaged, but the resulting rear soundstage is far more cohesive, with pans across the rear moving more smoothly between speakers and front/back pans imaging more precisely. Perhaps it was just DPL-IIx or perhaps it was the combination of that and having the delay times nailed, but the sound with the 502 absolutely demolished anything I had ever heard from my 600. There were two immediately noticeable differences. First, reference level on my 600 was 82 on the volume control, whereas reference level on the 502 was at 54 (not that this makes a difference in the sound). Second, the 502 initially seemed brighter sounding than the 600. However, after very critical listening, the 502 actually has the more detailed sound to it, even in direct or stereo modes (which is strange, considering the 600 had 192k DACs for the mains and the 502 has 96k DACs on all channels). Music on the 502 had more sparkle, detail and life to it. And though some may be worried about the power rating of the 502, I don't think it's an issue in a small to medium room. The 502 held up nicely in my 12'x18'x8' room, moreso in fact than my 600 which had a higher power rating and was a heavier unit. With my SVS sub and a crossover setting of 80Hz, the 502 achieved amazing levels and quality of sound in my room without any noticeable distortion or audio artifacts. Very impressive for such a low-cost unit!
About DPL-IIx: Music mode can be used to derive the center surround information from DD 5.1, DD-EX, or DTS 5.1 sources. However, with DTS-ES matrix or discrete, the 502 locks into those modes, which isn't a problem so much as something to be aware of. With a DD 5.1 or DD-EX source, you can switch the unit to use DPL-IIx Music mode (which I recommend) or DD-EX decoding. With DTS 5.1 sources, you can choose DPL-IIx music mode, DTS+DD-EX for deriving the center surround, or DTS+Neo:6 for deriving the center surround (which sounds essentially like DTS ES Matrix and has the same problems as forced matrix decoding). Again, I recommend using DPL-IIx in all cases, since it definitely improves the rear soundstage. This is especially true with discs that normally collapse to the center surround or seem to lack depth with forced matrix decoding. Most notably, the opening scenes of Saving Private Ryan (DTS) sounded far more 3-dimensional across the rear with DPL-IIx engaged, which definitely added to my enjoyment of it.
About DPL-IIx with music: Again, color me impressed. If you really want to be blown away and you have DPL-IIx (and aren't a stereo purist), listen to Nickel Creek's THIS SIDE or Sean Watkins 26 MILES with DPL-IIX Music Mode engaged. I used the following settings: Panorama ON, Dimension 3, Center Width 4. It's no slouch with Tool or Radiohead either.
Other things of note: The 600 would make an audible CLICK when switching formats. So far, I haven't noticed the 502 making much noise when switching, which is especially nice when my hi-def goes from 2-channel to 5.1. It also seems to switch to 5.1 faster.
Cons and minor nitpicks: There are no pre-outs for using external amplification, though you can't expect that on an entry level model. Also, the unit remembers your preference for DPL-IIx for every format, but defaults to All-Channel Stereo when it receives 2-channel PCM. This isn't that huge an issue as you can switch to DPL-IIx with the press of a button. Finally, there isn't an on-screen display, but honestly the information displayed on the front panel is more than adequate to set up and use the unit. This isn't a feature I miss or would even expect on a receiver at this price point. Another thing is that you can't engage Cinema EQ if you're using DPL-IIx processing. Again, this is kind of a non-issue since I never use Cinema EQ, but it bears mentioning.
Conclusion: How happy am I with the 502? So happy that I sold my 600 to a friend for $100 two days later. I am very anal when it comes to setup of my HT, and this entry level unit packs a real punch for value and features. It does everything I need it to, and I honestly don't think there is a competing product in this price range. I can unequivocally say that, to my knowledge, this is the best entry level receiver any company has ever produced.
Appearance: 9 - Black face and housing is near invisible with the lights down and display dimmed, and is easily arranged for on-receiver adjustment if necessary.
Features: 10 - Maybe the most feature-packed entry level receiver ever!
Sound Quality: 8 - Certainly not as good as separates, but amazingly detailed and neutral for an entry level unit.
Build Quality: 8 - Heavier than it looks, banana plugs on all speaker outputs, neatly arranged inputs and outputs.
Ease of use: 10 - Even though it lacks on-screen display, the setup and operation is easy and intuitive. I never even cracked open the manual.
Value: 10 - DPL-IIx, DTS-ES, DD-EX, component video switching and 6.1 output for $250 shipped. Need I say more?
Equipment used for review:
Polk Audio RTi28 - mains, surrounds, center surround
Polk Audio CSi40 - center channel
SVS 20-39CS+ - subwoofer
Samson 1000 amp (for sub)
ART-351 Equalizer (for sub)
Panasonic RP-56 DVD player, via TOSLINK
Motorola DCT-6200 hi-def digital cable, via TOSLINK
