Sony G90 - Manual (Page 26)

should mention that my loudspeaker array is
less than ideal for assessing Lexicon’s surround
modes. The side loudspeakers are bi-polar (the
Revel Embrace set to bi-pole for music sur-
round, di-pole for films), and the rear speakers
were the point-source Mirage Reference Monitors. Lexicon rec-
ommends seven timbre-matched loudspeakers in an acousti-
cally absorbent room. Nonetheless, I got a good impression of
what each surround mode was doing. (I’ve also heard these
modes in Lexicon’s listening room.)
The subtlest of the music processing modes is called Music
Surround, which sends the left and right signals to the left and
right loudspeakers unaltered. The MC-1 in this mode creates a
low-level center-channel signal, along with side and rear signals
(with seven-channel playback). The side and rear speakers
receive ambient information extracted from the recording.
Delay and steering are used on the side and rear channels.
Music Surround produces a gentle expansion of the soundstage
that takes the presentation out of the front speakers. In Music
Surround, I was never consciously aware of sound arriving
from the sides or rear. Instead, my listening room walls seemed
to disappear aurally, replaced by a larger acoustic. Switching
back to two-channel mode caused the soundstage to collapse
into the front loudspeakers. About 30 percent of the music I
tried in Music Surround benefited from the processing.
Smaller, more intimate music was best reproduced with-
out any processing. The classic Bill Evans recording Sunday
at the Village Vanguard
(a superb transfer on JVC XRCD) was
more immediate and direct in two-channel mode, even though
the “Nightclub” surround mode created an amazingly realistic
impression of a club acoustic. In surround, I felt a sonic and
emotional distance from Evans’ introspective expression.
One of the most spectacular examples of two-channel
playback conveying a sense of the recorded acoustic is Keith
Johnson’s stunning recording of Rutter’s Requiem on the Ref-
erence Recordings label. When played back with HDCD
decoding on a superlative two-channel system, Requiem is
transcendent. Could this maximally optimized recording be
improved upon with surround processing?
R e q u i e m d i d n ’t benefit from any of the MC-1’s processing, in
my view. The processing did expand the acoustic, but at the
expense of reduced image specificity. Just for fun, I ran R e q u i e m
through the decidedly unsubtle Cathedral ambiance-generation
mode. Although this was a gross distortion of the recording, the
feeling of being transported to a large acoustic was stunning.
Twenty minutes in the listening chair with the lights off and I was
awestruck at how convincing the illusion was.
I also evaluated the ambiance-generation modes by play-
ing the Denon Anechoic Orchestral Music Recording CD
[Denon PG-6006], an orchestral recording made in an ane-
choic chamber (a reflection-free room). This recording does-
n’t just seem dry; the sound is totally distorted in a way we
never hear in real life. The complete absence of reverberation
allowed me to add effects with the MC-1 and hear exactly the
effect’s contribution to this unique recording. The MC-1’s
reverberation generation was exceptionally clean and
smooth, producing an almost convincing impression the
recording was made in a real hall.
Overall, the MC-1’s music surround modes were more suc-
cessful on some types of music than on others. Most of the
time I preferred two-channel reproduction. Nonetheless, I
found some music discs more involving and engaging in sur-
round sound. That’s a big step for a confirmed two-channel
purist – and a testament to the careful thought that went into
the MC-1’s music-surround processing.
Conclusion
The Lexicon MC-1’s unparalleled array of sophisticated signal-
processing modes represent the state-of-the-art in consumer
multi-channel controllers. For those who listen primarily to
film soundtracks or surround-sound music, the MC-1 provides
exceptional surround performance, unique signal processing,
and a terrific remote and user interface. The thought that
went into the music surround modes and the effectiveness of
Logic 7 were particularly impressive.
If you’re a two-channel music purist looking for a home-
theater controller, the MC-1 may not be for you. The lack of a
two-channel bypass mode that circumvents the MC-1’s A/D
and D/A converters limits the musical performance possible
from your system. It does little good to own a High End digi-
tal processor or turntable if its analog output is digitized by
the MC-1. This shortcoming was exacerbated by the only fair
sound quality of the MC-1’s D/A stage.
If you want the ultimate performance from both film and
music sources, you can always add an analog preamplifier. It’s
a bit of a hassle and adds to the system cost, but the MC-1’s
outstanding film-soundtrack and multi-channel music perfor-
mance make it worth the effort.
LEXICON, INC.
3 Oak Park
Bedford, Massachusetts 01730-1441
Phone: (781) 280-0300; fax: (781) 280-0490
Web: www.lexicon.com
Source: Manufacturer loan
Price: $5,995
See text.
M a n u f a c t u r e r I n f o r m a t i o n
A s s o c i a t e d E q u i p m e n t
M a n u f a c t u r e r’s Response
We would like to thank The Pe r fect Vi s i o n and Robert Harley
for the comprehensive rev i ew of the MC-1. One of our primary
goals in the MC-1 and DC-2 was to improve upon the earlier DC-
1 ’s audio performance. We procured samples of the latest Dig-
i tal to Analog and Analog to Digital converters from our ve n d o r s
and began a series of objective and subjective tests. During this
process we came across a prototype DAC from AKM. The per-
formance of the AKM exceeded that of eve ry other DAC we
tested, and handily exceeded the performance of the DC-1’s
DACs, which Mr. Harley noted in his rev i ew.
We used several analog and digital sources to compare the
A D C / DACs to ensure that even the purists would be satisfied
with the results. It was no contest. The AKM converters easily
won the subjective listening tests with comments like: “ c o m-
pletely neutral,” “dead quiet,” and “extremely dynamic.”
We stand by our decision and feel that the MC-1 and DC-2
s h a tter the myth that digital audio products are “ g r a i ny” com-
pared to analog designs. The performance of digital audio prod-
ucts has reached the point where the ceiling is now being dic-
tated by the limitations of analog.
T H E C O N S U M E R P RO D U C T ST E A M
L E X I C O N , I N C .