DMC-1 Listening Tests: Two-Channel
Having spent so much time discussing the features, set-up and configuration options of the Emotiva DMC-1, I was excited to finally get down to the important part of the review - listening to this processor and seeing how well it performed in my Reference System. I tried to go into the listening session with an open mind, relinquishing all preconceived ideas I had about how the processor would perform and attempting to gather an honest and open evaluation of the sound.
CD:
Marillion -
Holidays in Eden
A new
favorite of mine is
Marillion's
Holidays
In
Eden
CD. An eclectic mix of some of their more commercial tracks, this CD conveys a lot of the
progressive rock feel that dominated the airwaves in the 80's and early 90's.
Track 1 of Disc 1, "Splintering Heart", started off with a building, almost pulsating subsonic intro that was fantastically clean. Whenever I play this song in the other room, my 2-year-old runs around the coffee table in circles for some unknown reason (yes, every time). Synthesizer detail trickled in across the soundstage as the vocals continued to build. The front vocals were powerful, with a soft, airy reverb that enveloped the listening room. Subtle element in this track continued to point out the clarity and detail that was possible with this system, especially since the entire intro of the song was a multi-layered entity lacking any non-synthesized instrumentation. I replayed the track in Dolby Pro Logic IIx Music mode and found that this was one of those CDs that benefited immensely from Dolby's DSP - almost turning it into a discreet 5.1 mix and surrounding the listening position with an accurate but encompassing mix of vocals, pads, guitar and reverb.
Now back in two-channel, a cascading, almost U2-like guitar intro began track 2 "Cover My Eyes" (Pain and Heaven) - quickly followed by some clean vocals. The chorus added a fuller mix that set just behind the main vocals. Drums were panned wide (a fairly consistent mixing technique on this album) and possessed an almost exquisite cymbal detail. This song simply came alive with the Emotiva.
Almost done, but not quite - I simply couldn't stop listening to this album. Track 4 "No One Can" put forth some gentle vocals and a steady beat which marked this song as one where you can really pay attention to the mix and break it down into its component parts. From the steady stick on the snare to the polite reverb that washed over the vocals and lent filler to the backgrounds, it was fun to just sit and enjoy this mix.
Despite the annoying 3-second looping bird sample on Track 5, the opening jet-by and casual feel to this song made up for its early transgressions. A strong back-beat and rather dry vocal made this a unique mix within the album. The vocal style, including the backgrounds, was very reminiscent of The Police. A Hammond B3 sound and alternating solo guitar emanated from the left and right speakers respectively, and served to develop this song before it came to its rather abrupt peaked ending.
SACD: Jeff Wayne's Musical Version of The War of the Worlds
This almost epic undertaking is something of a fantastic enigma. It is essentially a contemporary
opera with classical instrumentation, punctuating a classic tale of science fiction. Are you picturing
it yet?
Don't bother, just
buy it
and check it out in your own system - you will not be disappointed.
Track 1 sets up what is a recurring theme for the entire piece. With synths, strings, flutes, and a syncopated drum track, there is much to enjoy and realize in terms of soundstage and detail. The mix is a constant modulation of crescendo, followed by individually revealed instrumentation. Among this ebb and tide of music is a dry voice over interjected by Rich ard Burton to carry along the story.
Once you think you have a feel for the musical content, and almost Jethro Tull vocal spits out a chorus lyric line. It was easy to pick out independent effects & instruments. The Emotiva allowed the full, rich definition of this audio opera to come forward.
Several minutes into the first disc there is a distinct acoustical guitar intro which felt as if it were being plucked exactly 8 feet in front of me. The realism was remarkable. I could go on, but we're talking about 90 minutes or so of musical content. I will tell you, however, that I was riveted enough by the sound to sit through the entire first Disc... and then I put in Disc 2.
