Yamaha quality decreasing?
- Thread starter ledzep1968
- Start date
Just an opinion, but Japan Inc has off-shored lots of production to Asia in order to be price competitive. Not sure when this started but I'm going to guess from the mid 1990s. Its not limited to Yamaha. Back in the day when everything was Made in Japan, down to the component level, the build quality was legendary. Maybe high end Yamaha units are still authentic this way. But if you go back to the early 1980s, they were all zero defect quality control.
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Some of us who bought in the mid-80s have no reference for the newer gear, because the great gear we bought then has never left us wanting more or different, nor ever left us needing a repair shop. If I just happened to be close to a dealer, I'd audition the new stuff, but I've no need of buying any. The only recent stuff I've bought of Yamaha was just more of the same I already had, except for a couple of TOTL home theatre amps. I have no complaint about those, either. They've delivered the usual menu of clean power and full features I'd come to expect from Yamaha. I've never bought the middle of their lines, of any generation, figuring you get what you pay for and I'd sooner not sacrifice power, specs, or features. I'd sooner do it right once and be done.
Vintageman1
Well-Known Member
Love my A-S2000, great sound, unreal build quality and at 50 lbs, an absolute back breaker!
johnda
Addicted Member
Is that baby fuel injected? (drool)You don't need an analogy to answer the question as first posted.
No, their quality is not decreasing except in instances where the consumer no longer wants to pay for it...
(Picture or it didn't happen)
I had a CA-1010 and CR-2020. Good stuff. I'd have traded them both and some cash for an A-S2000 in a heartbeat.
bergun
Well-Known Member
I have a RX-1100U and its a great sounding receiver!! My RX-V2095 is very close in the sound department, but is full of other features. I tend to buy a new Yamaha receiver every 13 years, or so and I'm now thinking about buying their new RX-A3020 receiver, which sounded pretty good to me.
As for me, I would stay away from any Yamaha or other brand's "Big Box" store's entry level line of products... They are OK, but far from very good to great products... IMHO.
KentTeffeteller
Gimpus Stereophilus!
For me, 1978-1979 was Yamaha's peak year for quality.
It was their quality in that timeframe that got me buying Yamaha, but the pieces I bought a few years later, in the mid '80s, are the ones that have survived, looking and sounding as new, while the bits I bought between '77 and '82 did not survive heavy use. So I might quibble about their "peak".
I am lucky to own a Yamaha DSP-Z9, 2004 released, Top Of The Line (TOTL), “Uber” A/V multi-channel amplifier costing a whopping US $4,500. In North America the same model is known as RX-Z9. If I had to put this A/V amplifier as a reference for Yamaha's component quality & build quality with respect to their 70’s or 80’s TOTL gear, then I can guarantee at least for their recent TOTL models, Yamaha have in no way lost their known pedigree of producing high quality products which they are famous for. It seems with time they have only improved.
Yamaha DSP-Z9
Inside View
Exceptional casing quality
The DSP-Z9 is built to last forever with the types of materials and build quality you expect from a significant investment in your home theater system. The DSP-Z9 is built like a Panzer tank and runs like a Swiss watch. Terrific build quality and a robust feature set make the DSP-Z9 a class leader among the competition. It is about the most trouble-free, easy-to-use, intuitive A/V amplifier I've encountered. It is hopelessly good-looking and appears every bit as expensive as it truly is, the craftsmanship of the casework is of very high quality, especially for an A/V amplifier, and is more indicative of a higher-end separate component. The feel is solid & it looks like being carved out of a solid titanium metal block. The faceplate is formed from a 10 mm thick piece of beautifully machined extruded aluminum, finished in a striking brushed titanium/ silver/ gold treatment reminiscent of Krell amps. The faceplate & side panel quality are above reproach and beyond anything I have seen on an A/V amplifier. In fact, it felt much more like a handcrafted high-end component than a mass-produced one.
The upper center of the face is dominated by a decidedly high-tech orange dot-matrix display, which is not only extremely legible but also quite stylish. Just below it is a solid 10mm thick oil damped front panel which gently folds out by pressing the lower part of the panel. The titanium finished billeted aluminum knobs & button layouts are intuitive with the rotary source input selector knob located on the left side of the front panel. The feel from this famous Alps knob is just right, providing a gentle push in the clockwise/ anticlockwise direction is rewarded with an assured & precise click which feels simply fantastic. Above the source selector is the Pure Direct button that illuminates in blue/ green when this mode is enabled and special 2-channel/ multi-channel pure direct analog audio input signal paths are used. To the left of the source selector reside the standby/ on button. Last but not least is a large digitally controlled analog volume knob is right where it ought to be, on the right hand side of the Z-9's facade. Continuing the theme of quality, all of the buttons operate with a solid, direct feel, and the “Accurate Touch” volume knob rotates with an absolute precise motion in +/- 0.5 dB steps. Needless to say, I was very impressed with the level of build quality and refinement the DSP-Z9 offered.
Inputs
Turning one's attention to the rear of the unit, the most obvious and unexpected feature are the extra-large 24-carat hard gold plated extruded 2-way speaker terminals, which are well constructed and mounted on the upper region of the rear panel. This type of high quality speaker terminals were previously available only on separates. The rear of the chassis was equally well finished and logically laid out. The Z-9 audio connections are equipped with eleven two-channel analog, one pure direct analog, one phono, one 7.1 channel analog, three digital coax, one RF-AC3 digital coax & eight digital optical inputs. Analog video connections include eight composite, eight s-video, and six component video inputs. Being an A/V amplifier of 2004 the most important high-resolution digital connection namely HDMI is sorely missing, however it offers analog video up-conversion to HDTV compatible 720p/1080i resolution via component video out.
Pure Direct/ StraightMode/ Direct Mode/ i.Link Audio Signal Paths
DSP-Z9 also provides a choice of five specialized signal paths, ensuring that you can obtain the purest analog/digital signal quality possible. Pure Direct mode is dedicated for pure analog audio enjoyment and provides the shortest signal path and eliminates as many control, processing and display functions as possible while accepting SACD and DVD-Audio inputs. Straight mode is for digital audio enjoyment at upto 24-bit/ 192 kHz at its purest form without any post-processing. The Direct Stereo mode designed for direct two-channel enjoyment. This mode accepts two-channel analog and digital sources at upto 24-bit/ 192 kHz, bypassing the DSP and other processing circuits with a dimmed display. i.LINK provides a single digital connection for DVD-Audio Linear PCM, Super Audio CD DSD (Direct Stream Digital) and other high quality audio sources capable of 2-channel 24-bit/ 192 kHz or 5-channel 24-bit/ 96 kHz. While Pure Direct, Direct & Straight modes are prevalent even on low end A/V amplifiers, the improvement in sound quality is rarely noticeable. On this Yamaha, however, engaging these modes significantly improved the sound quality which is imminently noticeable. At this price point, it makes sense that Yamaha offers this feature as I suspect most people will use it, or at least try it.
Current AV amplifiers irrespective of price or category use transistor switches in its circuitry for routing analog input signals inside the AV amplifiers. This solution widely used among AV amplifier manufacturers provides fast switching and are very cost effective. But these solid state switches may induce a little noise or distortion in the input analog signal. DSP-Z9 being an “Uber” on the other hand dumps this cost effective solution for ‘Pure Audio Fidelity’. Just like high end stereo equipments it uses high quality, expensive gold plated mechanical relays as switches imposing no noise or distortion on the input analog signal, faithfully following HiFi pedigree in its technical design. Thus DSP-Z9 is slow during startup, takes at around 10 seconds while performing a series of mechanically audible clicks emanated from multiple relays before it actually starts producing any sound. Here analog 2-channel ‘Pure Direct’ is really direct and purely sublime.
Chassis and Construction
DSP-Z9 uses a heavy-duty, thick, rigid chassis construction in order to support all the large & heavy duty components and prevent any vibration from occurring. The chassis containing six individual chambers and electromagnetic shielding prevent any chance of internal interference between the pre-amp, video, dsp, power amp & power supply modules. It follows true HiFi philosophy when it comes to the concept of electromagnetic isolation which are very rare in AV amplifiers.
Only the Finest Parts are Used in DSP-Z9
At this degree of extreme sound quality, only the finest parts are used in this amplifier because each and every part in the amplifier makes a difference in attaining the ultimate sound quality. Particularly noteworthy are:
1) Class leading low-flux, 1,500 VA Toroidal Power Transformer.
2) A pair of high-grade Nichicon 28,000uF/ 80 volts power capacitors.
3) The absolute best quality Nichicon Fine Tune capacitors specifically designed for high end audio are used in all circuit boards. These are expensive.
4) High sound quality Schottky Barrier diodes allow fast switching for high gain S/N ratio.
5) Thick PC board wiring with 1.6mm diameter copper jumper cables.
6) Speaker relays with gold plated crossover connections and shielding.
7) 24-carat hard gold plated extruded, large 2-way speaker terminals.
9) Use of super-expensive, and the best Burr Brown DACs on all chanels. Yes I am talking about PCM1792.
Power Output
When powering up a top class A/V amplifier like DSP-Z9 one expect beautiful sound and video quality, but also want plenty of raw power. Especially at dynamic peaks, such as explosions or the climax of rock songs, all wants to be thrilled and awed, without a hint of distortion marring the moment. The most impressive fact that DSP-Z9 is capable of delivering large amounts of reserve power for accurate reproduction of the high energy peaks that are especially prevalent in digital audio sources. This emphasizes the music’s dynamic qualities and provides a sharper sound image.
Manufacturer Rated Power [20 Hz to 20 kHz, 0.015%THD, 8 ohms]: 170 watts X 2
Dynamic Power [2-channels driven at 8/ 6/ 4/ 2 ohms]: 210/ 260/ 340/ 580 watts
Another point to consider is that because of this high power capability, at normal listening levels the amplifier won’t be working as hard, so distortion levels are virtually zero. MJP of Sound&Vision (formerly known as HomeTheater) magazine measured the power output of both DSP-Z9 in his lab, and below were the publishedresults @ 1 kHz @ 0.1% THD:
2-channels @ 8 ohms: 179.8 Wpc
2-channels @ 4 ohms: 318.4 Wpc
5-channels @ 8 ohms: 166.6 Wpc
7-channels @ 8 ohms: 140.6 Wpc
[Wpc: Watts per channel]
Yamaha DSP-Z9
Inside View
Exceptional casing quality
The DSP-Z9 is built to last forever with the types of materials and build quality you expect from a significant investment in your home theater system. The DSP-Z9 is built like a Panzer tank and runs like a Swiss watch. Terrific build quality and a robust feature set make the DSP-Z9 a class leader among the competition. It is about the most trouble-free, easy-to-use, intuitive A/V amplifier I've encountered. It is hopelessly good-looking and appears every bit as expensive as it truly is, the craftsmanship of the casework is of very high quality, especially for an A/V amplifier, and is more indicative of a higher-end separate component. The feel is solid & it looks like being carved out of a solid titanium metal block. The faceplate is formed from a 10 mm thick piece of beautifully machined extruded aluminum, finished in a striking brushed titanium/ silver/ gold treatment reminiscent of Krell amps. The faceplate & side panel quality are above reproach and beyond anything I have seen on an A/V amplifier. In fact, it felt much more like a handcrafted high-end component than a mass-produced one.
The upper center of the face is dominated by a decidedly high-tech orange dot-matrix display, which is not only extremely legible but also quite stylish. Just below it is a solid 10mm thick oil damped front panel which gently folds out by pressing the lower part of the panel. The titanium finished billeted aluminum knobs & button layouts are intuitive with the rotary source input selector knob located on the left side of the front panel. The feel from this famous Alps knob is just right, providing a gentle push in the clockwise/ anticlockwise direction is rewarded with an assured & precise click which feels simply fantastic. Above the source selector is the Pure Direct button that illuminates in blue/ green when this mode is enabled and special 2-channel/ multi-channel pure direct analog audio input signal paths are used. To the left of the source selector reside the standby/ on button. Last but not least is a large digitally controlled analog volume knob is right where it ought to be, on the right hand side of the Z-9's facade. Continuing the theme of quality, all of the buttons operate with a solid, direct feel, and the “Accurate Touch” volume knob rotates with an absolute precise motion in +/- 0.5 dB steps. Needless to say, I was very impressed with the level of build quality and refinement the DSP-Z9 offered.
Inputs
Turning one's attention to the rear of the unit, the most obvious and unexpected feature are the extra-large 24-carat hard gold plated extruded 2-way speaker terminals, which are well constructed and mounted on the upper region of the rear panel. This type of high quality speaker terminals were previously available only on separates. The rear of the chassis was equally well finished and logically laid out. The Z-9 audio connections are equipped with eleven two-channel analog, one pure direct analog, one phono, one 7.1 channel analog, three digital coax, one RF-AC3 digital coax & eight digital optical inputs. Analog video connections include eight composite, eight s-video, and six component video inputs. Being an A/V amplifier of 2004 the most important high-resolution digital connection namely HDMI is sorely missing, however it offers analog video up-conversion to HDTV compatible 720p/1080i resolution via component video out.
Pure Direct/ StraightMode/ Direct Mode/ i.Link Audio Signal Paths
DSP-Z9 also provides a choice of five specialized signal paths, ensuring that you can obtain the purest analog/digital signal quality possible. Pure Direct mode is dedicated for pure analog audio enjoyment and provides the shortest signal path and eliminates as many control, processing and display functions as possible while accepting SACD and DVD-Audio inputs. Straight mode is for digital audio enjoyment at upto 24-bit/ 192 kHz at its purest form without any post-processing. The Direct Stereo mode designed for direct two-channel enjoyment. This mode accepts two-channel analog and digital sources at upto 24-bit/ 192 kHz, bypassing the DSP and other processing circuits with a dimmed display. i.LINK provides a single digital connection for DVD-Audio Linear PCM, Super Audio CD DSD (Direct Stream Digital) and other high quality audio sources capable of 2-channel 24-bit/ 192 kHz or 5-channel 24-bit/ 96 kHz. While Pure Direct, Direct & Straight modes are prevalent even on low end A/V amplifiers, the improvement in sound quality is rarely noticeable. On this Yamaha, however, engaging these modes significantly improved the sound quality which is imminently noticeable. At this price point, it makes sense that Yamaha offers this feature as I suspect most people will use it, or at least try it.
Current AV amplifiers irrespective of price or category use transistor switches in its circuitry for routing analog input signals inside the AV amplifiers. This solution widely used among AV amplifier manufacturers provides fast switching and are very cost effective. But these solid state switches may induce a little noise or distortion in the input analog signal. DSP-Z9 being an “Uber” on the other hand dumps this cost effective solution for ‘Pure Audio Fidelity’. Just like high end stereo equipments it uses high quality, expensive gold plated mechanical relays as switches imposing no noise or distortion on the input analog signal, faithfully following HiFi pedigree in its technical design. Thus DSP-Z9 is slow during startup, takes at around 10 seconds while performing a series of mechanically audible clicks emanated from multiple relays before it actually starts producing any sound. Here analog 2-channel ‘Pure Direct’ is really direct and purely sublime.
Chassis and Construction
DSP-Z9 uses a heavy-duty, thick, rigid chassis construction in order to support all the large & heavy duty components and prevent any vibration from occurring. The chassis containing six individual chambers and electromagnetic shielding prevent any chance of internal interference between the pre-amp, video, dsp, power amp & power supply modules. It follows true HiFi philosophy when it comes to the concept of electromagnetic isolation which are very rare in AV amplifiers.
Only the Finest Parts are Used in DSP-Z9
At this degree of extreme sound quality, only the finest parts are used in this amplifier because each and every part in the amplifier makes a difference in attaining the ultimate sound quality. Particularly noteworthy are:
1) Class leading low-flux, 1,500 VA Toroidal Power Transformer.
2) A pair of high-grade Nichicon 28,000uF/ 80 volts power capacitors.
3) The absolute best quality Nichicon Fine Tune capacitors specifically designed for high end audio are used in all circuit boards. These are expensive.
4) High sound quality Schottky Barrier diodes allow fast switching for high gain S/N ratio.
5) Thick PC board wiring with 1.6mm diameter copper jumper cables.
6) Speaker relays with gold plated crossover connections and shielding.
7) 24-carat hard gold plated extruded, large 2-way speaker terminals.
9) Use of super-expensive, and the best Burr Brown DACs on all chanels. Yes I am talking about PCM1792.
Power Output
When powering up a top class A/V amplifier like DSP-Z9 one expect beautiful sound and video quality, but also want plenty of raw power. Especially at dynamic peaks, such as explosions or the climax of rock songs, all wants to be thrilled and awed, without a hint of distortion marring the moment. The most impressive fact that DSP-Z9 is capable of delivering large amounts of reserve power for accurate reproduction of the high energy peaks that are especially prevalent in digital audio sources. This emphasizes the music’s dynamic qualities and provides a sharper sound image.
Manufacturer Rated Power [20 Hz to 20 kHz, 0.015%THD, 8 ohms]: 170 watts X 2
Dynamic Power [2-channels driven at 8/ 6/ 4/ 2 ohms]: 210/ 260/ 340/ 580 watts
Another point to consider is that because of this high power capability, at normal listening levels the amplifier won’t be working as hard, so distortion levels are virtually zero. MJP of Sound&Vision (formerly known as HomeTheater) magazine measured the power output of both DSP-Z9 in his lab, and below were the publishedresults @ 1 kHz @ 0.1% THD:
2-channels @ 8 ohms: 179.8 Wpc
2-channels @ 4 ohms: 318.4 Wpc
5-channels @ 8 ohms: 166.6 Wpc
7-channels @ 8 ohms: 140.6 Wpc
[Wpc: Watts per channel]
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Bowled over by Yamaha DSP-Z9’s technical prowess? Let me be a little more subjective and describe in detail how I felt when I first listened music and multi channel audio.
Yamaha DSP-Z9 + Bower & Wilkins 802 Diamond floorstanders
Sound Quality
The DSP-Z9 internal amplifiers are so good and so musically right, that unless you're willing to fork over some major dough one wouldn't look to separates if you can afford the DSP-Z9. I found the DSP-Z9's power on tap to be bountiful and robust, making it one of the best-sounding A/V amplifiers in the game even today, with overall audio performance not unlike what I heard from many high-end integrateds. In Pure Direct Mode it has a smooth, rich textured sound that is rife with air and possesses striking dynamics that bring songs to life. The DSP-Z9 possesses a natural, lively and energetic sound that adds a bit of swing to music and punch to movies. It simply excels as a multi-channel listening device, be it for music or movies. The bass on DSP-Z9 is amazing. Low, fast and tight only start to describe the sound.
In Straight Mode a slightly warm midrange and solid bass impact make the DSP-Z9 one of the most musical solid-state A/V amplifier ever made. Incredible power output, capable of powering any speaker on the market today with juice to spare making the DSP-Z9 a very versatile amplifier for a variety of system and needs. It has the power and headroom to be able to drive even tough impedance-load speakers to beyond-cinema levels, even from the most demanding sources. THX's Ultra 2 certification backs those claims up with third-party verification that you can trust.
Listening Experience: Multi-channel music with DSP-Z9
Listening to Yanni-Live at El Morro, Puerto Rico recording in high definition 24bit/ 96 kHz, 5.1 channels DVD format was an eye opener and THE MOST reveling experience, DSP-Z9 aptly demonstrating its musical prowess in abundance. This full orchestra contained some amazing number of audio instruments like drums, kick-drums, violins, guitars, base guitars, trumpets, flugelhorns, percussions, harps, keyboards, French horns, cellos, trombones, double bass, bass horns, etc. Renowned vocalists like Lauren Jelencovich, and Lisa Lavie was also there.
I was just amazed by the amount of sonic information & detailing these 5.1 channel DVD discs contain which can never be expressed in a two channel stereo.
In order to listen & enjoy this type of high resolution DVDs to its brim, one need A/V amplifiers of DSP-Z9 caliber having internal amplifiers so good and so musically right, that unless you're willing to fork over some major dough one wouldn't look to separates if you can afford them. I found their power on tap to be bountiful and robust, making them one of the best-sounding A/V amplifiers in the game even today, with overall audio performance not unlike what I heard from many high-end integrateds.
The way DSP-Z9 was able to represent these complex orchestral musical pieces along with the melodious as well as haunting vocals of Lauren & Lisa was the most revealing part. I was able to exactly identify with my eyes closed as of where in the stage an instrument is being played in the live concert with a level of refinement, detailing & tonal separation I was never able to experience before in a stereo format.
I was pleasantly surprised by the organic nature in which Lauren & Lisa’s voice were reproduced by DSP-Z9. It were presented with fullness and warmth that is not typically associated with any A/V amplifier I herd before, I also heard subtle vocal inflections of their performance, showing that this monster is very capable of passing even the smallest of details that is provided to it. The sounds staging performance of this A/V amp is excellent, placing the vocals center stage and well in front of the speakers as the other instruments were carefully placed around them.
DSP-Z9 being sewn to those nine Axiom Audio M80 v3 towers rated at 4 ohms each, it seemed to have great dynamic energy, which sewed to make the soundfield even more cohesive. The violins, cellos and violas sounded taut and alive, almost as though they had their own voice, beyond that of Lauren & Lisa. The kick drum played quick and deep and I was very impressed with there tonality & how they were represented musically. It was as if the energy from each tower was so strong that a true bubble had been created around me. Combined with the excellent imaging and soundstage of the M80 towers, the sound-field just extended from speaker to speaker. The brawny Class AB amplifier of DSP-Z9 with multiple high current outputs was able to extract enough bass from the M80’s that it often sounded as if we had two subwoofers on when we did not. Loud, deep noises from drums & kick-drums had significant impact.
Micro-dynamics were also very smooth and well-delineated, and listening to multi channel music via the DSP-Z9 was a very pleasing, engrossing experience. The experience was so strong, that I found myself in musical nirvana, ended up listening Yanni twice through the DSP-Z9 and couldn't help but think that this was the way music were meant to be heard.
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Bubo
Super Member
Sport,
Impressive looking piece of hardware, there is no doubt about where the manufacturers directed their energies when home theater arrived on the scene. Is the amp class A or class D?
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As to the quality question, I estimate 300% inflation since 1980, those money printers.
So the question is: How does a modern $3000 amp compare to the 1980 amp?
I'm guessing that you can get a pretty good new amp for $3000, that will or may sound as good as a used Yamaha MX-800 that you can buy mint for $400 at auction, I have 4 of them. I will be taking the pre outs from my Pioneer surround receiver and using the Yammys to power the speakers. 5.1 Class A, 900 Watts RMS for $1600. About the size of a college refrigerator.
The older gear is through hole, so as long as you have money or know how, you can keep it running. This is also part of the question of what is quality, serviceability is certainly part of the equation.
Impressive looking piece of hardware, there is no doubt about where the manufacturers directed their energies when home theater arrived on the scene. Is the amp class A or class D?
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
As to the quality question, I estimate 300% inflation since 1980, those money printers.
So the question is: How does a modern $3000 amp compare to the 1980 amp?
I'm guessing that you can get a pretty good new amp for $3000, that will or may sound as good as a used Yamaha MX-800 that you can buy mint for $400 at auction, I have 4 of them. I will be taking the pre outs from my Pioneer surround receiver and using the Yammys to power the speakers. 5.1 Class A, 900 Watts RMS for $1600. About the size of a college refrigerator.
The older gear is through hole, so as long as you have money or know how, you can keep it running. This is also part of the question of what is quality, serviceability is certainly part of the equation.
Bro, is that you?
I do four MX-1000U's on one set (with an EICO ST-70 thrown in just to be sure), two MX-800's on another and two MX-600U's on another. Not that one of each anywhere wasn't more than enough, but there's nothing like having plenty of headroom.
Sell the 8 ohm loudspeakers & get 4 ohm ones. Immediately you get 320 watts per channel with 580 watts X 2 of dynamic power output @ 2 ohms.:thmbsp: Jokes aside, I am an young chap and do not belong to the "OLDIE IS GOLDIE" group. But I do respect everyone's own choices and I do find in audiokarma it's mostly all about 1960 to 1990s stuff, unfortunately.
Those like me that have fallen in love with surround sound, the search begins for components that create a sense of immersion within a musical presentation. Often, that search results in "separates," i.e. a separate processor and amplifier. Over the past decade with the advent of Denon AVC-A1 series a new type of component, which blurred the line between separates and the average mass-market A/V amplifier, came into the home theater market. These so called "Uber A/V Amplifier" market generally started with a US $4,000 price sometime around 2000 and with time went on climbing US $6,000 in 2006 when Denon released the AVC-A1XV. Even marks like Lexicon made their only Hi -End AV amplifier the RV-8 in this era, with a US $7,000 price tag.
I admit to be a self-proclaimed music lover, not an audiophile. Audiophiles often complain about the sound of digital audio, but I seldom agree with their blanket condemnations. For me, the clarity, low noise, and consistency of digital audio far outweigh any coldness or brittleness exhibited by the medium. And with the advent of high-resolution formats such as DVD-Audio and SACD, the naysayers' concerns might finally be laid to rest for good.
The DSP-Z9 is about as digital as they come, with the aim is to provide the highest possible sound purity; based on a design concept Yamaha calls Digital ToP-ART (Total Purity of Audio Reproduction Technology) design philosophy: to maximize digital quality while minimizing analog circuitry, and also maintains a straight and logical circuit layout for optimum signal purity. This not only holds distortion to practically zero, it ensures that massive amounts of digital sound data can be transmitted at speeds of up to 192kHz.
Yamaha DSP-Z9's Digital ToP-ART
Digital ToP-ART includes a variety of sophisticated technologies, beginning with six ubiquitous & ultra exotic Burr-Brown PCM1792DBR, 192kHz/24-bit DACs for all channels with DSD (Direct Stream Digital) compatibility. These PCM1792DBR belong to their elite DAC category even by Burr-Brown standards and costs more than four times than DSP-Z9’s competitors using mostly Burr-Brown PCM1796DBR.
The Accurate-Touch Volume Control LSIs (Yamaha YAC520) allows us to make adjustments within a narrow range with extreme accuracy having a negative gang error of less than 0.5dB. The volume control has a very wide control range extending from –80dB to +16.5dB, with narrow 0.5dB steps throughout the entire range for delicate control.
The digital bass and treble tone controls have turnover frequencies for the front L/R and centre channels too. This is all fine with me; the DSP-Z9 amply demonstrating with sound clean, clear, crisp, and finely detailed throughout the audible range all the qualities I really like about digital audio.
Yamaha DSP-Z9 Internal View
From 1990 onwards to this date, Yamaha has released eight Top Of The Line (TOTL) A/V amplifiers ranging between US $2,000 to US $5,500. From a technical standpoint and purely in terms of internal circuit design architecture & layout I found six of them namely DSP-A1000, DSP-A2070, DSP-A3090, DSP-A1, DSP-AX1 & DSP-AZ1 follows the same design philosophy/ architecture/ pattern as laid out by Mr Izumi Ozeki back in 1990 with his award winning DSP-A1000. With time they successively released newer models which were just a gradual evolution of the former with some more refinement & added features. On closer inspection I found though Mr Masaya Kano designed DSP-Z11 (an engineer working under Mr Ozeki) having a very different circuit design layout & positioning, have abundant traits that clearly sticks to the same design philosophy of DSP-A1000 chalked out by Mr Ozeki back in 1990. DSP-Z11 is more or less like the same candy in a different & more shineier wrapper.
DSP-Z9 once again proved to be designed from a completely new ballpark with no relevance to its sisters with the implementation of a 1500 VAC toroidal transformer weighing 10 kilos, with a 47.55VAC X 2, 15A secondary for the power amplifier section. All the rest uses cheaper & smaller E-I Core transformers.
This is just insane power for any A/V amplifier pumping out 47.55 X 2 X 15 = 1,426.5 watts for the power amplifier and thus comes fitted with a 20A/ 250V fuse for the power amp section!!! This is amazingly high current levels for any A/V amplifier and can be easily compared to high end dedicated multi channel power amplifiers!!! In comparison its predecessor DSP-AZ1 used 12A, 250V fuse.
But when I started thinking about DSP-Z9’s fully symmetrical driven, balanced power amplifier section having those sixteen pairs of Sanken 2SA1492/ 2SC3856 power transistors most probably in Darlington Pair Configuration (with a complementary FET input stage) doing duty, easily capable of gobbling those 1427 watts with a sniff and then take some additional 653 watts of steroids if available, all of a sudden everything started to make sense.
DSP-Z9's Power Amplifer High Level Block Diagram
The voltage rails of the power amplifier as denoted by B+/ B- in the above diagram are rather high 65VDC X 2.
The Importance of High Current
Although power rating is often the first thing people look at in an A/V amplifier, high power output does not necessarily mean good sound. High current level is a much more important factor, so DSP-Z9 uses High Current Amplification System with a 15 ampere transformer secondary to overcome two problems common to ordinary A/V amplifiers. In brief, Yamaha High Current Amplification technology achieves low impedance, high current power from input (power supply circuit) to output (speaker terminals). This drives the speakers much more smoothly and dynamically, for better sound from all sources, including 2-channel audio.
Yamaha DSP-Z9's High Current Amplification Technology
This design overcomes the difference in voltage between the power supply and amplifier circuits caused by current fluctuations. This was solved by using a pair of custom-made, high-grade Nichicon 28,000uF/ 80 volts block electrolytic capacitors and a copper grip for one point grounding. Another current drop is generally seen between the amplifier circuit and the speaker terminals, caused by the cables, speaker output relays, copper circuit boards, and so on. To avoid this problem, they used a massive & quite costly 1,500 VA low flux, low impedance toroidal transformer instead of cheaper E-I Core counterparts for DSP-Z9 and gold-plated speaker relay contacts. The result is DSP-Z9 achieves low impedance, high current power from input (power supply circuit) to output (speaker terminals). This drives the speakers much more smoothly and dynamically, for better sound from all sources, including 2-channel audio.
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Bubo
Super Member
I don't know what Yamaha's arrangement is, or if their high end gear is even made in China.
Many of the high end products that come out of China, all of the critical components are imported in sealed containers and matched up to the locally sourced no brainier components, which may also be made in a factory owned by the high end manufacturer.
Typically, you had to find a way to give the local Communist aka Mafia party members a piece of the action. The scenario I am familiar with is a local party member has a pretend job as an officer of a real company for which they are heavily compensated (like the political establishment in the US).
So real company pays off through ghost pay-rolling political hacks.
My guess, if Yamaha makes their TOTL in China, all of the critical components are made in Japan and married up with the no brainier components and assembled in China. This minimizes stunts like in the old days when the Chinese "partner" would disassemble the entire factory and move everything into a new building across the street where they had 100% ownership.
Its worth noting that the Chinese router company, obtained all of Cisco's IP via state sponsored industrial espionage and now sells competing products world wide. Another reason I doubt that Yamaha would off shore high content IP manufacturing to China.
My two cents.
Bubo
Super Member
Sport,
Why do so many on this site, or any other site, refer to their older equipment?
The older gear to which your refer, is through hole discrete component era. Few if any ICs custom or otherwise.
Many of the ICs fall into the unobtainum category, so the longevity of the newer equipment is suspect once the custom ICs are no longer available. For military contracts and large customers, we had to fabricate additional wafers equaling 10-20% of production and either keep them or forward them to the customer for future spares that could be cut and mounted. I don't know who would drive such a request for stereo equipment ICs or who would cut and mount them.
I'm guessing that most manufacturers these days (excluding McIntosh and Mercedes) don't supply spares or service the products after 7-10 years.
On the discrete through-hole tech products, you can get a lot of the components at your local parts store like Radio Shack, Fry's etc. So this equipment essentially lasts forever as long as you are willing to fix it..
On the other hand, with the newer products, once the ICs become unobtainium you are either out of luck or have to cannibalize from another identical system.
So while your new system kicks ass, you may not be able to get it repaired 10 years down the road.
Why do so many on this site, or any other site, refer to their older equipment?
The older gear to which your refer, is through hole discrete component era. Few if any ICs custom or otherwise.
Many of the ICs fall into the unobtainum category, so the longevity of the newer equipment is suspect once the custom ICs are no longer available. For military contracts and large customers, we had to fabricate additional wafers equaling 10-20% of production and either keep them or forward them to the customer for future spares that could be cut and mounted. I don't know who would drive such a request for stereo equipment ICs or who would cut and mount them.
I'm guessing that most manufacturers these days (excluding McIntosh and Mercedes) don't supply spares or service the products after 7-10 years.
On the discrete through-hole tech products, you can get a lot of the components at your local parts store like Radio Shack, Fry's etc. So this equipment essentially lasts forever as long as you are willing to fix it..
On the other hand, with the newer products, once the ICs become unobtainium you are either out of luck or have to cannibalize from another identical system.
So while your new system kicks ass, you may not be able to get it repaired 10 years down the road.
The high end Yamaha products are still made in Japan. Impeccable build & product quality.
