Pioneer VSX-56TXi User Manual

Equipment Review

Pioneer Elite

™

VSX-56TXi

Home Theatre Receiver

John Kotches

Mid-Priced Receiver With Punch
And Performance

Pioneer Electronics has been a staple of the audio industry for
many years and traces its ancestry back to the late 1930s as
Fukuin Shokai Denki Seisakusho. In this company’s long career in
the audio industry, the number of first products to the market is sub­stantial. Pioneer was the flag bearer for the LaserDisc format, which
had a near 20-year reign as the format of choice for videophiles.
Even in the DVD era of consumer electronics, Pioneer lays claim to
the first Universal Disc player, in their DV-AX10. The DV-AX10 was
the first of many universal players, and several years later a large
number of the universal players on the market are based on
Pioneer’s OEM kits.

“This $1,700 product’s warm, rich
sonic character does an excellent job in
conveying the message.”

Pioneer’s Elite Line is their premium lineup of audio/video prod­ucts. It is in the Elite line that Pioneer’s technological advancements
are first brought to the marketplace. Pioneer continues to be a
leader in delivering FireWire®/i.Link®(IEEE 1394) products to the
market, and the VSX-56TXi receiver is their fourth receiver equipped
with this interface for transferring digital audio. Another technologi­cal advancement included in the VSX-56TXi is Pioneer’s Multi­Channel Acoustic Correction Circuit, which is a DSP-based room
calibration and correction tool. Originally introduced in the VSX­49TX, MCACC™has now trickled down in some form or another into
a large portion of Pioneer's product lineup.

Exterior Construction And
Connectivity

The Elite line carries Pioneer’s Urishi finish, which is an elegant
gloss black finish on a thick aluminum faceplate. I'm generally a fan
of silver over black on components, but the Urishi is one that could
convince me to change my cosmetic preferences. As our home theatre

SPECIFICATIONS

Inputs: A/V (4 Composite/S-Video/Stereo Audio),

Audio (4 including MM Phono), Component Video
(2 assignable), Eight Channel Analog (1), Digital
Audio (2 Optical, 2 Coaxial all assignable)

Outputs: Speaker Level (Front, Center, Back

Surround/Zone 2, Surrounds), Line Level (Front,
Center, Surround, Back Surround, Multi-room/
Source), Component Video (1), Monitor (1
Composite/S-Video), Monitor 2 (Composite),
Digital Audio (2 Optical), Audio Tape Loops (2
Stereo), Video Tape Loops (2 Composite/
S-Video/Stereo Audio)

Listening Modes: Dolby Digital, Dolby Digital

EX, Dolby Pro-Logic II, DTS, DTS-ES (Discrete
and Matrix), DTS: Neo6, DTS 24/96, PCM (to
24-bit/96 kHz), Numerous DSP Modes

Power Output (Rated): 110watts x7 (8 ohms,

20 Hz-20 kHz < 0.09% THD)
Video Stage (Component): 5-100 MHz (+0, -3 dB)
Dimensions (WHD In Inches): 16 9/16 x 7 7/16 x

18 5/16
Weight (In Pounds): 45
Price: $1,700

Manufactured In Japan For:
Pioneer Electronics (USA) Inc.
2265 East 220th Street
Long Beach, California 90810
Tel: [phone]
www.pioneerelectronics.com

products become more complex, the number of buttons on the
faceplates seems to be growing exponentially with each year. The
VSX-56TXi has a clean, symmetrical look, with identical-sized large
knobs on either side of the faceplate, along with three buttons
above each knob. The rest of the buttons and front panel inputs are
hidden below the drop-down front panel with the Elite logo on it.
This hides lesser-used controls and the microphone input for
Pioneer's MCACC technology. I will discuss MCACC later in this
review.

I was somewhat surprised by the heft of the VSX-56TXi, which
weighs in at 45 pounds. Unusual in the under $2,000 price point,
the VSX-56TXi has a dual-layer chassis, with an aluminum exterior,
and a copper interior to improve noise shielding and stray EMI from
entering and exiting the receiver. The chassis is deeper than it is

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wide, so those of you interested in purchas­ing should be sure that your equipment
rack can handle its 18 5/16-inch depth.

The back panel is somewhat sparsely
appointed in terms of digital connectivity. I
feel that the number of digital inputs should
be larger than provided for a component at
this price level, since our systems are intro­ducing more digital sources as time march­es forward. Provided are two TOSLink opti­cal inputs, with default assignments of
TV/Sat and CD-R/Tape 1. Two S/PDIF coaxi­al digital inputs are on the back panel, with
default assignments of DVD/LD and CD
also available. Should you be blessed with
a mismatch, a converter will need to be
employed. Upping both digital input con­nectors to three of each would likely handle
most end-user environments where the
VSX-56TXi is used.

Analog-only inputs for line-level audio
sources are also a bit shy but not to the
point of being troubling. Three stereo ana­log audio-only inputs are provided for CD-R,
MD/Tape and CD. In addition, those with LP
playback capability will be pleased to find
an MM-capable phono stage, with ground­ing also provided. There are four A/V inputs
provided and each has stereo audio, com­posite, and S-video connectivity. A pair of
assignable component video inputs is also
available. A single set of multichannel analog
inputs (7.1) are also included so that a single
multichannel disc player can be connected
via analog input. In addition, a pair of assign­able component video inputs are available.

Analog tape loops are well accounted
for with a pair of audio only outputs avail­able. In addition, two video tape loops,
with stereo audio, composite, and S-video
are provided. A pair of digital audio out­puts via TOSLink are also included with the
VSX-56TXi

The VSX-56TXi carries the final “i” in the
model designation to indicate i.Link capabil­ity. i.Link (FireWire, IEEE 1394) is a specific
implementation of FireWire 1394a, which
allows for the uncompressed encrypted
transfer of audio streams, including high­resolution DVD-Audio and SA-CD in their
native forms. Assuming you have an appro­priately equipped player, a single cable can
be used for the transfer of all audio instead
of multiple cables. In addition, a USB Audio
input, capable of accepting MP3, Windows
Media Audio, and uncompressed PCM is
also available.

i.Link was a bit troublesome in its opera­tion, and I need to take a few moments out
to tell you what the limitations are. When
setting up the VSX-56TXi there is a menu
option for SA-CD setup, which contains a
parameter for SA-CD direct mode. With SA­CD direct mode off, all SA-CD material will

be played back as stereo only, but you gain
the ability to use MCACC and bass man­agement when not played back in direct
mode. This is even true when playing back
the multichannel tracks on surround SA­CDs. With SA-CD direct mode on, you can
listen to surround SA-CD tracks, but you
lose MCACC. DVD-Audio functions a little
bit cleaner, likely due to the ability to direct­ly process the PCM data. MCACC and bass
management were available with 24-bit/96
kHz stereo and surround discs and 24­bit/192 kHz stereo discs. For DVD-Audio at
24-bit/48 kHz and 24-bit/96 kHz, all DSP
functions were available, however, at 24­bit/192 kHz stereo discs only bass manage­ment was available. This would indicate that
DSP horsepower is a limiting factor.
Operating on 24-bit/192 kHz data requires
four times the DSP horsepower; you have
twice the samples to work with and half the
time-window for the operations.

The binding posts on the VSX-56TXi are
decent, though not outstanding. While it is
possible to use bare wire or spade lugs,
given the tight spacing of the posts the best
candidate is the “good old” banana plug.
This isn't a problem for me, as all my loud­speaker cables terminate with banana
plugs. The spacing between plus and
minus posts is at 1 inch, so attached dual
banana plugs generally won't work. Once
connected, the banana plugs were gripped
tightly, and I never had issues with the con­nectors detaching accidentally.

Digital Topology

Receivers and preamp/processors are
brought to audio life by their digital stages.
There are a variety of solutions available,
and some of the process is in selecting the
appropriate components to achieve the
intended sonic goals, while not exceeding
the overall sonic goal of the product. Digital
to analog convertors are the last piece of
the puzzle, and they are responsible for tak­ing the output of Digital Signal Processors
to convert the signal to an analog voltage,
which is used to drive a power amplifier
stage. In the case of the VSX-56TXi, there
are four stereo DACs employed. For the first
six channels (Front L/C/R, Subwoofer, Side
L/R) the Asahi Kasei Microsystems AK4383
is used. The AK4383 is a maximum 8x over­sampling Delta-Sigma Modulation DAC
capable of decoding PCM input up to 24­bit/192 kHz, as well as natively decoding
DSD (from SA-CD). Performance specs on
the AK4383 indicate a THD+N of -94 dB,
with a signal-to-noise ratio (S/N) of 110 dB.
This approximates 19-bit performance.
While not quite state-of-the-art for DAC per­formance, the VSX-56TXi isn't priced in the

REMOTE

state-of-the-art category either. The back
surround channels (used only for DTS®-ES
[Matrix and Discrete], DTS: Neo6, Dolby®
ProLogic®IIx, and Dolby Digital Surround
EX™) are handled capably by the
AK4382A, which has comparable specifica­tions to the part used for the main channels,
but lacks DSD support, which is not neces­sary at present.

Digital Signal Processing is accom­plished by a pair of Freescale (Motorola)
56367 DSP chips. The DSP56367 is a com­mon part and is used by many in the indus­try. In this case, the first DSP56367 is used
for traditional DSP functionality (lossy format
decoding, matrix decoding, proprietary DSP
fields, time alignment, bass management).
The second DSP is used exclusively for
MCACC, to implement the equalization system.

It is possible to apply DSP to analog
inputs, and analog to digital conversion is
provided by the Asahi Kasei Microsystems
AK5380 ADC. The AK5380 is a stereo delta­sigma modulator ADC, with output sampling
up to 24-bit/96 kHz with an S/N ratio of 106
dB and the ability to operate cleanly, even
in relatively high temperature environments
approaching 200 F. By sampling at 24­bit/96 kHz, this allows for high fidelity to the
analog input prior to DSP application.

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Video Transcoding

A positive trend on the latest generation
of receivers is the desire to simplify the
vastly complicated connections that con­nect up to high-definition displays. You will
see this marketed as upconversion in some
products. Video Technical Editor Greg
Rogers and I both agree that the term
upconversion should only be used in cases
where the product in question changes the
resolution of the input signal. Most receivers
are using the “U” word incorrectly and
should be referring to this feature as
transcoding. The VSX-56TXi has a handy
video transcoding function, which definitely
helps in simplifying the connections to a
high-definition display. The transcoding
matrix has the following results: The com­posite input can be output as composite, S­video, or component video. The S-video
input can be output as composite, S-video,
or component video. Component video
inputs are passed through untouched. In
testing the transcoding function, using vari­ous test patterns such as the

Essentials

terns, I found no degradation of the signal.
Conclusively determining the bandwidth
performance of the receiver was not possi­ble. HDTV at 1080i also passed successful­ly via the component input on the VSX­56TXi, although I didn’t get a chance to
check the HD-NET test patterns for band­width, sharpness, accuracy, etc.

expected that the On Screen Display output
for system configuration, (which is nearly
mandatory) would be passed through the
transcoding circuitry so that it can be dis­played via the single display connection. I
couldn’t get the OSD to synch via compo­nent video at 480i, so I still needed two
cables connected, one component and one
composite or S-video for configuration.

sharpness and resolution pat-

One negative to be reported is that I

Video

Power To The People
(And The
Loudspeakers)

The power amplifier stage on the VSX­56TXi is rated at 110 watts per channel
across the seven available channels while
driving an 8-ohm load. The amplifier stage
specifications are not clearly stated as to
output for all channels driven, nor are they
given for lower impedance loudspeakers. In
system setup, the amplifier channels can be
assigned to drive either a 7.1 system or a

5.1 system, with bi-amplified front left and
right loudspeakers, or as a 5.1 Zone 1 sys­tem and a stereo system as Zone 2. All of
my testing was in the context of a 5.1 system.

In an effort to test the output capacity of
the VSX-56TXi, I did output testing in my
primary reference room. A quick test
showed that the -20 dB FS test tone on the

AVIA Guide To Home Theater

1 watt of output from the amplifier to hit the
target of 85 dB at my listening position for
the front left and right loudspeakers (about
3 meters). Knowing that reference level is
going to take just about all of the amplifier
capability, I went off in search of appropri­ate material to test the output capability.
Granite Audio’s Extreme System Workout
CD was used to deliver a 1 kHz tone @ 0
dB FS, and I found that with stereo signals
the SPL meter was reading at 106 dB with
no audible distortion from the front Left and
Right loudspeakers. When switching over to
five-channel stereo to reproduce the same
signal across all five loudspeakers, I found
some audible distortion. By backing down
the volume control by 2 dB, I was able to
remove the distortion.

This result indicates that (like many other
receivers) the VSX-56TXi can’t quite deliver
rated power to all channels simultaneously.
This result is also consistent with the maxi­mum power consumption rating of 600 watts.
Driving five channels at 110 watts leaves
only 50 watts available to run all of the digi­tal processing, drive the analog preamplifier
stage, and radiate away amplifier inefficien­cy as waste heat. In fairness to Pioneer, no
claim is made to drive all channels simulta­neously, rather the specification is in chan­nel groupings of Left + Right, Center,
Surround Left + Right, and Back Left + Right.

disc requires

Remote Control, Set
Up, And User
Interface

The VSX-56TXi ships with a rather hefty
and clunky remote. It definitely does the job
and provides some degree of flexibility, but
I found that its use was a bit unwieldy.
Fortunately, I also had access to a Harmony
676 programmable remote, and my wife
and stepdaughter both found the svelte
Harmony remote much more to their liking.
That said, the 676 is a great remote for day­to-day use and a bit less than ideal for con­figuration and set up.

I’m fairly particular about system setup,
as I believe that every product should be
able to perform basic setup (channel dis­tance, channel trim, bass management)
without a display by the end user. The limit­ed prompts on the VSX-56TXi makes this
possibility nearly impossible, and I would
end up connecting a composite video cable
to the secondary systems display for con­figuration. Once the display was
connected;, I found basic set up for the

VSX-56TXi to be relatively straightforward.
Analog inputs are pre-assigned, so if you
have a CD player with analog output that
you're particularly fond of, plugging it in to
the CD analog inputs is all that’s necessary.
The Input Assign menu is used to assign
the limited digital audio and component
video inputs to the appropriate inputs on
the VSX-56TXi. To make life easier, I
assigned TOSLink input 1 and Component
Video input 1 to the Dish 6000 HDTV receiv­er, and Input 2 for both TOSLink and
Component Video to my DVD player. The
i.Link input is set up in its own dedicated
menu, and I assigned the DV-59AVi to the
CD input via the i.Link connector.

Multichannel Acoustic
Calibration And
Correction

MCACC is Pioneer’s proprietary solution
for system calibration and basic room cor­rection. MCACC was introduced a few
years ago with the Elite VSX-49TX. Since its
introduction, MCACC has gone through a
few iterations and is now being trickled
down into their mainstream products. It
should be noted that there are four levels of
MCACC.

For Pioneer’s entry level products in the
standard line, a MCACC Manual is includ­ed. Calibration tones are emitted, and the
end user must then match the SPL level with
the front left loudspeaker with guidance from
the user interface. With the MCACC Manual,
no equalization functions are available.

Automatic MCACC 1 provides a micro­phone, which is used to calibrate individual
channel levels, set channel delays (dis­tances), and determine whether loudspeak­ers should be defined as large or small.
Automatic MCACC 2 adds a nine-band
equalizer function, which can be applied to
all loudspeakers to improve frequency
response to help correct for the room and
its effect on the sonics of the loudspeakers.
A “front align” option leaves the front left
and right loudspeakers alone, equalizing
the center channel and surround loud­speakers to better match the acoustic per­formance of the main loudspeakers.

Advanced MCACC, which is included on
the VSX-56TXi, adds a few very powerful
enhancements on top of the feature set of
Automatic MCACC 2. The new enhance­ments are categorized as the “Professional
Acoustic Calibration” features. The first is
that the measurements take into account
your room specific reverberation and con­siders human hearing characteristics to
help determine the optimum filters to be
applied to your system. As if that weren’t
enough, multiple curves can be stored and

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toggled through, so that you can define various
filter types for movies, music, or accepting
the default measured and recommended fil­ters. The filters can be created via the “Auto
Pro” option, which automatically determines
the filters, or the “Manual Pro” option. The
“Manual Pro” option performs all the meas­urements, with the end user selecting which
timing target is used for filter creation. A PC
can be attached to the RS-232 port and
after installing the appropriate software,
before and after correction curves can be
shown. Last but not least, an X-Curve can
be applied, which accounts for the acoustic
space, and applies the curve based on
best values for the room’s volume. The X­Curve is used in dubbing stages and pro­fessional theatres to provide a pleasing
sonic result to the ear.

I personally found little difference sonical­ly when comparing the “front align” and “All
channel EQ” options. I did, however, find
that the improvements wrought by MCACC
were not subtle and led to a much more
pleasing sonic character than was other­wise available, and for my recorded listen­ing impressions, I had MCACC engaged
whenever possible.

Movie Performance

A quick note about the conditions and
conclusions that are being brought forth to
you. I found my conclusions to be consis­tent between my primary reference system
and my secondary reference system. All of
the sonic qualities you are reading about
were culled from notes taken while listening
to the secondary system.

The Shawshank Redemption

presented quite frequently on one of the
high-definition movie channels, and during
the review period I availed myself to a
showing of this “modern classic.” Here, I
think that Morgan Freeman’s voice is more
naturally portrayed, with Tim Robbins’ voice
tended more towards the sibilant. It wasn’t a
terrible artifact, but it was consistently
noticeable from scene to scene. I ran down­stairs at one point to check with my primary
reference system, and found that the sibi­lance was less apparent. As the movie
draws to its conclusion and Dufresne’s cell
is checked and the rock goes through the
Raquel Welch poster, the rock echoes as it
bounces down the carved tunnel, showing
how Dufresne managed his “great escape.”

In

Se7en

I selected the scene where Mills
and Somerset encounter John Doe in the
apartment building hallway. The sound of
Doe’s gunshots explode onto the sound­stage in a convincing facsimile of the on­screen action. Later in the scene as Doe
fires at Mills from the alley, the enclosed

seems to be

space of the alley causes you to wince at
the loudness and its percussive attack. I
can’t say that I've spent a lot of time shoot­ing firearms, and that goes double for firing
them in alleys or indoors! What was really
nice, though was the underlying carpet of
rain throughout this scene that was
omnipresent though often overshadowed by
sound effects and music. The rain effect
was very engulfing and well done. I wish I
could do the evaluation and have an “all
Morgan Freeman” set of references, but
alas it was not to be for this review.

Blue Man Group’s

Tour Live

is a high energy presentation that

The Complex Rock

I caught during the summer of 2003. I have
the same complaint about this DVD-Video
as I did in the concert hall. The audio is
compressed to within an inch of its life! If
that’s the case, then why use this as a refer­ence disc? The unique instruments are one
of the reasons, the other is that it's just plain
fun. Even the bonus music videos tend to
suffer from too much compression. The
unique signature of the backpack tubulum
is well done. The majority of the body and
timbre of the mallet stricken PVC tubes is
played back with good fidelity. The Angel
Airpole doesn’t quite whip through the
soundstage as well as my primary refer­ence system, but the order of magnitude
pricing differential means it shouldn't. The
VSX-56TXi acquits itself quite well when
considering price. The sound was never
harsh, even when played as loud as my
ears could handle.

Music Performance

Starting with stereo, the VSX-56TXi doesn’t
quite have the width of stereo presentation
as some other components I have used in
my secondary reference system, including
the Sunfire Ultimate Receiver. It provides
only a modest bit of wraparound and not
the engulfment that other products have
given on the right material. Willie Nelson’s

Stardust

been getting a fair amount of playing time
during this review. The natural, relatively
unprocessed presentation has aged well in
the 25-plus years since this recording was
made. Of particular note is the warmth of
the lead vocal, which has a richness that
pulls you into the performance, as well as
an excellent portrayal of fingers on an
acoustic guitar's fret board during
“Moonlight In Vermont.” Last but not least,
the plaintive call of the harmonica is also well
portrayed. Quite convincing, although it does­n’t reach the level of “in your room” presence
that I hear in the primary reference system.

outstanding for the price point. I pulled out

(SA-CD via i.Link) is one that’s

Soundstage width is good overall and

a guilty pleasure disc,

Greatest Hits

on stereo SA-CD for this

Kenny Loggins’

review, where track two can have a very
convincing pseudo-surround presentation at
its best. The VSX-56TXi delivered a sound­stage whose apparent width exceeded the
placement of the loudspeakers but doesn’t
tend to deliver that wraparound effect that
happens with the best out there. Between
the speakers, placement is clear and pre­cise, with the two points in space for
Loggins’ and Nicks’ voice correctly located
between the loudspeakers.

Diana Krall’s

The Girl In The Other Room

is her latest effort and is a return back to
the more traditional jazz quartet, instead of
the “Diana With Strings” format she’s had
for the last few discs. There are several out­standing tracks, with the two-beat Latin feel
of Joni Mitchell’s “Black Crow” (Track 8)
being one of my favorites. Here, the rich­ness of the electric guitar (Anthony Wilson)
is always found. In addition, during his
improvisation work, the individual notes of
some blistering double time runs are still
played back with good clarity and preci­sion. Krall’s voice retains the slight breathi­ness and her sometimes excessive sibi­lance––ably demonstrated when she sings
the word shiny. The acoustic piano is well
done, and the various percussion instru­ments utilized are all cleanly portrayed in
their own space. “Narrow Daylight” (Track

9) is a more intimate presentation, and the
warmth of the VSX-56TXi is keenly notice­able on the vocals presented. With both of
these presentations, I felt the absence of
MCACC (not available with multichannel
SA-CD), as there was some excess rever­beration in the 60 Hz region where the
acoustic bass would have particular notes
bloom.

Steely Dan’s

Gaucho

was their last album
released prior to a 20-year hiatus and their
jump to a new record label. The title track
begins with the tenor sax of Tom Scott, and
the VSX-56TXi does a good job of preserv­ing the slightly congested tonal quality of
this particular track. It’s still a very good
auditioning track, and the various elements
on the masterfully mixed disc by Elliot
Scheiner are effectively presented in 24­bit/96 kHz surround. Of particular note is
the body and weight of the mass vocals for
the chorus and the distinctive style of
Fagan’s electric piano. I'm not sure how he
manages to pull off nonchalance, while still
hitting the rhythmic marks time and time again.

For overall surround soundstage integra-

tion, I turned to the Flaming Lips’

Battles The Pink Robots

. The track “Do You

Yoshimi

Realize” should provide a fully-immersive
holosonic™soundfield with complete rotation
of the mix around the listening position.

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Here, I found that the VSX-56TXi did a very
good job of keeping the stage coherence
together. I found that there was only the
usual small gap between front and surround
hemispheres, indicating excellent overall
presentation, as well as good linearity
between the various pieces required to
deliver this track correctly.

As a closing listen, I went to one of the
best big band discs in my collection, the
Bob Mintzer Big Band’s

Basie.

“One O'Clock Jump” is a killer blues

Homage To Count

track, which builds from start to finish and
features an ambient mix with only ambience
information in this quadraphonic (4.0) mix.
As accent chords are hit by the band on a

piano solo chorus, the attack in front, with
decay in all loudspeakers, provided an
excellent peak into what the sound was like
at the recording. Also of note was the pres­entation of the alto sax solo, which has a
deliberately overblown timbre. I’m not a fan
of this approach, but I also wasn’t hired to
play the part! That said, the presentation
from small combo to tutti shout choruses is
well done both by the recording and the
VSX-56TXi. It is easy to have timbre break­down with denser passages, and the VSX­56TXi managed to come through this partic­ular text with nary a scratch on the Urishi
black exterior.

Conclusion

Pioneer's VSX-56TXi is indicative of the
progress that has been made in the last
several years in the audio side of the home
theatre market. This $1,700 product does
an outstanding job, with performance that
would have been considered high-end sev­eral years ago. Its warm, rich sonic signa­ture does an excellent job in conveying the
message rather well. The flaws in the VSX­56TXi lie in its operational issues far more
than in its sonic attributes. With some user
interface polishing, the few rough spots
could be dramatically improved. ■■

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