This is not as straightforward as simply entering the distances, but it gets the job done. Delays are set by first measuring the distance of each speaker to the listener, calculating the difference between the greatest speaker-listener distance and each of the other speaker-listener distances, and then adding 1 millisecond of delay for each foot that the speaker is closer than the farthest speaker. The test tone is sequenced manually, which I prefer to the type of automatic sequencing that makes you wait for the tone to come around to a given speaker. Setting up the RSP-1066 was pretty straightforward the owner's manual, like that of the RSP-976, provided clear instructions. The RR-969 has 41 buttons that can be illuminated, but only 12 of these involve control of the RSP-1066's functions. Yes, it can control up to nine other components in addition to the RSP-1066, and it has a macro learning facility, but I'd gladly trade all that for a simpler, more ergonomic layout, with frequently used controls like input selection, filter, and surround mode easily accessible rather than hidden under a sliding panel. The RSP-1066 has the same RR-969 remote control as the RSP-976 I didn't like it very much before, and I don't care for it now. Unlike some more expensive surround pre-pros (e.g., the Anthem AVM 20, which I reviewed in the May 2002 issue), the RSP-1066 does not have a bass limiter circuit, so you'll have to rely on the bass overload circuitry in your subwoofer (if it has it, as many do), or else keep an ear out for symptoms of distress from the sub at high levels. As noted above, the subwoofer crossover frequency is now variable in my system, the THX standard 80Hz worked best, but those with more-nearly-full-range speakers will appreciate the inclusion of lower crossover frequencies. Subwoofer levels can be set up independently for each mode (e.g., Dolby, DTS), and the Max setting directs all low frequencies to the subwoofer(s) from all speakers, including ones designated Large. The speaker-setup menu has the usual choice of Large/Small, Subwoofer Yes/No, Center Delay, and Surround Delay settings, and, optionally, one or two Center Back speakers with associated delays. Early Dolby Surround EX-encoded discs did not have the requisite flag, so for these you have to select Dolby Surround EX manually. A default surround mode can be set for each input, but many sources (e.g., DVDs with Dolby Digital/DTS soundtracks) automatically override the default surround settings and also prevent the manual selection of alternative surround modes. The RSP-1066 has the by-now de rigueur facility to assign specific physical inputs (e.g., coaxial digital) to each input source, with auto-sensing that selects digital over analog inputs unless the default for that source is set to analog. Like the RSP-976, the RSP-1066 must be set up with an onscreen display, which is available only from the composite or S-video outputs, not component video. Assuming that adding them didn't compromise basic sound quality, it seemed that Rotel might have come up with another winner. That's a lot of added features for a price increase of only $300. upgradeable microprocessor software to accommodate future upgrades.Rotel XS automatic decoding from any digital multichannel signal in 6.1- and 7.1-channel systems.automatic decoding of digital signals from MP3 players.DTS Neo:6 surround modes for deriving surround channels for 5.1-, 6.1-, or 7.1-channel systems from 2-channel stereo or matrix-surround recordings.DTS-ES Matrix and DTS-ES Discrete, both 6.1-channel.adjustable subwoofer crossover frequency (40-120Hz in 20Hz increments).The RSP-976 has now been replaced by the RSP-1066 (a model number that will be appreciated by students of British history), which has all the features of the RSP-976, plus: The last Rotel pre-pro I reviewed was the RSP-976 (July 2001), and I thought it was an outstanding product at its $1199 price. Rotel's back catalog of pre-pros includes five models, and that's not counting various add-on Dolby Digital/DTS decoders. Rotel has been at this game longer than most I reviewed their RSP-960 (Dolby Pro Logic only, no video switching) in the very first issue of SGHT (April 1995, Vol.1 No.1). In fact, the ones I'm acquainted with are all nice folks devoted to bringing high-quality sound to home-theater fans while making a bit of money in the process. By this, I don't mean to imply that makers of these devices are wicked. There's no rest for the wicked or for manufacturers of surround preamp-processors.
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