Daniel Kumin

PRICE Price: $5,850 (CM6 S2, $1,000 each; CM Centre 2 S2, $1,250 each; CM1 S2, $550 each; ASW10 CM S2, $1,500)

AT A GLANCE
Plus
Exceptional tonal balance
Superb sub/sat integration
Impressive bass extension from compact sub
Lovely design and finish

Minus
Expensive
No dipole/bipole surround option

THE VERDICT
Highly neutral and free of obvious coloration, invitingly listenable, and beautiful, the B&W CM S2s wear their substantial prices fairly.

B&W should need little introduction in these pages. The British loudspeaker-maker has been a force in serious audio repro practically since Noah’s flood (1965, actually), and here in the States have for two decades and more occupied an enviable market position straddling the highest of high-end to the almost-popularly-priced. So when a new generation of B&Ws take the stage, the audio world tends to pay attention, as we are doing here with the firm’s latest iteration of its next-most-affordable CM range. Named with typical British phlegm the CM S2, the new designs highlight a dozen or so interesting engineering refinements in driver, crossover, and cabinet designs (in particular a new “dual-dome” aluminum tweeter diaphragm claimed to push its resonance a half-octave or so higher, and thus extending its smooth reproducing range), but in typical B&W fashion show comparatively little in the way of visible changes.

PRICE $1,199

AT A GLANCE
Plus
Ready for UHD with HDMI 2.0
Refined amplifiers headline strong sonics
Outstanding multiroom abilities, including dual HD-on-HDMI programs
Dolby Atmos capability
Minus
Proprietary auto-EQ had much subtler effect than previous-gen’s Audyssey

THE VERDICT
Onkyo’s usual benchmark audio and video get incremental upgrades, plus new features that include future-proofing HDMI 2.0 and Dolby Atmos.

Onkyo may or may not be the actual market leader in audio/video receivers, measured by unit sales, dollars, or any other B-school metric you care to name. But I’m fairly certain that, year in, year out, they produce more new AVR models combining performance, value, and innovation than anyone else. The TX-NR838 is a suitable example. On the face of things, the receiver seems identical to last year’s TX-NR828, which it replaces: unchanged power ratings, same basic specs, nearly identical quantities of inputs and outputs (this year’s version drops the composite count by one and kicks S-video to the curb altogether), and largely untouched cosmetics and user interface. But look a bit closer, and distinctions begin to come to light.

PRICE $1,599

AT A GLANCE
Plus
Neutral tonal balance
Honest vocal and dialogue presentation
Handsome, understated looks
Minus
Limited volume output
Ergonomic shortcomings

THE VERDICT
Fine vocal and musical balance from an elegant, though not inexpensive, soundbar.

Pity the poor soundbar, the dancing bear of the audio world. (The audience applauds not how well the bear dances, but the fact that he dances at all.) And pity more the poor soundbar reviewer, tasked with saying something cogent about a not-inexpensive product that, while worlds better than any TV’s built-in speakers, is almost always demonstrably inferior to any number of affordable freestanding speaker suites, including the same manufacturer’s. Monitor Audio is a long-established, widely respected maker of just such speaker suites, a firm that presumably can read the handwriting on the wall just as well as the next guy: s-o-u-n-d-b-a-r-s-&-h-e-a-d-p-h-o-n-e-s.

PRICE $1,500

AT A GLANCE
Plus
Powerful, deep bass from a compact 10-inch box Elegant visual design Flexible, fully implemented two-way crossover
Minus
Expensive

THE VERDICT
A small, or at least smaller, subwoofer that goes truly low, loud, and clean—and looks sharp doing it.

What can you say about a subwoofer? It goes this low, that loud. It has these jacks, knobs, and features and is yea big and costs yon dollars. And really, that’s about it; almost all other discussion is so much verbiage.

Response “flatness” from a speaker covering barely two octaves is of little consideration unless a sub is horribly peaky (a few are), especially since room effects invariably dwarf such variations anyway.