Post by Andrew Robinson on Jun 11, 2013 9:16:33 GMT -5
Introduction
Recently I wrote an article detailing what I believed to be a number of features that the most average home theater enthusiasts felt they needed in an AV preamp or receiver, but really didn’t need. The inspiration for the article stemmed from my personal experience with the Sherbourn PT-7030 AV preamp reviewed here; for at first blush, I, like many die-hard enthusiasts, felt the PT-7030 was a bit light on features. After living with the AV preamp for a few months now, I’ve come to appreciate its simplicity -and its sound quality as well. But I’m getting ahead of myself…
The PT-7030 is Sherbourn’s flagship and only AV preamp as of this writing. For those of you who may be unaware, Sherbourn is the custom install friendly offshoot of the Internet direct company, Emotiva. Emotiva purchased Sherbourn from its original owners a little while back and, in that time, they revamped the line and took it direct to the consumer. As a result of Emotiva’s traditional Internet direct business model, prices plummeted (note, I didn’t say quality) -including the price of the PT-7030. When I took delivery of the Sherbourn PT-7030 it retailed direct for $1,619, which included shipping as well as Emotiva’s 30-day in-home trial period and a full 5-year factory warranty. I say “when” because now Sherbourn is listing the PT-7030 as retailing for $1,799 direct, only now it comes complete with a free (yes, I said free) PA 7-150, 7-channel amplifier. For the purposes of this review I will remain focused on the PT-7030 AV preamp and go ahead and ignore the 7-150 and Sherbourn’s current offer.
From the onset, the PT-7030 is fairly “plain” looking. Clad in a smooth, almost matte black finish, there isn’t much pomp and circumstance associated with the PT-7030′s physical appearance, which is something I actually prefer. I’m not the biggest fan of overly complicated fascias and the PT-7030 definitely fits into the “less is more” category. The two largest areas of contrast are the unit’s standby button and volume control, both of which are silver in color. There are other silver accents in the form of small source selection buttons as well as other basic manual controls, but all are treated equally and arranged in a symmetrical fashion so as to not spoil the PT-7030′s otherwise tailored look. Even the PT-7030′s display seems somewhat understated -even when it’s on. Again, I really didn’t mind, for when it comes time to enjoy the show the last thing I want is to be is distracted by my own AV preamp. The PT-7030′s physical dimensions are 17 inches wide by 7.5 inches high and 15 inches deep. The PT-7030 is somewhat hefty at 33 pounds, although its weight shouldn’t be an issue for most AV racks, especially racks in the Middle Atlantic style, for the PT-7030 comes with its own rack mount kit.
Around back things get a little more “complex” when compared to the front, though the PT-7030′s input and output options are all clearly labeled and neatly spaced. Moving from left to right, you’ll find a USB input, which is used not for media but rather for the PT-7030′s included Bluetooth dongle. Below that a trio of Zone outputs. Below the analog audio and composite video zone outputs rests a pair of balanced audio (XLR) inputs. In the next vertical column, again moving left to right, top to bottom, you’ll find the PT-7030′s composite and component video inputs and outputs (two in, one out). Below the legacy video options are seven digital audio inputs -four optical and three coaxial -which are accompanied by a pair of digital audio outputs -one optical and one coaxial. Below those rest six unbalanced (RCA) audio inputs and a single unbalanced audio out, each stereo. A bit to the left of the analog audio inputs are the PT-7030′s 7.1 channel analog audio inputs followed by its 7.1 channel unbalanced (RCA) preamp outputs. Below its unbalanced preamp outputs you will find the nine, balanced (XLR) preamp “main” outputs. There are actually nine balanced and unbalanced preamp outputs present on the PT-7030′s back panel because two are for subwoofers -although the PT-7030 itself does not support two discrete subs ( hence the 7.1 designation). Across the top of the PT-7030′s back panel, and situated just right of center, are its six HDMI 1.4a inputs and dual HDMI 1.4a outputs -one of which is ARC (Audio Return Channel) enabled. Below the HDMI board rests an Ethernet port, used for control purposes with third party remotes, and a host of 12-volt triggers. The far right side is dominated by the PT-7030′s master on/off switch as well as its AC input.
Which brings me to the remote… Being that the PT-7030′s original target market prior to Emotiva’s purchasing of Sherbourn was the custom install market, it should come as no surprise that the included remote leaves a lot to be desired day-to-day. The remote is haplessly thin, the buttons far too small and their layout simply illogical. Why? Because the remote was aimed at the custom installer and not the consumer; in Sherbourn’s initial vision, most customers would be using a third party remote such as an AMX or Crestron. However, since taking the brand direct, I’m not so sure this is the case – which is why I was disappointed to see such a CI-oriented remote still included as standard equipment. The remote is functional, but it is far from my favorite.
Specifications
Starting with video, the PT-7030 features Genesis’ Torino video engine for 10-bit video processing. It also has DCDi’s Cinema Format Conversion and Truelife video enhancer. These two technologies help the PT-7030 scale legacy or lesser video formats, for example DVD, to 1080p or HD. It doesn’t transform lesser video formats into true HD quality, mind you, it just allows the incoming signal to be scaled and output in the proper HD format. On top of its video scaling prowess, the PT-7030′s HDMI inputs and outputs are all Deep Color Compliant. All of the PT-7030′s HDMI inputs and outputs are also 3D compliant for those who still enjoy the occasional 3D film in their home theater.
On the audio side of things, the PT-7030 can accept and decode all the latest surround sound codecs including, but not limited to, Dolby TrueHD and DTS-HD Master Audio. Inside, the PT-7030′s relies on Twin Cirrus 32-bit dual-core DSP processors that allow for “true 192kHz performance.” The PT-7030 also states that it has “individual DACs and volume control circuits for each channel” that, when combined with its multi-stage linear power supply, provide for “the absolute best audio performance.” The PT-7030 lacks auto room EQ or any form of auto setup procedure, although it does have a powerful discrete, 10-band, multi-channel parametric EQ for each of its seven channels, as well as the subwoofer channel. Those who may be familiar with parametric EQs or parametric EQ filter generating software like Room EQ Wizard should definitely take note of this “feature” present in the PT-7030 as it is a rare find among AV preamps nowadays.
Lastly, the PT-7030 supports Bluetooth audio via the included USB Bluetooth dongle. It can also be integrated into many of today’s popular control systems such as Crestron or AMX as well some maybe not so popular (or well known) systems like iRule.
Application
Integrating the PT-7030 into my reference system was easy enough. It replaced my Integra DHC 80.2 AV preamp, which has served as my personal reference for roughly five years now. With the Integra out of the chain, I knew there were going to be some features that I was going to miss: mainly IP based control, which the Integra had via its factory remote App; more on that in a moment. Minus that small inconvenience (for me) the PT-7030 went into my rack and connected to my associated equipment much in the same way as the Integra once did.
I evaluated the PT-7030 using a variety of amplifiers, starting first with Parasound’s wonderful Halo A 21 and A 23 amplifiers. From there I tried Sherbourn’s own PA 7-350 and later their 7-150, which I was sent along with the PT-7030. I even used the PT-7030 with my Crown XLS DriveCore series of amplifiers as well. Regardless of the amp, the PT-7030 seemed to produce similar results, which you’ll read about below. All of the above referenced amplifiers were connected to the PT-7030 via its balanced preamp outputs.
Source components, which in this case meant my Dune-HD Max Blu-ray/media player and Roku 2 XS, were connected via HDMI. I did also bypass the PT-7030′s internal DACs for a quick second by taking a digital audio feed out of my Dune and into my Emotiva XDA-2 DAC before passing the analog signal on through to the PT-7030 itself. However for the majority of the time and my testing I simply relied on the PT-7030′s internal DAC architecture.
I connected the PT-7030 to my reference front projector, SIM2′s M.150 LED DLP, via a 35 foot Redmere HDMI cable from Monoprice. The M.150 was projecting its HD imagery upon my 120-inch, AcouticPro 4K, Lunette Series screen from Elite Screens. Behind my acoustically transparent screen sat three Bowers & Wilkins CT 8.2 LCR loudspeakers with two more situated in the back of my room serving as surround channels. The subwoofer I chose to use for the majority of my listening tests was RBH’s SX-1212P/R. All speakers, as well as the subwoofer, were connected to their respective amplifier(s) via Emotiva branded speaker cable and/or interconnects.
Once it was connected, I fired up the PT-7030′s on-screen menu, which is basic looking but incredibly easy to use. I setup my individual inputs, which also included renaming them to better reflect the connected device rather than the PT-7030′s default designations. Next, I configured my speakers, which meant setting the various crossover points, distances and individual speaker levels. From there I fired up Room EQ Wizard and measured my subwoofer’s in-room response and then created a generic set of parametric EQ filters (3) that I was then able to import -albeit manually -into the PT-7030′s subwoofer PEQ. I re-measured my sub with and without the PEQ filters applied to ensure that they were in fact helping things, which I found they were.
Since my equipment rack resides in an adjacent room from my main listening and viewing space, the PT-7030′s included IR remote wasn’t going to work. For control purposes I relied on the Internet based control software iRule, which I have come to adore. iRule, working in conjunction with a single Global Cache IR, IP and RS-232 controller, gave me full access and control over the PT-7030 without having to maintain direct line of sight. It even allowed me to create a customized touch screen remote on my 7-inch Google Nexus tablet.
With everything up and running it was time to sit down for a listen
Personal Impressions
One of the easiest and most surefire ways to evaluate any product’s “sound” is to simply listen to some music. So despite the PT-7030 being a home theater or multi-channel product, that is exactly what I did, I listened to some good ol’ two-channel fare; beginning with Alanis Morissette’s MTV Unplugged (WEA Japan) performance and the track “Princes Familiar.” Right away I noticed that the PT-7030′s sound was a touch laid back compared to my reference Integra. With its slightly more sultry demeanor, the PT-7030 imparted a greater sense of body and weight to the performance; this included Morissette’s own vocals, which now sounded even more firmly grounded and lifelike in their presentation. Another key difference between the two AV preamps was in their portrayal of the track’s soundstage; the Integra being far more linear, while the PT-7030 was far more orb-like (three dimensional). The PT-7030 added several feet of depth to the audible soundstage, and opened up the width well beyond the physical boundaries of my room. More importantly: the detail, delineation and retrieval of air within said soundstage also improved -in some instances dramatically so.
It was the PT-7030′s increased spatial separation and extension that helped it to better recreate a more natural sense of space that enveloped the front third of my room, rather than create a realistic “portal-like” presentation between my left and right speakers, as is the case with most AV preamps. Dynamics, at least on this track, were not as “snappy” as I’ve come to expect, but it wasn’t distracting, if anything, it felt more appropriate to the song’s new-found lounge-like quality. After all, the album is supposed to sound and feel intimate, and that’s exactly what I was treated to via the PT-7030. Tonally, the midrange was uncolored and remained true to the natural timbres of both artist and instruments alike. I even noted in my journal that the ” PT-7030 borderline nails inflection.” Highs were smooth, grain free, and above all airy, with excellent air and extension that never became flat nor two dimensional when pushed. Bass was firm, resolute and textural, though admittedly this particular track isn’t a bass-head’s paradise.
I gave the PT-7030 a bit more of a workout by cueing up Audioslave’s “Show Me How To Live” off their self titled album (Epic). The opening snare hits had far more detail and natural extension, not to mention dynamic “snap”, than what I had grown used to. The accompanying guitars too gained some needed nuance, all the while remaining incredibly forceful and “crunchy” as called for in the mix itself. Another item that I noted was the increased separation between the various instruments, which helped to better differentiate one from the other – giving the aural perception of greater detail. More space, less smearing – I know, it sounds a bit like an early 90′s beer ad, but never the less that’s what it sounded like. Vocals remained true to the artist’s natural tone and remained firmly planted center of the cavernous soundstage. Dynamics on this track were explosive, putting to rest for me the idea that the PT-7030 is, or should I say was, somewhat subdued. Bass too seemed to plunge lower, with more force and conviction, than in my previous test.
Moving on to movies, I started with a regular old DVD; John Woo’s turn at the helm of M:I 2 (Paramount) starring Tom Cruise. Through the PT-7030 the SD quality video signal was sent through the processor and delivered in “glorious” 1080p, though it still looked decidedly like a DVD, which is a good thing. A lot of folks wrongly believe that via upscaling and/or video processing you can make a pile of excrement look like a savory brownie -this simply isn’t true. You can clean up some negative digital anomalies, but polish a turd? No. Garbage in, garbage out - as they say. While the PT-7030 did convert the SD signal to 1080p, the image still looked like a DVD transfer. Was it bad? No, not at all. Was it HD? No. However, for better or worse, if you have a large DVD or legacy video collection still hanging around your house, it’s nice to know the PT-7030′s got your back and will showcase them all faithfully and without judgment.
Next, I fired up the sci-fi drama Contact (Warner Bros.). I chaptered ahead to the scene where Jodie Foster’s character first discovers the signal being broadcast from deep space. I love this film (and this scene in particular) which is why I’ve used it as a demo for many, many years. I try to avoid the typical reviewer clichés, though I feel I’m about to commit to a big one and that is; via the PT-7030 the scene when Foster’s character first makes “contact” sounded nothing like anything I had previously experienced with any AV preamp. It was as if the scene’s soundtrack and mix was alien to me. Later in the film, William Fichtner’s character makes reference to “the signal’s” higher harmonics. At the time in which he makes this “discovery” I had always felt that the sound engineers altered the sound of the signal in that moment to call attention to what the character’s ears were perceiving. I was wrong. The higher harmonics, layers of sonic information and otherwise “conversational” aspect of the signal’s original broadcast, were present and accounted for in Foster’s first encounter with it. This means that the other AV preamps that I’ve encountered over the years have either editorialized or have not been as resolving as the PT-7030 proved to be with this scene. In truth, I laughed out loud when Fichtner’s character exclaims, “…there is a lot more going on here people!” for truer words have rarely been spoken when trying to describe my feelings about what I was hearing via the PT-7030 and the film Contact.
Getting away from “the signal”, the film’s overall sound was one of near textbook neutrality in that from high to low in that the PT-7030′s portrayal was incredibly balanced and, above all, cinematic in its feel. The full bodied, grounded presentation I was treated to via two-channel music was present and present (and then some) with multi-channel cinema soundtracks too. I also particularly liked how elements like room tone were more clearly and appropriately “featured” via the PT-7030, lending a greater sense of ambiance and three dimensional space courtesy of my five matching Bowers & Wilkins speakers. Dialog was acutely rendered and natural sounding, possessing both realistic scale (appropriate to size and action on screen) as well as body. The PT-7030 was even resolving enough throughout the midrange to pickup subtle differences in the type and style of microphones used to capture each actor’s performance, despite the sound engineers’ best efforts to create a single, cohesive sound.
Moving on, I cued up another sci-fi favorite, Prometheus (20th Century Fox) on Blu-ray disc. The opening few minutes of Prometheus are simply stunning: something the PT-7030 didn’t distract from; instead passing the signal through as if unmolested. In terms of sound, the slow brooding score, mixed with the natural elements that would otherwise accompany the visuals unfolding on screen, made for a home cinema experience that was truly epic. The sense of space and sheer scale was unlike anything I had experienced in a long while. Moreover, it was the PT-7030′s balance that impressed me the most, for it was the very picture of composure and maturity; top to bottom and front to back. It gave me goosebumps, and I’ve seen Prometheus’ opening sequence more than a few times.
A couple of general performance notes as they pertain to the PT-7030 overall: First, switching between HDMI inputs is snappy, but not lightening quick. Expect a few second delay when switching between HDMI connected components via the PT-7030. Also, when listening to digital sources via an HDMI connection, there is a drop out in audio at the beginning of each new track or film. For example, pressing play on a CD being played back via my Dune through its HDMI cable would short me the first second or two of the initial track. Following tracks did not suffer the same fate as the “handshake” had already been made. However, when playing back CDs via the Dune’s optical output, no such delay existed. It was the same for films, though less of a distraction – given that the first few seconds of most films are for logos and such. I also noted that PT-7030 had a slightly higher noise floor than other AV preamps I had on hand, this included my Integra DHC 80.2. Nothing too distracting, and a trait that seemed to fluctuate ever so slightly, but nevertheless present. Outside of those small caveats, I found little to “fault” with the PT-7030′s performance. It’s Bluetooth audio integration and sound even managed to impress.
Things to Consider
If you’re someone who needs automatic room EQ or the like you’re not going to find it here with the PT-7030, not now nor ever. I still maintain that auto EQ programs such as Audyssey are not the cure-alls many believe or tout them to be; nevertheless, I know many folks do like the sound they produce and therefore have come to rely on their presence. If you fall into this camp, then the PT-7030 isn’t going to be for you. Sorry.
The PT-7030′s remote practically begs you to replace it and, if you’re like me, you will. However, doing so will mean having to either a) spend more money on a different remote or b) taking time and care to integrate the PT-7030’s codes into your existing system. Like I mentioned above, I used iRule throughout my testing with excellent results.
Lastly, with UltraHD/4K right around the corner, it is important to note that most all AV preamps, the PT-7030 included, will be rendered obsolete in terms of their video performance when the future 4K standard is ratified. The PT-7030 will always be able to properly portray HD and SD content quite nicely as described above, but future or more advanced video formats will leave it out in the cold. That being said, for what some AV preamps are commanding these days, I’d rather be out $1,600 in 18 to 24 months than thousands more as is the case with most other pre-pros. But that’s just me.
Comparable Products
I would be remiss if I didn’t mention that the PT-7030 bears more than a passing resemblance to Rotel’s own RSP-1572 ($2,199), only with balanced preamp outputs. There is a reason for this similarity, and of course it has to do with manufacturing efficiency; as Rotel and Sherbourn partnered up on the platform in order to offset costs. I’m not saying the two units are identical, but they’re more than a little similar. I have not personally heard the Rotel RSP-1572 so I cannot comment further on the similarities or differences between the two units.
Other comparable products include Integra’s new DHC 40.2 AV preamp ($1,200), Marantz’s AV7701 ($1,699), Outlaw Audio’s Model 975 ($549) and Emotiva’s UMC-200 ($599). I cannot say which of the above mentioned products are “best” or even “better” for that decision lies with the individual making the purchase. For me, I quite enjoyed the PT-7030 and found that despite the absence of some modern conveniences, mainly IP based control, I preferred it’s sound to my usual reference, Integra’s DHC 80.2 AV preamp ($2,300).
Conclusion
Sherbourn’s current summer sale program involving the PT-7030 AV preamp notwithstanding, I came away from my time spent with it more than a little impressed. On the surface, the PT-7030 does appear to be “lacking” when compared to many of today’s feature laden AV preamps, but once you get down to the brass tacks of what is really needed to enjoy your favorite music and movies, well, the PT-7030 has you covered and then some. For me, it was its wholly engaging and decidedly non-digital sound that lured me in and won me over; for, at the end of the day, that’s what really matters most in an AV preamp. This is why, I’m awarding the Sherbourn PT-7030 AV preamp my seal of approval for a product retailing for less than $2,500. That being said, in my humble opinion, the PT-7030 from Sherbourn isn’t a good AV preamp for the money, but rather a great AV preamp period. Check it out for yourself if you don’t believe me.
Recently I wrote an article detailing what I believed to be a number of features that the most average home theater enthusiasts felt they needed in an AV preamp or receiver, but really didn’t need. The inspiration for the article stemmed from my personal experience with the Sherbourn PT-7030 AV preamp reviewed here; for at first blush, I, like many die-hard enthusiasts, felt the PT-7030 was a bit light on features. After living with the AV preamp for a few months now, I’ve come to appreciate its simplicity -and its sound quality as well. But I’m getting ahead of myself…
The PT-7030 is Sherbourn’s flagship and only AV preamp as of this writing. For those of you who may be unaware, Sherbourn is the custom install friendly offshoot of the Internet direct company, Emotiva. Emotiva purchased Sherbourn from its original owners a little while back and, in that time, they revamped the line and took it direct to the consumer. As a result of Emotiva’s traditional Internet direct business model, prices plummeted (note, I didn’t say quality) -including the price of the PT-7030. When I took delivery of the Sherbourn PT-7030 it retailed direct for $1,619, which included shipping as well as Emotiva’s 30-day in-home trial period and a full 5-year factory warranty. I say “when” because now Sherbourn is listing the PT-7030 as retailing for $1,799 direct, only now it comes complete with a free (yes, I said free) PA 7-150, 7-channel amplifier. For the purposes of this review I will remain focused on the PT-7030 AV preamp and go ahead and ignore the 7-150 and Sherbourn’s current offer.
From the onset, the PT-7030 is fairly “plain” looking. Clad in a smooth, almost matte black finish, there isn’t much pomp and circumstance associated with the PT-7030′s physical appearance, which is something I actually prefer. I’m not the biggest fan of overly complicated fascias and the PT-7030 definitely fits into the “less is more” category. The two largest areas of contrast are the unit’s standby button and volume control, both of which are silver in color. There are other silver accents in the form of small source selection buttons as well as other basic manual controls, but all are treated equally and arranged in a symmetrical fashion so as to not spoil the PT-7030′s otherwise tailored look. Even the PT-7030′s display seems somewhat understated -even when it’s on. Again, I really didn’t mind, for when it comes time to enjoy the show the last thing I want is to be is distracted by my own AV preamp. The PT-7030′s physical dimensions are 17 inches wide by 7.5 inches high and 15 inches deep. The PT-7030 is somewhat hefty at 33 pounds, although its weight shouldn’t be an issue for most AV racks, especially racks in the Middle Atlantic style, for the PT-7030 comes with its own rack mount kit.
Around back things get a little more “complex” when compared to the front, though the PT-7030′s input and output options are all clearly labeled and neatly spaced. Moving from left to right, you’ll find a USB input, which is used not for media but rather for the PT-7030′s included Bluetooth dongle. Below that a trio of Zone outputs. Below the analog audio and composite video zone outputs rests a pair of balanced audio (XLR) inputs. In the next vertical column, again moving left to right, top to bottom, you’ll find the PT-7030′s composite and component video inputs and outputs (two in, one out). Below the legacy video options are seven digital audio inputs -four optical and three coaxial -which are accompanied by a pair of digital audio outputs -one optical and one coaxial. Below those rest six unbalanced (RCA) audio inputs and a single unbalanced audio out, each stereo. A bit to the left of the analog audio inputs are the PT-7030′s 7.1 channel analog audio inputs followed by its 7.1 channel unbalanced (RCA) preamp outputs. Below its unbalanced preamp outputs you will find the nine, balanced (XLR) preamp “main” outputs. There are actually nine balanced and unbalanced preamp outputs present on the PT-7030′s back panel because two are for subwoofers -although the PT-7030 itself does not support two discrete subs ( hence the 7.1 designation). Across the top of the PT-7030′s back panel, and situated just right of center, are its six HDMI 1.4a inputs and dual HDMI 1.4a outputs -one of which is ARC (Audio Return Channel) enabled. Below the HDMI board rests an Ethernet port, used for control purposes with third party remotes, and a host of 12-volt triggers. The far right side is dominated by the PT-7030′s master on/off switch as well as its AC input.
Which brings me to the remote… Being that the PT-7030′s original target market prior to Emotiva’s purchasing of Sherbourn was the custom install market, it should come as no surprise that the included remote leaves a lot to be desired day-to-day. The remote is haplessly thin, the buttons far too small and their layout simply illogical. Why? Because the remote was aimed at the custom installer and not the consumer; in Sherbourn’s initial vision, most customers would be using a third party remote such as an AMX or Crestron. However, since taking the brand direct, I’m not so sure this is the case – which is why I was disappointed to see such a CI-oriented remote still included as standard equipment. The remote is functional, but it is far from my favorite.
Specifications
Starting with video, the PT-7030 features Genesis’ Torino video engine for 10-bit video processing. It also has DCDi’s Cinema Format Conversion and Truelife video enhancer. These two technologies help the PT-7030 scale legacy or lesser video formats, for example DVD, to 1080p or HD. It doesn’t transform lesser video formats into true HD quality, mind you, it just allows the incoming signal to be scaled and output in the proper HD format. On top of its video scaling prowess, the PT-7030′s HDMI inputs and outputs are all Deep Color Compliant. All of the PT-7030′s HDMI inputs and outputs are also 3D compliant for those who still enjoy the occasional 3D film in their home theater.
On the audio side of things, the PT-7030 can accept and decode all the latest surround sound codecs including, but not limited to, Dolby TrueHD and DTS-HD Master Audio. Inside, the PT-7030′s relies on Twin Cirrus 32-bit dual-core DSP processors that allow for “true 192kHz performance.” The PT-7030 also states that it has “individual DACs and volume control circuits for each channel” that, when combined with its multi-stage linear power supply, provide for “the absolute best audio performance.” The PT-7030 lacks auto room EQ or any form of auto setup procedure, although it does have a powerful discrete, 10-band, multi-channel parametric EQ for each of its seven channels, as well as the subwoofer channel. Those who may be familiar with parametric EQs or parametric EQ filter generating software like Room EQ Wizard should definitely take note of this “feature” present in the PT-7030 as it is a rare find among AV preamps nowadays.
Lastly, the PT-7030 supports Bluetooth audio via the included USB Bluetooth dongle. It can also be integrated into many of today’s popular control systems such as Crestron or AMX as well some maybe not so popular (or well known) systems like iRule.
Application
Integrating the PT-7030 into my reference system was easy enough. It replaced my Integra DHC 80.2 AV preamp, which has served as my personal reference for roughly five years now. With the Integra out of the chain, I knew there were going to be some features that I was going to miss: mainly IP based control, which the Integra had via its factory remote App; more on that in a moment. Minus that small inconvenience (for me) the PT-7030 went into my rack and connected to my associated equipment much in the same way as the Integra once did.
I evaluated the PT-7030 using a variety of amplifiers, starting first with Parasound’s wonderful Halo A 21 and A 23 amplifiers. From there I tried Sherbourn’s own PA 7-350 and later their 7-150, which I was sent along with the PT-7030. I even used the PT-7030 with my Crown XLS DriveCore series of amplifiers as well. Regardless of the amp, the PT-7030 seemed to produce similar results, which you’ll read about below. All of the above referenced amplifiers were connected to the PT-7030 via its balanced preamp outputs.
Source components, which in this case meant my Dune-HD Max Blu-ray/media player and Roku 2 XS, were connected via HDMI. I did also bypass the PT-7030′s internal DACs for a quick second by taking a digital audio feed out of my Dune and into my Emotiva XDA-2 DAC before passing the analog signal on through to the PT-7030 itself. However for the majority of the time and my testing I simply relied on the PT-7030′s internal DAC architecture.
I connected the PT-7030 to my reference front projector, SIM2′s M.150 LED DLP, via a 35 foot Redmere HDMI cable from Monoprice. The M.150 was projecting its HD imagery upon my 120-inch, AcouticPro 4K, Lunette Series screen from Elite Screens. Behind my acoustically transparent screen sat three Bowers & Wilkins CT 8.2 LCR loudspeakers with two more situated in the back of my room serving as surround channels. The subwoofer I chose to use for the majority of my listening tests was RBH’s SX-1212P/R. All speakers, as well as the subwoofer, were connected to their respective amplifier(s) via Emotiva branded speaker cable and/or interconnects.
Once it was connected, I fired up the PT-7030′s on-screen menu, which is basic looking but incredibly easy to use. I setup my individual inputs, which also included renaming them to better reflect the connected device rather than the PT-7030′s default designations. Next, I configured my speakers, which meant setting the various crossover points, distances and individual speaker levels. From there I fired up Room EQ Wizard and measured my subwoofer’s in-room response and then created a generic set of parametric EQ filters (3) that I was then able to import -albeit manually -into the PT-7030′s subwoofer PEQ. I re-measured my sub with and without the PEQ filters applied to ensure that they were in fact helping things, which I found they were.
Since my equipment rack resides in an adjacent room from my main listening and viewing space, the PT-7030′s included IR remote wasn’t going to work. For control purposes I relied on the Internet based control software iRule, which I have come to adore. iRule, working in conjunction with a single Global Cache IR, IP and RS-232 controller, gave me full access and control over the PT-7030 without having to maintain direct line of sight. It even allowed me to create a customized touch screen remote on my 7-inch Google Nexus tablet.
With everything up and running it was time to sit down for a listen
Personal Impressions
One of the easiest and most surefire ways to evaluate any product’s “sound” is to simply listen to some music. So despite the PT-7030 being a home theater or multi-channel product, that is exactly what I did, I listened to some good ol’ two-channel fare; beginning with Alanis Morissette’s MTV Unplugged (WEA Japan) performance and the track “Princes Familiar.” Right away I noticed that the PT-7030′s sound was a touch laid back compared to my reference Integra. With its slightly more sultry demeanor, the PT-7030 imparted a greater sense of body and weight to the performance; this included Morissette’s own vocals, which now sounded even more firmly grounded and lifelike in their presentation. Another key difference between the two AV preamps was in their portrayal of the track’s soundstage; the Integra being far more linear, while the PT-7030 was far more orb-like (three dimensional). The PT-7030 added several feet of depth to the audible soundstage, and opened up the width well beyond the physical boundaries of my room. More importantly: the detail, delineation and retrieval of air within said soundstage also improved -in some instances dramatically so.
It was the PT-7030′s increased spatial separation and extension that helped it to better recreate a more natural sense of space that enveloped the front third of my room, rather than create a realistic “portal-like” presentation between my left and right speakers, as is the case with most AV preamps. Dynamics, at least on this track, were not as “snappy” as I’ve come to expect, but it wasn’t distracting, if anything, it felt more appropriate to the song’s new-found lounge-like quality. After all, the album is supposed to sound and feel intimate, and that’s exactly what I was treated to via the PT-7030. Tonally, the midrange was uncolored and remained true to the natural timbres of both artist and instruments alike. I even noted in my journal that the ” PT-7030 borderline nails inflection.” Highs were smooth, grain free, and above all airy, with excellent air and extension that never became flat nor two dimensional when pushed. Bass was firm, resolute and textural, though admittedly this particular track isn’t a bass-head’s paradise.
I gave the PT-7030 a bit more of a workout by cueing up Audioslave’s “Show Me How To Live” off their self titled album (Epic). The opening snare hits had far more detail and natural extension, not to mention dynamic “snap”, than what I had grown used to. The accompanying guitars too gained some needed nuance, all the while remaining incredibly forceful and “crunchy” as called for in the mix itself. Another item that I noted was the increased separation between the various instruments, which helped to better differentiate one from the other – giving the aural perception of greater detail. More space, less smearing – I know, it sounds a bit like an early 90′s beer ad, but never the less that’s what it sounded like. Vocals remained true to the artist’s natural tone and remained firmly planted center of the cavernous soundstage. Dynamics on this track were explosive, putting to rest for me the idea that the PT-7030 is, or should I say was, somewhat subdued. Bass too seemed to plunge lower, with more force and conviction, than in my previous test.
Moving on to movies, I started with a regular old DVD; John Woo’s turn at the helm of M:I 2 (Paramount) starring Tom Cruise. Through the PT-7030 the SD quality video signal was sent through the processor and delivered in “glorious” 1080p, though it still looked decidedly like a DVD, which is a good thing. A lot of folks wrongly believe that via upscaling and/or video processing you can make a pile of excrement look like a savory brownie -this simply isn’t true. You can clean up some negative digital anomalies, but polish a turd? No. Garbage in, garbage out - as they say. While the PT-7030 did convert the SD signal to 1080p, the image still looked like a DVD transfer. Was it bad? No, not at all. Was it HD? No. However, for better or worse, if you have a large DVD or legacy video collection still hanging around your house, it’s nice to know the PT-7030′s got your back and will showcase them all faithfully and without judgment.
Next, I fired up the sci-fi drama Contact (Warner Bros.). I chaptered ahead to the scene where Jodie Foster’s character first discovers the signal being broadcast from deep space. I love this film (and this scene in particular) which is why I’ve used it as a demo for many, many years. I try to avoid the typical reviewer clichés, though I feel I’m about to commit to a big one and that is; via the PT-7030 the scene when Foster’s character first makes “contact” sounded nothing like anything I had previously experienced with any AV preamp. It was as if the scene’s soundtrack and mix was alien to me. Later in the film, William Fichtner’s character makes reference to “the signal’s” higher harmonics. At the time in which he makes this “discovery” I had always felt that the sound engineers altered the sound of the signal in that moment to call attention to what the character’s ears were perceiving. I was wrong. The higher harmonics, layers of sonic information and otherwise “conversational” aspect of the signal’s original broadcast, were present and accounted for in Foster’s first encounter with it. This means that the other AV preamps that I’ve encountered over the years have either editorialized or have not been as resolving as the PT-7030 proved to be with this scene. In truth, I laughed out loud when Fichtner’s character exclaims, “…there is a lot more going on here people!” for truer words have rarely been spoken when trying to describe my feelings about what I was hearing via the PT-7030 and the film Contact.
Getting away from “the signal”, the film’s overall sound was one of near textbook neutrality in that from high to low in that the PT-7030′s portrayal was incredibly balanced and, above all, cinematic in its feel. The full bodied, grounded presentation I was treated to via two-channel music was present and present (and then some) with multi-channel cinema soundtracks too. I also particularly liked how elements like room tone were more clearly and appropriately “featured” via the PT-7030, lending a greater sense of ambiance and three dimensional space courtesy of my five matching Bowers & Wilkins speakers. Dialog was acutely rendered and natural sounding, possessing both realistic scale (appropriate to size and action on screen) as well as body. The PT-7030 was even resolving enough throughout the midrange to pickup subtle differences in the type and style of microphones used to capture each actor’s performance, despite the sound engineers’ best efforts to create a single, cohesive sound.
Moving on, I cued up another sci-fi favorite, Prometheus (20th Century Fox) on Blu-ray disc. The opening few minutes of Prometheus are simply stunning: something the PT-7030 didn’t distract from; instead passing the signal through as if unmolested. In terms of sound, the slow brooding score, mixed with the natural elements that would otherwise accompany the visuals unfolding on screen, made for a home cinema experience that was truly epic. The sense of space and sheer scale was unlike anything I had experienced in a long while. Moreover, it was the PT-7030′s balance that impressed me the most, for it was the very picture of composure and maturity; top to bottom and front to back. It gave me goosebumps, and I’ve seen Prometheus’ opening sequence more than a few times.
A couple of general performance notes as they pertain to the PT-7030 overall: First, switching between HDMI inputs is snappy, but not lightening quick. Expect a few second delay when switching between HDMI connected components via the PT-7030. Also, when listening to digital sources via an HDMI connection, there is a drop out in audio at the beginning of each new track or film. For example, pressing play on a CD being played back via my Dune through its HDMI cable would short me the first second or two of the initial track. Following tracks did not suffer the same fate as the “handshake” had already been made. However, when playing back CDs via the Dune’s optical output, no such delay existed. It was the same for films, though less of a distraction – given that the first few seconds of most films are for logos and such. I also noted that PT-7030 had a slightly higher noise floor than other AV preamps I had on hand, this included my Integra DHC 80.2. Nothing too distracting, and a trait that seemed to fluctuate ever so slightly, but nevertheless present. Outside of those small caveats, I found little to “fault” with the PT-7030′s performance. It’s Bluetooth audio integration and sound even managed to impress.
Things to Consider
If you’re someone who needs automatic room EQ or the like you’re not going to find it here with the PT-7030, not now nor ever. I still maintain that auto EQ programs such as Audyssey are not the cure-alls many believe or tout them to be; nevertheless, I know many folks do like the sound they produce and therefore have come to rely on their presence. If you fall into this camp, then the PT-7030 isn’t going to be for you. Sorry.
The PT-7030′s remote practically begs you to replace it and, if you’re like me, you will. However, doing so will mean having to either a) spend more money on a different remote or b) taking time and care to integrate the PT-7030’s codes into your existing system. Like I mentioned above, I used iRule throughout my testing with excellent results.
Lastly, with UltraHD/4K right around the corner, it is important to note that most all AV preamps, the PT-7030 included, will be rendered obsolete in terms of their video performance when the future 4K standard is ratified. The PT-7030 will always be able to properly portray HD and SD content quite nicely as described above, but future or more advanced video formats will leave it out in the cold. That being said, for what some AV preamps are commanding these days, I’d rather be out $1,600 in 18 to 24 months than thousands more as is the case with most other pre-pros. But that’s just me.
Comparable Products
I would be remiss if I didn’t mention that the PT-7030 bears more than a passing resemblance to Rotel’s own RSP-1572 ($2,199), only with balanced preamp outputs. There is a reason for this similarity, and of course it has to do with manufacturing efficiency; as Rotel and Sherbourn partnered up on the platform in order to offset costs. I’m not saying the two units are identical, but they’re more than a little similar. I have not personally heard the Rotel RSP-1572 so I cannot comment further on the similarities or differences between the two units.
Other comparable products include Integra’s new DHC 40.2 AV preamp ($1,200), Marantz’s AV7701 ($1,699), Outlaw Audio’s Model 975 ($549) and Emotiva’s UMC-200 ($599). I cannot say which of the above mentioned products are “best” or even “better” for that decision lies with the individual making the purchase. For me, I quite enjoyed the PT-7030 and found that despite the absence of some modern conveniences, mainly IP based control, I preferred it’s sound to my usual reference, Integra’s DHC 80.2 AV preamp ($2,300).
Conclusion
Sherbourn’s current summer sale program involving the PT-7030 AV preamp notwithstanding, I came away from my time spent with it more than a little impressed. On the surface, the PT-7030 does appear to be “lacking” when compared to many of today’s feature laden AV preamps, but once you get down to the brass tacks of what is really needed to enjoy your favorite music and movies, well, the PT-7030 has you covered and then some. For me, it was its wholly engaging and decidedly non-digital sound that lured me in and won me over; for, at the end of the day, that’s what really matters most in an AV preamp. This is why, I’m awarding the Sherbourn PT-7030 AV preamp my seal of approval for a product retailing for less than $2,500. That being said, in my humble opinion, the PT-7030 from Sherbourn isn’t a good AV preamp for the money, but rather a great AV preamp period. Check it out for yourself if you don’t believe me.
Will he tell? 
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