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D1/P5

mode, Wima capacitors of metalized polyester and polypropylene,

Nichicon coupling capacitors, magnetically shielded toroidal

power transformers, and a phase-compensated main deflector

dish. OK, maybe not that last one, though I could swear I saw

it somewhere in Anthem’s extensive literature.

The D1 also provides upconversion of all digital sources, including

Dolby Digital and DTS, to 24-bit/192kHz resolution. Together

with 128x oversampling, this allows the D/A converters to use

gentle third-order filters, which Anthem argues results in flatter

high-frequency response and lower harmonic distortion and noise.

The upsampling and oversampling circuits cannot be bypassed,

so I could not assess their contribution to the sound of the D1

separately from the unit’s overall performance.

THE MANY MODES OF THE D1

For Dolby Digital and DTS soundtracks, the D1 may be

configured for 5.1-, 6.1-, or 7.1-channel operation. Full THX

processing is provided for any of these setups. THX has now

dubbed the 7.1-channel configuration “Advanced Speaker Array”

or ASA—concerned, no doubt, that we were all growing bored

with the old acronyms and needed new ones. The name over-

population continues with THX MusicMode, designed to produce

7.1-channel playback from discrete 5.1-channel music sources,

such as DVD-Audio and SACD. These high-resolution formats

cannot be played back in this mode if the multichannel analog

inputs are set up in analog-bypass mode.

The mode explosion continues with the offerings for 2-channel

material. Stereo is your home-room here, providing a conventional

2-speaker playback (with or without subwoofer, depending on

your chosen setup). For surround simulation from a 2-channel

source, Dolby Pro Logic IIx Music/Movie/Game and THX

Game modes are included in the latest version of the D1’s

software (1.1). As originally released (software version 1.0),

the unit had Pro Logic II only (Pro Logic II without the “x”

suffix is limited to 5.1 channels). The processor also includes

both of the DTS competitors to Pro Logic IIx: DTS Neo:6 Music

and Cinema can both simulate up to 6.1 channels. Anthem

also has its own surround simulation mode for 2-channel sources,

AnthemLogic Music (up to 6.1 channels, with no center channel)

and AnthemLogic Cinema (up to 7.1 channels, including a center).

There are a few other modes for completists (though thankfully not

the usual Stadium, Church, Jazz Club, or the ever-popular

Bottom of a Well). These modes include both Mono and Mono

Academy settings. The latter, designed in the 1930s to mask

soundtrack hiss, is handy mainly for very old films—though

many of these will be already have been noise-reduced in the

DVD-transfer process.

SETUP

While the D1 may be controlled from its front panel, many

important functions can be accessed only from the multi-device,

learning remote. The remote is a generic, rather fussy affair with

a lot of buttons whose lettering is often hard to read, even with

the backlighting provided. Many owners will graduate to a more

user-friendly universal remote or one of those cutting-edge,

touchscreen systems that seem to breed mainly in the warm

environment of custom home-theater installations.

I never grew to love the D1’s remote, but once I got past its

multifunction buttons, I was okay. The button used to call up

the setup menu, for example, is the same button used to make

on-the-fly adjustments to both the subwoofer and the LFE levels.

Press it once to adjust the overall subwoofer level; press it

again to adjust just the LFE portion of the subwoofer output.

Press and hold it for a few seconds to enter the setup mode.

“… an open, airy quality … lush … natural …

entirely believable … The D1 and P5 — excel

at those refinements and subtleties that

audiophiles can—and often do—spend a

great deal more than this to get.”

Once past that hurdle, you’ll have little trouble configuring the

D1 if you have even limited experience setting up a surround

pre-pro or receiver. The procedure as described in the owner’s

manual appears much more complicated than it actually is.

The secret is to rely on the onscreen setup menus together

with the remote. There are readouts on the front panel’s

information window as well, but they aren’t nearly as useful

as the main onscreen menus. But remember that you’ll have

to use a composite or S-video connection to your video display

to see these menus.

There are 12 major steps in the setup menu. If you’re a novice

at this and find it confusing to wing it by referring to the menus

alone, each step is explained reasonably well in the manual.

Setting up the Room Resonance Filter is potentially the most

complex part of the configuration process, and I recommend

that you don’t mess with it until you become comfortable

with the D1’s operation and sound in your system. (Leave the

Apply Filter control set to Off.) The instructions provided in

the manual for setting up this filter are rather skimpy, and

there is no automatic setup function. Anthem might want to

consider providing more detail for making use of this feature—

particularly for inexperienced users who plan to set up the D1

without the assistance of a knowledgeable custom installer

or dealer.

PERFORMANCE: P5

I began my evaluation by listening to the amplifier by itself on

2-channel music. The system was different from the one I would

later use for the final listening tests. The DVD player was the

Ayre DX-7, the preamp-processor was the TACT TCS MkII (with

its Theater Correction functions bypassed—that is, without

equalization), and the speakers were the Energy Veritas v2.8s,

driven full range with no subwoofer.

The amplifier kept a respectably tight rein on the Veritas’ bass

and midbass, which can sound too rich and warm with the

wrong system and setup. The bottom end was powerful and

the midbass was punchy and clean. The midrange and treble

sparkled with realistic detail. A refined sense of air and space,

solid imaging, and excellent depth fully realized the large,

majestic soundstage these speakers are capable of.

In a brief but controlled comparison, a vintage Proceed AMP5

power amp was a little less silky-sounding, a little less sweet,

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