Harman Kardon HD-SAT520 - Manual

Harman Kardon HD-SAT520

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Table of Contents:

  • Page 2 – a surround lover’s
  • Page 3 – H I G H L I G H T S
  • Page 4 – AVR 325 A/V Receiver; The analog frequency response measures –0.15 decibels at 20 hertz
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G E A R G U I D E

Cordero Studios

Like an honest

sage wandering in a wilder-

ness of liars, Harman/Kardon stead-

fastly refuses to hype their power specs.

Sure, like many other manufacturers, the com-

pany of fers a 100-watt-times-seven receiver, but that

model lists for $1,999 and isn’t the one that concer ns us

here. The AVR 325 is rated at a mere 50 watts times seven. Hey,

you! Stop. Who said you could turn the page? Before you dismiss this

$899 receiver as a decadent wimp, stop to consider that Harman/Kardon

ar rived at this power rating by driving all seven channels at once. Scan similarly

Inside Gear Guide:

• Harman/Kardon AVR 325 A/V Receiver

• Samsung SIR-TS160, Zenith HD-SAT520,

and Sony SAT-HD200 HD DirecTV Tuners

50 watts. 7.1 channels. $899.

Just a few of the numbers to watch

when you check out the

AVR 325

.

by Mark Fleischmann

53

w w w . h o m e t h e a t e r m a g . c o m • H o m e T h e a t e r / J u n e 2 0 03

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Summary

Page 2 - a surround lover’s

54 H o m e T h e a t e r / J u n e 2 0 0 3 • w w w . h o m e t h e a t e r m a g . c o m Harman/Kardon AVR 325 A/V Receiver G E A R G U I D E that 5.1 channels are plenty for most home theaters. Still, even I must admit that adding two rear speakers to the mix will allow your system to cover a large...

Page 3 - H I G H L I G H T S

provides direct one-key access to the Dolby, DTS, LOGIC7, and stereo modes. Harman/Kardon allows advanced users to set the sub’s crossover numerically, with sepa- rate settings for the front, center, side, and rear channels. The avail- able settings are 40, 60, 80, 100, 120, and 200 Hz. You also hav...

Page 4 - AVR 325 A/V Receiver; The analog frequency response measures –0.15 decibels at 20 hertz

61- and 73-minute marks when var- ious demons attack Frodo. Peter Jackson’s epic is a textbook exam- ple of how to use rear effects; I never felt that they were anything less than appropriate. In the opening scene of E.T. (the 2002 version), for the most part, the rear channels just pro- vided a lit...

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