Few would argue that Yamaha have fought hard for the position of king of the home cinema scene for a number of years. With a long line of integrated A/V amps stretching back to the classic Pro Logic DSP-A590, Yamaha have wooed home cinemaphiles with affordable, quality sound processing and amplification. The style of Yamaha's components has also stood the test of time, with the classic black chassis and uncomplicated front panels remaining largely unchanged while other brands' fads have been and gone. Yamaha has also managed to hit the target spot on with their pricing policy, with this line of amps usually retailing for £350, and streeting at between £250 and £300. This complements perfectly the larger DSP-A2 and venerable giant of the home cinema world the DSP-A1.

For the year 2000, Yamaha decided to give the already award-winning DSP-595A a thorough sprucing, tweaking the processing and operational parts of the amp. Indicating their higher-end aspirations for the new product, Yamaha chose to reclassify the naming to bring it into the same family as the A1 and the A2, and the DSP-A5 was born. However, Yamaha have produced the package at a price which must confound their competitors - remaining at £350 RRP, the A5 is placed in the running against not only the strongest budget amps, but even the Sherwoods of this world.

So, how does the A5 perform ? In this front-room setting, the A5 has replaced my classic DSPA-592 itself an outstanding Pro Logic performer. This review will indicate the benefits one would see from making such an upgrade, as well as explaining the qualities of the amp for a potential first time buyer. This amp has been put through it's paces since the release date at the start of May, so it's every nuance and foible can be brought to you.

This blurred table (click on it for a better view) demonstrates the connection options for the A5. You will see that there are now a total of three optical inputs and two coaxial. Supporting this, there is the usual bevy of analogue and video in/outs. Video switching is supported on the composite and S-video options, and this function is operated extremely smoothly. Some parties claim that adding another link into the chain between source and picture is a bad thing, and on cheaper equipment there is often a noticeable drop in quality when utilising such an option. This is hardly surprising bearing in mind the fact that you are routing your delicate video signal past some fairly hefty power amplifiers. Not so with the Yamaha though - pictures showed no apparent softening or loss of detail. While this opinion could only be proved with technology I did not have available, I would suggest that the video stream enjoys a particularly smooth and untroubled journey. If you have tried video switching before and been disappointed, I suggest you try again with the Yamaha.

You will see from the backplate pictures that the Yamaha sports a 100W switched AC power outlet through which components such as a tuner or CD with the appropriate plug can be powered to provide simultaneous power-up when the amp is turned on. Unfortunately, the UK A5 demonstrates what must only be some UK-specific safety or trade restriction, as it is limited to one socket. The handbook clearly demonstrates that European models carry two such sockets which would certainly increase the functionality of this option. It is a shame that the UK model is limited in this way. This difference should also make it easy to identify A5's that are intended to be in this country, and any that have been imported from the continent as grey imports.

Next to the power outlet is an impedance selector which allows you to tweak the impedance should you have speakers which are lower than 8 ohms and therefore more difficult to drive.

The A5 offers twin speaker terminals, so a second set of stereo fronts can be driven, or higher-end speakers which can be bi-wired are easily connected. The bind posts are large and firm, and have a small cap on the end which if removed allows use of banana plugs. Alternatively, the second set of binding posts can be used to supply mains level output to a subwoofer, which can be used as the sole means of supply, or in parallel with the dedicated subwoofer output which is the configuration preferred by subwoofer supremo REL.

Sadly, the surround and centre speakers are still connected by way of spring clips - something which was much criticised on previous models, and seems relatively cheap to remedy. However, spring clip haters should not be completely disgusted, as the clips used are a significant improvement over a standard clip. Previous models have had a horizontal clip with a flat edge closing onto a circular hole. This arrangement makes the use of higher gauge speaker cable impossible. The A5, however, sports the chunkiest spring clips I've seen. These clips have a circular central body, and the lever is a clip, rather than a spring. This method does allow the use of thicker wires which are far easier to slide into the slot and lock in. No a complete disaster, but still something Yamaha should consider banishing to our collective memory.

Another slight drawback is that the source inputs to the A5 are fixed in hardware. Whereas the Sony STR-DB930 can allocate and name coaxial and optical inputs, the Yamaha has these set in stone. This unfortunately includes the lack of either a coaxial or optical input for a CD player which seems to me to be a little shortsighted. Digital information is currently being fed in through the CBL source, as I don't think I'll be getting Dolby Digital through my Pace On-Digital set-top-box anytime soon!

Finally, the A5 sports pre-outs for each channel, allowing separate external amplification of the information streams if more muscle is required. This, coupled with dedicated six-channel inputs pretty much guarantees as much future-proofing as possible. The 24bit/96kHz Digital to Analogue Converters are also the best you can expect currently, and provide plenty of options for the future.

One improvement over previous Yamaha amps is the function of the power switch. Previously this has been a hard power button, and once pressed the unit could not be operated by the remote. Thankfully, this has now changed, and the power button puts the amp back into standby mode which is far preferable.

The remote is a long thin affair, with an interesting circular selection dial to choose the item which is being controlled. Thankfully, there is a learning function, so those codes which are not pre-programmed can be overlaid with codes for your current equipment. In terms of looks, the remote is neat, but in use it can be a bit cluttered and complex. Many keys obviously have to change function depending on the unit being controlled, and it can sometimes take a bit too much thought to figure out how to achieve what you want. I would recommend replacing the remote altogether with a dedicated unit such as the Sony AV-2000 or the Pronto, although obviously this involves greater expense !

Another improvement over previous models is that the screen now indicates when the volume level is being changed. This is useful when the room is dark to determine if the remote signal is reaching the amp, as there is no light on the volume knob to indicate movement.

• Mission 732i shelf loudspeakers on Target stands
  
• Mission 77DS rear speakers
  
• Mission 73C centre speaker
  
• REL Q50 subwoofer
  
• Cabletalk 3.1 speaker cables
  
• QED interconnects

The Yamaha demonstrates supreme control to the highest volumes. One of the Yamaha's closest competitors is probably the Sony mammoth STR-DB930 (although it also includes a tuner) and I have had the opportunity to compare the two closely. While the Sony has incredible stomp, the Yamaha has breathtaking clarity. For Jurassic Park fans, the Sony is the T-Rex, while the Yamaha is the Veloceraptor - cool under pressure and supremely quick.

When asked to go to the loudest volumes, the A5 maintains composure at all times. Even in straight stereo, where many integrated A/V amps suffer, there is a pleasingly true sound. The top end can be a bit smooth for most tastes and the stereo imagery still does not compare to a dedicated amp, but few owners of this machine will feel the need to supplement it with standalone stereo amplification.

Judging by the different sound processing programmes on offer, it is clear that Yamaha have dedicated a lot of time to ensuring that the output from the A5 can be sufficiently tailored to the users requirements. The A5 benefits from the calculations that Yamaha have created to produce the DSP. This signal processing aims to widen the sound fields and create a detailed 360 degree experience within the listening area. Click here and here to discover more. However, DSP still operates to change the sound stream from it's original form, and many users will prefer to keep to the unadulterated data.

Checking out terrestrial, On-Digital and VHS signals show the Yamaha to be an excellent Pro Logic performer. The Pro Logic processing has certainly not stood still, and significant improvements have been made over the DSPA-592. On good recordings, the soundstage across the front is broad, and the centre speaker excellently delineated. The rears pick out the best surround I have heard in Pro Logic.

Move up to a Dolby Digital, or indeed a DTS bitstream, and the A5 goes wild. Effects are placed around the room with speed and clarity, and each of the five channels is fed a smooth discrete flow of information. Disconnecting various speakers shows the Yamaha to have the finest channel separation, with no bleed-through or echoing noticeable. The soundspace is truly 360 degree, and the Yamaha has the stunning knack of placing effects between speakers - most notably down the sides of the sound stage, and between front main speaker and centre. This effect is excellently demonstrated with the Sting DTS CD Brand New Day, where synthesised instruments and haunting vocals drift from front to back, with their passage clearly definable.

Don't think that the Sony rules when it comes to bass though. The Yamaha approaches from a slightly different perspective. Bass is not 'in-your-face', but is tight and controlled. Passed through my REL Q50 at both line and speaker levels, the bass integrates seamlessly into the speaker setup, and it is sometimes easy to forget the .1 channel, instead enjoying the whole experience. When bass is needed to enforce a scene such as deep bass notes in a soundtrack, or a room shaking explosion, the bass can rumble to the lowest of the low, while still retaining that wonderful integrity.

The Galaxy Quest DTS disc demonstrates all of these qualities perfectly. For example, when the ship leaves spacedock, the thrumming of the engines is throaty and meaningful. When the ship scrapes the side, the screech is suitably piecing without being grating. The battles with Saris' ship are aural delights with missiles flying over each shoulder.

Another opportunity for the Yamaha to impress is the DTS rendition of Saving Private Ryan. As the troops try to blow the bridge, the tank ploughs inexorably across town, and when Hanks is hit by the explosion you are enveloped in the sound. As the dust settles, you can identify the sounds of each piece of dirt and concrete as it falls to the ground around you.

I've focused on DTS, but Dolby Digital processing is also top-drawer. The rocking music on the Tarzan: Special Edition is deep and rich. The A5 excels not only in loud use however, quiet scenes are delicate, precise and clear at all times.

I would eat my hat if anyone buying a Yamaha came away disappointed. The sterling build quality, muscular amplification and breathtaking surround processing make the Yamaha a complete steal. With high-street shops offering discounts on models now, most especially Richer Sounds, customers can walk away with change from £300 and that is one of the biggest home cinema bargains you will find.

Pros:

• Fantastic sound quality in all modes including stereo
  
• Great value
  
• Multi-remote
  
• Simplicity

Cons:

• They're still spring clips... Why ?!?!
  
• Only one switched AC outlet
  
• Non-programmable sources / No digital CD input

Dan Bates

	Build	Sound	Features	Value	Overall
	8	9	9	10	9