Rotel RSP-1068, When very good doesn't have to mean expensive

• With the RSP-1068, Rotel offers a preamp-processor equipped with the latest decoding and extraordinary features, more than meeting any expectation.

• Price: €1,699

• Specialists' rating: 5

• Text: Luis Llana

When the time comes to put together a home theater system, the option of an A/V preamp-processor with separate power amplifiers is the one many enthusiasts prefer, because of its undeniable advantages in power handling, operational flexibility and scalability, not to mention the superior quality these setups generally offer for stereo music listening compared with A/V integrated amplifiers, even high-end ones. However, the average enthusiast tends to tremble at the thought of the "hit" his wallet will have to take, since he starts from the premise that such combinations usually carry a high purchase price.

It is precisely for these die-hard enthusiasts who seek the best performance but whose pockets tend to "hurt" that the products of the Japanese company Rotel fit perfectly, offering very well-built, robust components without luxurious finishes. Its circuit designs are of proven effectiveness, using good electronic components, in some cases made in-house, though without resorting to great technological sophistication. Its products do not compete directly with the sacred monsters of high fidelity, nor do they try to. In short, this is what Rotel calls its "Balanced Design Concept", which ultimately translates into superb value for money.

Sticking to its range of A/V preamp-processors, in issue 6 of Cine en Casa I had the pleasure of reviewing the formidable RSP-1098, although its price in euros perhaps puts it somewhat beyond the financial reach of some enthusiasts. With them in mind, Rotel has just introduced its RSP-1068, the subject of the following lines, which arrives to replace the RSP-1066 in the firm's catalog. Its external appearance follows the same styling as the rest of the components in Rotel's 10 series, once again standing out for its excellent construction and external finish, with a robust front panel identical to that of its predecessor, although this is one of the few similarities between the two.



Intelligent internal construction



Its internal layout is very carefully executed and impeccably made, with several boards housing the different circuits, connected to one another by tidy cable looms. A large board at the back of the enclosure carries several power supplies whose heart is an encapsulated toroidal transformer, the preamp gain circuits with a stepped volume control and the tone circuits, among others. It holds the connections for nine analog input sources, four of which have recording output loops, one of them corresponding to the second zone, since our guest offers multi-room management. It likewise handles composite video signals, with five inputs and as many outputs, one of them for the second zone and another for "Monitor Out".

A second board manages the digital audio signals, with three inputs in S/PDIF format, two in EIAJ-TosLink and two outputs, one in each of those formats. The complement is rounded out by an RS-232 port, three 12-volt trigger connections and remote control connections, in both cases with control for the second zone. For A/D (analog-to-digital) conversion it has 24-bit AKM converters with a 128 kHz sampling frequency, while for the reverse D/A (digital-to-analog) conversion the converters are 24-bit/192 kHz units from Crystal Semiconductor. It includes decoding for practically every format known to date, namely: Dolby Digital, Dolby Digital EX, Dolby Pro Logic IIx, DTS, DTS-ES Discrete, DTS-ES Matrix, DTS Neo:6, DTS 96/24, LPCM up to 192 kHz, HDCD, MP3 and MPEG Audio Multichannel. In addition, it offers several digital signal processing (DSP) modes for multichannel music listening, optimized by Rotel's proprietary XS (eXtra Surround) system.

Another board handles the S-Video input and output signals, with five inputs and four outputs, one of them for "Monitor Out", while a separate board carries connections for three component video inputs, with one "Monitor Out" output, supporting progressive scan. The video bandwidth of up to 100 MHz allows HDTV signals to be processed, and it includes video conversion from composite and S-Video to component. Finally, another board handles the 7.1-channel "Pre Out" outputs, doubled for center and subwoofer, and the 7.1-channel inputs. The rear panel is completed by the main power switch and the IEC socket for connection to the mains.



Superb operation



The powerful management software, which Rotel says is upgradable, is largely inherited from its big brother the RSP-1098, allowing a very complete, and above all extensive, configuration when you want to get the most out of all the RSP-1068's possibilities; this is done through very well structured multi-level menus and submenus. The interface is available in several languages, which unfortunately do not include Spanish; we hope Rotel will release a version of the management software that includes it. Setup is only possible by connecting the RSP-1068 to an external display, and it is carried out with a very comprehensive learning remote control featuring an LCD screen and backlighting that only switches on in low ambient light. A very good idea to save batteries. It comes with its own instruction manual. Pressing the "Menu" key brings up the "System Status" screen, showing all the processor's active parameters at that moment. Pressing "Enter" next displays the "Main Menu" screen, giving access to setup.

First, I should point out something that may cause some confusion for less experienced users: there are, as such, no configurable digital inputs. The "Input Setup" screen only shows, one by one, all the available analog inputs, with the same names as those printed on the rear panel (CD, Tuner, Tape, etc.). Changing the default value "Analog" of the "Input" option to the name of one of the digital inputs will activate the connection on the rear panel for that digital input. Changing the setting back to "Analog" will activate whatever analog connection has been made for that input. This dual connection will be necessary to send the analog signal to the recording output or to the second zone. But if that is not required, you should consider whether the dual connection is necessary, since there are enough inputs for most applications, and in this way avoid having to enter setup to assign the type of input, analog or digital, to be used at any given time.

The original input names cannot be changed, but if you want the unit's display to show a different name, you can enter it in the "Input Label" option as a string of up to seven alphanumeric characters. Each and every input can be paired with a video input, can have the "Cinema EQ" function enabled, which adapts the equalization of movie soundtracks to the smaller space of a domestic room, or can activate one or a group of "triggers" for lowering a projection screen, dimming the lights, etc.

Some video signal processes (deinterlacing, for example) delay the picture, with the result that it falls out of sync with the audio. To compensate, the "Group Delay" option is included, allowing an audio delay of between 0 and 500 milliseconds to be set in 5 ms steps, a more than sufficient margin for the worst of situations. The importance of applying this delay may be better understood if we mention that it is also known as "Lip sync".

If an input has previously been set to "Analog", "Bypass" can be chosen as its "Mode" (initial operating mode), so that the signal is sent straight to the output with no processing other than the volume control, a feature much appreciated by music lovers. However, in digital configuration and "PCM 2Ch" operating mode, it is not possible to get rid of the subwoofer if it was previously set to "Yes". When the initial operating mode chosen is Pro Logic IIx Music or DTS Neo:6, a new option, "Options", appears, allowing these music environments to be tailored to personal preferences. The "Other" options screen lets you preset the initial volume level at power-on, set the maximum reachable level between 1 and 95 (only in "Pre Amp" mode), determine how quickly the volume control reacts, assign the source for the recording output, or set bass and treble levels for all or some of the channels, or even cancel their effect. These adjustments can also be made using the LF and HF controls on the front panel.

Speaker setup is conventional, with delays (on the "Delay Setup" screen) set according to the distance of each speaker from the listening position in 30 cm steps, this being the minimum difference between front and rear channels needed to apply a 1-millisecond delay. Although the RSP-1068 has outputs for 7.1 channels, a 6.1 configuration with a single surround back speaker is possible. The management software prevents anomalous configurations, such as setting all speakers to "Small" with subwoofer "No", or the main speakers to "Small" and the rest to "Large". The subwoofer crossover frequency is set in 20 Hz steps between 40 and 120 Hz, plus 120 and 200 Hz, and different levels in dB can be set for each processing mode. The "Multi Input" (external 7.1 inputs) can be configured to redirect bass to the subwoofer, or not. Power on and off can be configured so that the "Stand by" key on the front panel performs those functions fully or simply puts the unit in standby.

While the unit is operating, the values of certain parameters can be changed on the fly using dedicated keys on the remote control, without having to enter the setup menu. These include "Group Delay" and the dB levels for "Center", "Subwoofer" and "Surrounds". And there is still more, although what follows is aimed more at experienced enthusiasts, preferably armed with a sound level meter, who want to leave the RSP-1068 with the best possible configuration. But in view of the possibilities, I warn you that this is no joke, just as I already noted when reviewing the RSP-1098.

One of the options on the "Speaker Setup" screen is "Advanced", which allows the internal crossover point to be set individually for each of the channels associated with the Front, Center, Surrounds, Center Backs and Subwoofer speaker groups. But it goes further, since for the Dolby, DTS, Stereo/MPEG and Music processing modes you can choose the default "Master" option, which will adopt the configuration initially set for speaker size, or set it again at this point, as Large or Small, for each speaker group within each of those modes. In short, completely different configurations can be defined for each and every one of the processing modes mentioned. Simply brilliant.

If we had to find fault, 0.5 dB steps would have been preferable to the 1 dB steps used for calibrating the speakers with the pink noise signal, which would have allowed a more precise adjustment for those who wish to carry it out with a sound level meter.



The moment of truth



To check whether the RSP-1068's sonic qualities live up to its fantastic configuration possibilities, I integrated it into a 7.1 system made up of a Rotel RHB10 "Michi" stereo power amplifier driving a pair of B&W Matrix 802 main speakers and a Rotel RB-993 three-channel power amplifier driving an HTM center and two SCM8 dipoles, also from B&W. For the surround back channels I used a pair of Sonus Faber Wall speakers driven by a pair of Marantz MA-500 monoblocks. As playback sources, a Marantz DV-8400 DVD player and a Micromega Drive 3 CD transport.

After enjoying the RSP-1068 for several days, during which I listened to (and watched, of course) the soundtracks of some movies, scenes from others with spectacular sound effects and a few music DVDs, I must highlight the great spaciousness and cleanliness of its sound, free of harshness, placing each effect where it belongs on the virtual stage, which denotes excellent channel separation, with very good dynamics and dialogue of great presence and naturalness, as I was able to confirm with the gripping openings of "Brotherhood of the Wolf" and "Armageddon" and other scenes from "Road to Perdition" and "U-571".

The same parameters were repeated when listening to music DVDs such as Vangelis's fantastic audiovisual spectacle "Mythodea", the movie "Chicago" and "Swinging Bach", 24 hours of J.S. Bach's music on the Marktplatz in Leipzig.

Moving on to strictly musical listening with CD-Audio, DVD-Audio and SACD, after trying different connection options, whether digital, analog in "Bypass" mode or via the 7.1 inputs, I did not notice any relevant audible differences when testing the same recording through all of them. With that caveat, the sound is open, creating an excellent sense of soundstage, with great dynamics and cleanliness throughout the frequency range and no sign of aggressiveness or coloration at the always delicate extremes of the spectrum. Jacintha's voice on "Autumn Leaves" comes across warm and natural, virtually placed where it belongs, while the now familiar (because they are excellent) recordings "Girl Talk" by the Tsuyoshi Yamamoto Trio on CD-Audio and "Just Friends" by LA4 on SACD are heard with the expected excellent staging. The magnificent recording of Beethoven's Ninth Symphony conducted by Sir Georg Solti is reproduced with all its dynamics and brilliance.

To check DTS 96/24 compatibility, I listened to Queen's DVD-Audio "A Night At The Opera", which includes a track in that format. Likewise, there were no problems with HDCD decoding, as I verified with Mark Knopfler's CD-Audio releases "Sailing to Philadelphia" and "Golden Heart".

With the RSP-1068, Rotel offers an A/V preamp-processor equipped with the latest in sound decoding and extraordinary configuration possibilities that make it a tremendously effective tool for getting the most out of movie soundtracks; I would venture to say it will more than meet the expectations of the most dedicated home theater fans, while being perfectly capable of high-quality, strictly musical reproduction. It falls only a little short of the heights of sonic excellence of the RSP-1098, a difference that is perfectly acceptable unless you are excessively demanding. In return, the outlay to purchase the RSP-1068 is less than half that of its big brother. With a retail price of €1,699, it is a superb alternative.

Rotel RSP-1068, When very good doesn't have to mean expensive

Specifications

Less than 0.008%.

Less than 0.008% (60 Hz - 7 kHz).

10-95,000 Hz, +/-1 dB (line level); 10-20,000 Hz, +/-0.3 dB (digital level).

95 dB (IHF/A-weighted) on analog inputs; 92 dB at 0 dBFs digital (Dolby Digital, DTS).

Line level 200 mV/100 kohms.

3 Hz - 10 MHz, ± 3 dB (Composite and S-Video); 3 Hz - 100 MHz, ± 3 dB (Component video).

45 dB.

1 volt.

40 watts (6 watts in standby).

230 volts/50 Hz (CE version).

433x121x334 mm.

7.6 kg.

Distributed by:

B&W Spain (935894722)

Price: €1,699