Home Theater Receiver Buying Guide - the complete guide to what you must know

Denon AVR-5803 state-of-the-art home theater receiver ($4,300), click to enlarge

So you're ready to take your next step into the world of home theater, or you're thinking about upgrading to a Dolby Digital and DTS capable home theater receiver. Great! With this buying guide, we can help you shop intelligently for a home theater receiver that best meets your needs. In conjunction with reading this guide, you may wish to read our Surround Sound Formats Primer and THX Overview.

First, let's answer the question: "What is a home theater receiver and what does it do?" A home theater receiver serves as the central point of a home theater or home audio system and performs the following functions:

The receiver is both the "smarts" and the "power" behind a home theater system. It takes the audio signals from all of your source components (e.g., DVD-Video player, CD player, VCR, tape deck, turntable), performs any needed decoding and post-processing, amplifies the signal to power your home theater's array of loudspeakers, and controls the playback volume. For video signal, the receiver performs the necessary switching and outputs it to your TV. With all this functionality, a receiver is one of the more complex and expensive components in a home theater or home audio system.

The terms "home theater receiver", "audio/video receiver", "A/V receiver", "surround receiver", "Dolby Digital/DTS receiver", and "receiver" are used interchangeably on this web site, since we're talking about a receiver that has at least five channels of processing and amplification for home theater and multi-channel music sources such as DVD-Audio and Super Audio CD. If you're not familiar with all the terms we just threw out, don't worry. We'll discuss each of these functions in turn. Then we'll tell you what else you should look for, and how to compare and audition A/V receivers when you shop.

Right off the bat, let's discuss a receiver's surround sound decoding functions. Surround sound is encoded in the source material and must be decoded into their separate channels to drive separate loudspeakers. The current de facto standard for surround sound is 5.1-channel (Dolby Digital and optionally DTS). 6.1-channel formats are available but few movies and DVDs are encoded with these extended surround sound formats. A receiver should come with decoding for the following surround sound formats, as an absolute minimum:

"5.1-channel ready" receivers. This type of A/V receiver does not have built-in decoding for any of the 5.1-channel surround sound formats such as Dolby Digital or DTS. Instead, this type of receiver provides 5.1-channel analog input jacks and depends on the another component (e.g., DVD player or separate decoder) to perform the decoding for Dolby Digital and DTS.

State-of-the-art receivers will include decoding for one or more of the following, in addition to the list above:

For a home theater receiver, Dolby Digital and DTS decoding are must-haves.
Then consider Dolby Pro Logic II and DTS Neo:6,
followed by THX Surround EX (or equivalently
Dolby Digital EX) and DTS-ES surround sound decoding.

Be sure to read our Surround Sound Formats Primer to fully understand the different surround sound formats discussed above.

For digital sources like audio CD, you can connect the CD player using a pair of analog stereo connectors. In this case the audio signal is already converted from digital to analog form by the CD player and no further decoding is required. Alternatively, you can use the CD player as a CD transport and hook it up to the receiver using the digital audio output. If you use the digital audio connection, then the receiver's audio digital-to-analog converter (DAC) is used to convert the raw Pulse Code Modulation (PCM) digital audio signal to analog. The receiver's audio DAC is usually 24-bit word length and samples at 96 kHz. Better receivers will have audio DACs with higher sampling rates (up to 192 kHz), or quality audio DACs made by Burr-Brown or Analog Devices. Unless you have a high performance audio CD player or any digital source with high quality audio DACs, we recommend that you connect the CD player to the receiver via one of the digital audio connections. This will allow you to use the receiver's audio DAC and simultaneously minimize degradation that usually plagues analog connections.

Many receiver manufacturers include a number of simulated soundfields (sometimes referred to as DSP modes) effects to imitate the acoustic environment of various real-world venues (e.g., jazz club, concert hall, cathedral, stadium) by adding synthesized early reflections and reverberations. While listening to these soundfields can be fun, audio purists will find little value with these simulated soundfields as they do not serve the artists' or performers' intentions. And while it's nice for receivers to include this feature, it should not become a primary consideration when choosing among different receivers.

The receiver's bass management function re-directs the bass frequencies from any channel to those loudspeakers that can handle the low frequency bass information (e.g., full-range floorstanding loudspeakers, subwoofer). This ensures that the low frequency audio signals are not lost when you're using a system of bookshelf or satellite speakers. If you have five full-range loudspeakers and a subwoofer (few of us do), bass management is not a concern. But if you don't, it is essential that you look for a receiver with complete bass management functionality. Bass management is usually performed in the digital domain by DSP circuitry.

With bass management, you set up your system by telling the receiver whether you have large (full range) or small (satellite or bookshelf) loudspeakers for the center channel, the two front left/right mains, and the surround sound channels. If you have a subwoofer, you should note the crossover frequency. Frequencies above the crossover frequency are allowed to pass, while frequencies below the crossover frequency are re-directed to the subwoofer (if present) or to a full-range speaker (if any are present). Many receivers will have a fixed crossover frequency of 80 Hz (the standard set by the THX specification), while better receivers will allow you to fine tune the crossover frequency to suit your system's performance.

Editor's Note: If you plan to adopt the new high resolution, multi-channel DVD-Audio and Super Audio CD formats, you will also need bass management if you have small bookshelf, satellite, or surround speakers. When buying a DVD-Audio player or SACD player, look for one that has full bass management functionality, because few receivers offer an appropriate bass management function for these high resolution audio formats. If your DVD-Audio player or SACD player lacks bass management, and you want a receiver that performs bass management, look for one that performs bass management in the analog domain. This will avoid additional analog-to-digital and digital-to-analog conversions that would severely degrade the pristine high resolution analog signal coming from the DVD-Audio or SACD player. Digital domain bass management requires A/D conversion, to get the audio signal into the digital domain, where the digital signal processing techniques are used, then another D/A conversion to get the signal back in analog form for amplification. Digital domain bass management may be acceptable if the DACs are at least 24-bit/192 kHz.

The more expensive receivers will include THX post-processing, as part of the Home THX certification program. THX post-processing consists of the following:

The Home THX standards for amplification performance will be discussed in a later section, as well as the difference between "THX Ultra" and "THX Select".

THX certification is a nice-to-have feature for mid-priced receivers ($700-$1500),
but is a serious consideration for high-priced receivers (over $1500).

You may have heard "more power is better" when it comes to receiver amplification. Well, we're here to tell you that it's pretty much true (to a certain extent)! But here's the kicker: there are a few other facts you must know and consider in choosing the amount (and quality) of amplification that you will need. Amplification is the process where a receiver takes a low voltage analog audio signal (usually a few Volts) and amplifies it to a powerful analog signal with enough current to control and drive the loudspeaker's array of drivers to produce the sound that we hear. First, we'll talk about the number of channels, then how receiver amplification power is specified and how much power you will need.

As we mentioned above, the current de facto standard are the 5.1-channel surround sound formats such as Dolby Digital and DTS. This means 5 channels of full frequency, plus a single ".1" low frequency effects (LFE) channel for an optional subwoofer. 5.1-channel receivers have 5 channels of amplification for the full frequency channels, while the ".1" subwoofer output is not amplified for use with an active subwoofer (one with a built-in power amplifier) or a passive subwoofer in conjunction with a separate amplifier.

The new and emerging surround sound formats are the 6.1-channel extended surround sound formats, with the addition of a full-frequency back surround channel. Though there is a single audio signal for the back surround, two loudspeakers driven off of that signal is usually recommended for a more continuous soundfield. So if you are considering the 6.1-channel formats, many mid-priced receivers will have 6 channels of built-in amplification, some with an option to use a separate power amplifier for the second back surround loudspeaker. The more expensive receivers will have 7 channels of built-in amplification to allow the use of two back surround loudspeakers. In any case, the ".1" subwoofer output is not amplified.

There are a number of aspects to a receiver's power rating, all of which should be considered carefully:

Continuous (RMS) Power. Amplification power is usually given in units of Watts (just as the wattage of a light bulb is a general indicator of how much light the bulb can emit). Since music and movie soundtracks can have long loud passages, we are interested in how much power a receiver can continuously put out to drive the loudspeakers during these extended demanding aural passages. For this reason, we should not be interested in the peak power of a receiver, the amount of power a receiver can deliver for a very brief duration before running out of "steam". Rather, we are interested in a receiver's continuous power output, which ensures that the receiver will have enough "steam" to drive the loudspeakers during long passages of demanding audio material. Continuous power is usually expressed in terms of "Watts RMS" (root mean square) or "Watts continuous". Do not give credence to or compare receivers based on power specifications that say "Watts peak".

Frequency Range. Ideally, our ears can hear sounds as low as 20 Hz (bass frequencies) to as high as 20,000 Hz (treble frequencies). This full range of audio frequencies should be reproduced by a home theater system. In doing their part, receivers should be adept at amplifying audio signals in the full range of 20 Hz to 20 kHz in order to maintain a realistic reproduction of music and movie soundtracks. The frequency range portion of a receiver's power rating is usually given as "20 Hz to 20 kHz", or equivalently "full bandwidth". Anything less than this range of frequencies is unacceptable.

Channels Driven Simultaneously. Movie soundtracks often have loud passages where all channels (center, left, right, left surround, and right surround) erupt to loud sound levels. These loud passages are very demanding as all 5-channels are driven hard at the same time. Better home theater receivers will have power specifications that say "all channels driven simultaneously" for the rated power output. Those receiver with specifications that don't say "all channels driven simultaneously" are likely to provide the rated power output for only one or two channels driven simultaneously. Like the continuous power specification, those that lack this capability may run out of "steam" during loud passages where all channels are driven hard. But this specification is less important between the two. Only high performance receivers will have "all channels driven simultaneously" in its power rating, so unless you're in the market for a receiver of that caliber, this is something you can forego.

Speaker Impedance. Most loudspeakers have a nominal impedance (or resistance) of 8 ohms. Some will have a value of 4 ohms, which means that they will draw twice as much current from receivers than those with 8 ohms (assuming all else are equal). Most receivers have no problems driving loudspeakers with 8 ohms nominal impedance, but only some have enough "juice" to effectively drive the more demanding loudspeakers with 4 ohms nominal impedance. Most receivers are specified with power output "into 8 ohms". If you have a loudspeaker with 6 ohms or 4 ohms nominal impedance, look for receivers that specify power output "into 4 ohms". Those that only specify "into 8 ohms" will still drive 4-ohm or 6-ohm loudspeakers, but its performance will be much less than if they were driving 8-ohm loudspeakers. Additionally its power output into the 4-ohm loudspeaker will not be known. If you have 4-ohm loudspeakers, it would be ideal if a receiver's specification give two numbers, one for 8-ohm loudspeaker loads and another for 4-ohm loads.

Editor's Note: A perfect power amplifier can deliver double the power when the loudspeaker impedance is halved. For example, a high-end power amplifier can deliver "120 Watts into 8 ohms" or "240 Watts into 4 ohms". But few, if any, receivers can achieve this level of performance.

Total Harmonic Distortion (THD). This is a measure of how "clean" a receiver can amplify audio signals. If you enjoy music at louder volume levels, you will want to pay extra attention to this part of a receiver's power specification. Since harmonic distortion is a bad thing, lower numbers for THD are better. Typical values are 0.05% to 0.08% THD for a "clean" receiver, but any value below 0.1% THD is acceptable. Don't compare THD values for receivers of different brands too closely since there are some slight variations as to how this number is measured across different manufacturers. Use it to compare receivers with the same brand, but across brands only a difference of 0.03% THD or greater should be considered noteworthy.

If you want a good home theater experience and your budget is flexible enough,
we strongly recommend choosing a receiver with a power specification that
reads something like "100 Watts RMS into 8 ohms per channel,
20 Hz to 20 kHz, all channels driven simultaneously,
with no more than 0.08% THD".

This kind of specification will ensure that your loudspeakers are getting the power they need to reproduce demanding movie soundtracks and music with the highest possible fidelity. (We'll talk about how much power you really need in the next section.)

Compared to the two-channel stereo receivers of a decade ago, today's home theater receivers have at least five channels of amplification. While the digital components of a receiver have significantly increased in computational power at the same time as getting much cheaper, the power amplification components have not benefited from an equal drop in price. Consequently, to make home theater receivers affordable and price competitive with the two-channel stereo receivers of yesteryear, manufacturers have started to use innovative technologies as well as "cut corners" to meet specific price points.

Specsmanship. To meet certain consumer-friendly price points, equipment manufacturers are practicing what is called specsmanship. This is a practice where manufacturers dress up or cover certain performance specifications in a manner where a casual, ill-informed consumer is likely to miss out on the not-so-subtle differences. The three parts of the power amplification subject to specsmanship are: continuous (RMS) power, frequency range, and channels driven simultaneously. Instead of specifying continuous or RMS power, manufacturers use peak power in the specification for their entry-level receivers. Instead of specifying power over the full range of audible frequencies, manufacturers specify the power for only one frequency (usually 1,000 Hz or 1 kHz). And instead of specifying power as "all channels driven simultaneously", manufacturers simply say nothing. So a power specification with specsmanship reads something like: "100 Watts peak @ 1,000 Hz, 0.10% THD". In our opinion, the two most onerous practices in specsmanship are in the continuous (RMS) power and frequency range part of the power specification. It is to our disappointment that the FTC (Federal Trade Commission) has allowed such specsmanship practices for peak power and power specification for a single frequency, without making a concerted effort to educate the consumer. There's nothing wrong with buying an entry-level receiver from a manufacturer who uses this type of specsmanship, so long as you (the consumer) are aware of the not-so-subtle differences. Many receivers under $600 are subject to specsmanship, but those that cost more are not necessarily exempt. And now that you're informed, you can intelligently compare receivers apples-to-apples and know what you're getting.

Now that you know how amplification power is rated, the next step is determining how much power you will need. Surely, more power is better, but most of us live with fixed budgets, so practically speaking, we need to know how much is enough. The amount of power you need will depend on a number of factors. The most important factors are your loudspeaker's sensitivity, the size of your room, and how much headroom you want in your system.

Loudspeaker Sensitivity. A loudspeaker's sensitivity is a measure of how much sound the loudspeaker puts out for a given amount of power input from a receiver. Usually, it is expressed in terms of decibels (dB) sound pressure level (SPL) per 1 Watt of amplifier power measured at 1 meter from the speaker. Different loudspeaker designs will have different sensitivities. Most loudspeakers have sensitivities in the range of 85 to 91 dB SPL/1W/1m. Frequently, it is understood that sensitivity is measure with 1 Watt of power input at 1 meter, so sensitivity is usually expressed as just "dB". The higher the number, the more sensitive or the louder the sound output from a loudspeaker given the same power input. Since sensitivity is measured in decibels, a 3 dB difference in sensitivity means a doubling or halving of amplification power to achieve the same loudness (SPL). In other words, a loudspeaker with a sensitivity of 87 dB requires twice the amplification power of a loudspeaker with a sensitivity of 90 dB. A power amplifier delivering 100 Watts of power into the 87 dB loudspeaker produces the same loudness as a power amplifier delivering 50 Watts of power into the 90 dB loudspeaker. This is why loudspeaker sensitivity is an important consideration when determining the power required from a receiver.

Editor's Note: For an 8-ohm loudspeaker, power input of 1 Watt corresponds to 2.83 Volts. But some loudspeaker manufacturers specify their 4-ohm loudspeaker's sensitivity with a 2.83 Volt signal, which corresponds to 2 Watts of amplification power. This gives a false impression that their 4-ohm loudspeaker is more sensitive than it really is.

Size of Your Room. Larger rooms will require more amplification. As a rule of thumb, use the following table to determine the power amplification of your receiver. This table assumes that you want your home theater system to be able to play at movie theater reference volume levels. First, look up your speaker's sensitivity in the first column, then find the size of your home theater room as measured in cubic feet in columns 2-4. Compute the room size by multiplying the width and length and height of your room in feet. Then look up the value of the minimum suggested amplification power (expressed in Watts per channel). (Example: A loudspeaker with a sensitivity of 88 dB in a room that is 2,500 cu. ft. should be driven by a receiver with at least 64 Watts per channel.) If you find that your power amplification requirements exceed 170 Watts per channel, you may want to consider a system of separates, a pre-amplifier and a power amplifier (that can output more than 170 Watts per channel) instead of an integrated one-unit receiver. The most powerful receiver (Denon AVR-5803) produces 170 Watts per channel into 8 ohms.

Note 1: This table is based on the Home THX Program's recommendation of achieving a peak sound pressure level (SPL) of 105 dB, which can be achieved with 64 Watts into a loudspeaker sensitivity of 88 dB. Typical listening levels are usually in the range of 80 to 90 dB SPL.
Note 2: If your array of loudspeakers vary in terms of sensitivity, use the lowest sensitivity number from the front, center, or right loudspeakers. The sensitivity of the surround sound loudspeakers are secondary when it comes to figuring the minimum power amplification.

Headroom. Keep in mind that the table above indicates the minimum amplification power you'll need. Usually, you will want more power in case you move your home theater to a larger room or simply to have what is called headroom. Headroom is the power reserve that is above and beyond what you normally need in steady-state that allows your system to respond to very brief loud passages. This is particularly important if you're a big fan of action movies with lots of explosions. So yes, buy the most powerful receiver you can afford, but keep in mind how amplifier power ratings are specified.

For home theater receivers, the Home THX program covers certain post-processing functions (discussed in a previous section) and power amplification requirements. The post-processing functions make sure that the soundtrack mixed for a commercial movie theater is compensated for proper reproduction in a home theater environment. The power amplification specifications make sure that when a THX-certified receiver is used with THX-certified loudspeakers, the system produces sound quality that meets THX standards. And that means an awesome home theater experience. For receiver power amplification (and loudspeakers too for that matter), there are two basic levels of THX certification. THX Select certification is for components that are certified to perform in a mid-sized home theater environment of up to 2,000 cubic feet. (The volume of a room, expressed in cubic feet, is computed by multiplying the length by the width by the height of the room. For example, a room that is 18 feet wide by 14 feet wide by 9 feet high, has a volume of 18 x 14 x 9 = 2,268 cubic feet.) The more stringent THX Ultra certification (which is equivalent to the original, plain "THX" certification) is given to components that meet the THX performance standards for larger home theater environments of up to 3,000 cubic feet. Theoretically, if you have a home theater environment that is 2,000 cubic feet or less, THX Select certified receivers and loudspeakers should deliver about the same presentation standards as the higher-end THX Ultra certified components. Both THX Ultra and THX Select levels of certification call for the same post-processing functions.

THX Ultra2, more of a good thing? In September 2001, THX updated the Home THX program to the THX Ultra2 specifications. In short, THX refined the THX post-processing functions, refined the receiver performance specifications, and added the THX Ultra2 music surround sound mode, where a 7.1-channel surround sound experience can be derived from music and movie program materials originally recorded in stereo or encoded as Dolby Surround Pro-Logic in 2-channel. Right now, THX Ultra2 certification is only available for high-end receivers.

Do you need to buy a home theater receiver with THX certification? Certainly not. While a THX-certified receiver paired with a THX-certified loudspeaker system can guarantee excellent results, you can achieve the same (or better) performance with components that are not THX-certified. Certain receiver and loudspeaker system manufacturers produce excellent products that perform very well, but they have chosen not to seek THX certification and pay the associated Home THX program licensing fees. Obviously, these costs would be passed onto the consumer as higher prices. If you want to put together a home theater system in a fool-proof manner that guarantees excellent performance and you don't mind paying a little extra for THX-certified components and loudspeaker systems, by all means look for the THX Select, THX Ultra, or THX Ultra2 logos.

back panel of a receiver showing the array of audio and video inputs and outputs, click to enlarge

Another primary function that a home theater receiver performs is switching of all audio and video source equipment in a home audio or home theater system. A receiver takes all of the source signals from audio and video source equipment (e.g., DVD-Video/Audio player, SACD player, CD player, VCR, digital satellite or cable set-top box, HDTV receivers, personal video recorders like TiVo and ReplayTV) and performs all the necessary switching and thus allows you to choose the source from which you want to listen or watch. The picture shows the typical rear panel of an receiver and its array of input and output jacks.

Analog Audio Inputs. Analog audio signals are ready to be amplified and usually come as a stereo pair (left and right) using RCA-type connections. There should be many sets of these stereo analog audio inputs as most source equipment is stereo (e.g., VCR, tape deck). Many newer A/V receivers will also have one or more sets of 5.1-channel analog audio inputs (or 6.1-channel or 7.1-channel) to accommodate multi-channel inputs from a DVD-Audio player, multi-channel Super Audio CD player, or a DVD-Video player with built-in Dolby Digital or DTS decoding. These are analog audio connections just like the stereo pair, except they come in sets of six connections for the six discrete 5.1-channel (or seven connections for 6.1-channel, and eight for 7.1-channel).

Editor's Note: At the present, DVD-Audio and multi-channel SACD players can only be connected using the analog 5.1-channel inputs. No digital audio inputs are allowed due to unresolved copyright protection issues. If you want to hook up a DVD-Audio player and a SACD player, you'll need two sets of 5.1-channel analog audio inputs. The alternative is to buy a "universal" DVD-Audio/SACD player (like the Apex AD-7701 or the Pioneer Elite DV-47A). Hopefully in the near future, a digital connection like IEEE-1394 "Firewire" can be used. Until then, some high-end manufacturers like Denon have started to implement proprietary digital audio connections between a DVD-Audio player like the Denon DVD-9000 and receiver like the Denon AVR-5803.

Turntables (i.e., record players) should be connected using the dedicated analog phono input jack. While it looks like any other stereo analog input jack, the phono analog audio input signal is very small in voltage (a few milliVolts versus a tenth of a Volt for line-level signals of other analog audio inputs) so the receiver needs to pre-amplify the phono audio signal with a phono stage. Not all receivers have a pair of phono input jacks, so pay particular attention to phono inputs if you plan to hook up a turntable.

Digital Audio Inputs. When connecting digital sources like DVD-Video players and CD players, you can use the digital audio connection. This allows the player to pass the "raw" digital audio signal for decoding by the receiver. The digital audio connection is better, as the digital audio signal is less subject to degradation and interference than the analog counterpart. There are two types of digital audio connection: optical and coaxial. The optical digital audio connection is more common (used in DVD and CD players) and uses laser (light) pulses to transmit data in a fiber optic cable (a.k.a. "Toslink" cable). In contrast, the coaxial digital audio connection uses a modulated radio frequency (RF) signal and a specialized cable, though it looks like an RCA-type interconnect. Coaxial digital audio output is common with DVD players, but not with CD players. There is no clear industry agreement as to which connection is the better digital audio connection. Some say that the coaxial connection has higher frequency response and therefore movie soundtracks seem "warmer". We have not yet seen any proof that the claim is true. Currently, we use the optical digital audio connection in our home theater system.

Video connectivity is what differentiates an audio/video (A/V) receiver (or home theater receiver) from a traditional stereo receiver (which only handles two channels audio and no video). There are three types of video connections for consumer-grade electronics: composite video (most common), S-Video (better picture quality), and component video (best picture quality). Most A/V receivers will have composite input jacks for all types of video sources. But for higher quality video sources like DVD-Video and Super-VHS, moderately-priced A/V receivers will have S-Video input jacks.

In this age of progressive scan DVD-Video and high-definition TV (HDTV) signals, the component video connection offers the best picture quality and color fidelity. It supports high definition picture resolutions (e.g., 1080i) and is required for progressive scan video. Most receivers that provide component video switching can pass a progressive scan DVD-Video signal (480p) just fine. But if you do plan to use your A/V receiver for switching high-definition component video sources, then you must get a receiver that can pass high-definition component video picture without degradation. This requires the receiver to pass video signal up to 50 MHz without degradation. State-of-the-art receivers can pass video signals up to 100 MHz without degradation.

With any video connection, the receiver's job is to simply switch among video sources and pass the signal with minimal degradation. In almost all cases, the receiver doesn't perform any processing on the video signals. One thing to keep in mind is that most receivers do not convert between different types of video connections. For example, the composite video signal cannot be converted to the S-Video or component video signals. Each type of video connection is interconnected by a separate video circuit.

In terms of connectivity and switching, the more types and the more sets of audio and video inputs will lend to greater overall system flexibility. Make sure you have enough input and output jacks to support your system today, as well as accommodate the system of your dreams in the future. If you're building a high performance system, look for gold-plated input/output jacks since they are corrosion resistant and make better electrical connection.

Mid-priced receivers will have multi-zone/multi-room switching capability. Basically, this allows you to watch or listen to one source (e.g., DVD-Video player) in your home theater room, while sending another source (e.g., CD player) to a bedroom. Some receivers will have a set of analog audio outputs which you can connect to a power amplifier or another receiver to drive the second set of loudspeakers. A few receivers will allow you to use the built-in power amplifier circuitry to drive the second zone loudspeakers. While most receivers only provide audio for the second zone, few receivers will provide video for the second zone. Some receivers come with a second remote control for controlling the second zone functions of the receiver.

Most better receivers will include a set of 5.1-channel pre-amplifier audio output. For receivers with Extended Surround sound processing, these outputs can 6.1-channel or 7.1-channel. These outputs are used when you want to bypass the receiver's amplification stage and use a separate external power amplifier. In this setup, the receiver is used as a pre-amplifier or an A/V controller.

Receivers should have enough audio and video inputs and outputs.
Receivers should have at least one set of 5.1-channel analog audio input
and one set of 5.1-channel analog audio outputs.
Component video switching should pass high-bandwidth
HDTV signals without degradation.

Lastly, the receiver serves as an AM/FM stereo radio tuner for your home audio system. With modern quartz-locked digital tuning, most receivers perform this function quite well. If you live in a fringe area, far way from your favorite radio stations' transmitters, look for the tuner's sensitivity rating (also called usable sensitivity). Lower sensitivity numbers indicate better reception for distant radio stations. In contrast, if you live in a city with many radio stations, look for the adjacent-station selectivity specification. Higher selectivity numbers indicate that the tuner can better reject noise and interference from adjacent radio stations. Unfortunately , the adjacent-station selectivity specification is omitted from many manufacturer specifications.

Now that we've covered the basic functions of a receiver, here are some other things to look for in a receiver as well as other considerations during the selection and auditioning processes.

Since a receiver provides so many different functions in a home audio or home theater system, the user interface is critical in achieving ease-of-use. A good user interface can make the home theater experience an enjoyable experience, while a poor user interface can render frustration. User interfaces are frequently overlooked by both manufacturers and consumers. The user interface should make the initial set-up of the system and everyday use as effortless as possible. And since the home theater system serves as an entertainment center for the whole family, it should be easy enough for everyone in the family to use, not just the home theater enthusiast of the family.

On-Screen Display (OSD). Since home theater receivers provide video switching, manufacturers have created on-screen displays using the TV output for displaying menus. Selections are made using the remote control's cursor control and enter buttons. On-screen displays make the set-up and configuration process much more intuitive and easier to navigate.

Remote Control Design. A properly designed remote control can make a world of difference. For everyday use, it serves as the primary user interface. A good remote control should be ergonomic (easy to hold and to operate). It should fit well in your hand and has buttons that are clearly marked, logically grouped, and easy to press. If you like to watch movies in a dark room (like us), a remote control with illuminated or glow-in-the-dark buttons is considered a must-have.

Universal and Learning Remote Controls. To ease the clutter of numerous remote controls on your coffee table, some remote control units that come with receivers can also control other components like DVD players, VCRs, and TVs. Some can even be set to control components from other manufacturers. These universal remote controls have pre-programmed infrared codes for operating components made by major manufacturers. Taking the universal remote control concept one step further, some manufacturers include a learning remote control, which can learn the remote control code of any device. To program the learning remote, you will need the other remote. If the infrared codes are not pre-programmed, programming a learning remote can be a very time consuming process.

Macro Capability. To make the system easier for other family members to operate, some of the better remote controls provide a macro capability, where a series of button presses can be programmed to execute with a single button press. For example, a macro button can be programmed to do the following sequence: turn on the TV, turn on the receiver, turn on the DVD player, select the right video source for the TV, select the right source for the receiver, and command the DVD player to start playing.

2-Way Remote Control. Some receivers have 2-way remote controls with an LCD display. In these designs, the receiver can send status and song title information to the 2-way remote for display on the LCD display. This is a nice feature in that you can read the song titles from the display on your hand, without squinting to read them from the LED display on the faceplate across the room.

Volume Control. A volume control knob usually has markings around the knob as a reference. Other volume controls have LED digital readouts in decibels. The latter is more useful in a dark home theater environment, where it would be difficult to see markings in the dark or across the room.

If you're more interested in buying a good performing receiver than in just finding the cheapest one available, you'll want to give some thought to the construction and build quality of a receiver. Receivers with solid construction and build quality will sound better and last longer than inferior models that are built to specific price points.

Gold Plated Input/Output Jacks. Better receivers will use gold-plated input and output jacks to resist corrosion and to establish a better electrical connection.

Multi-Way Speaker Binding Posts. Better receivers will employ five-way binding posts to accommodate all the possible loudspeaker wire connections, from spade lugs, to banana plugs, to pins, to bare wire. Mid-level receivers will use binding posts that allow banana plugs, pins, and bare wire. Budget receivers will only have spring clips that accommodate pins or bare wire.

the inside of a quality home theater receiver (click to enlarge, picture courtesy of Crutchfield)

Cooling Fins. Look through ventilation holes on the top plate of the receiver and check out the cooling fins. Larger cooling fins will allow the receiver to efficiently dissipate heat through convection. A cooler running receiver will perform better and last longer. Large cooling fins should be sturdily built to resist vibration which can degrade sound quality.

Cooling Fans. Some receivers will employ cooling fans like those in a computer to remove heat. These types of receivers don't need cooling fins as large as non-fan models, but make sure the fan noise is low enough that it won't intrude in your enjoyment of movies and music during quiet passages.

Weight. Quality components like power transformers and a well-built chassis that resists acoustic vibrations lend themselves to the weight of the receiver. So in general, a receiver's weight is still a good indication of a receiver's build quality. Good receivers can weigh 20 pounds or more. The best receivers can weigh up to 60-something pounds! While the better receivers do weigh more, the receiver's weight alone does not guarantee top notch performance.

With the new surround sound formats and new high resolution, multi-channel audio formats coming out in the recent years, you may be wondering if your new receiver will be obsolete if new formats come along in a few years? That's a legitimate and real-world concern for home theater receiver buyers these days. So how do you ensure that what you buy today won't go obsolete in a few years (especially if you're spending upwards of $1,000 for a new receiver)? A number of receiver manufacturers have attempted to make their gear "future-proof" by designing the product with a flexible architecture. These "future-proof" features are often found in higher-quality receivers in the $1,500+ range:

Software Upgradeability. The best receivers feature a RS-232 serial port (like that in the back of your computer) as a means of performing software upgrades to the programmable processing chips inside these receivers. Software upgrades allow the chips to decode new surround sound formats and post-processing functions. Onkyo, Denon, Sony ES are some manufacturers that take advantage of this approach. Onkyo is one manufacturer that has actually provided a consumer installable software upgrade kit ($50) for DTS-ES discrete 6.1 and Dolby Pro Logic II decoding. You simply hook up a serial connector cable from the receiver to your desktop or laptop computer, load the upgrade CD-ROM into your computer, and follow the instructions on your computer screen.

Hardware Upgradeability. There are two foreseeable hardware upgrades for receivers, the IEEE-1394 ("Firewire", also known as Sony's i.Link) and DB-25 multi-channel audio connector. The IEEE-1394 "FireWire" is the digital connection of the future for all things audio or video. It has a bandwidth of 400 Mbps, far greater than the maximum of 10 Mbps data rate for DVD, and the 20-35 Mbps data rate for HDTV. Not only will the IEEE-1394 provide connectivity for all digital audio and video components, it will support the concept of "plug and play". For the few receivers that are designed from the beginning to support the IEEE-1394 Firewire upgrade (e.g., Denon), it is expected to be serviced by the factory or a factory-authorized service center. The upgrade involves installing a new circuit board with a IEEE-1394 Firewire jack on the rear panel. If you look carefully at these hardware upgradeable receivers, you can notice a small panel on the back with screws, ready to be replaced by one with a IEEE-1394 Firewire jack.

If you are a serious home theater enthusiast or a high-end audiophile, you should consider separate components instead of a single-unit A/V receiver. Separates, as it's sometimes called, refer to a system of separate components: a surround sound processor/pre-amplifier/controller and a multi-channel power amplifier. The advantages of separates are: (1) flexibility in choosing a component that will perform the surround sound processing and another component that will serve as the power amplifier, and (2) potentially much better sonic performance due to better isolation of signals and use of high-end audiophile quality parts. The downside is high cost and extra space required for two chassis. It costs more for two separate chassis, even if the parts were identical. It also costs more to connect the two separate components, and these two chassis now take more space than a single receiver chassis. But usually, separates are high-end in construction and make use of top quality parts in comparison to their receiver counterparts.

For most "everyday consumers", not only receivers will provide better than "good enough" sound quality, but receivers are generally more within reach of most "everyday consumers". Separates, with its positive and negatives, are more suitable for the very serious high-end enthusiasts and audiophiles with generous budgets.

Establish A Budget. With so many receivers on the market, and prices spread over a wide range from a few hundred dollars to over four grand, you'll want to do a feature comparison to narrow down your choices. But first, establish your budget. Make sure your significant other is comfortable with it. We don't recommend buying a home theater receiver for less than $400 (MSRP). There are too many compromises in sound quality and performance. The sweet spot for receivers is between $400 and $750. Here, you'll find the best value with good performance. Better performing receivers cost in the range of $800 to $1,500. These are meant for serious home theater and audio enthusiasts. Top notch receivers can be had in the $2,000-$4,300 range and are meant for audiophiles with the means ($).

Don't forget about the warrantee. Don't consider any receiver with less than a one-year warrantee. Watch out for warrantees with separate periods for labor and parts (e.g., "1-year parts and 90-day labor"). Labor can be a significant amount should your receiver require service after the labor portion expires. Better-built receivers will come with a two-year warrantee. Sony ES, the "Elevated Standard" up-market version of Sony, makes receivers and other audio/video components with an outstanding 5-year warrantee (for U.S. residents).

Specifications, however, do not tell the whole story about a receiver's sound quality. While you can compare receivers based on specifications alone to narrow down your list of candidate receivers, the final tests should be a listening audition. Here are some tips for auditioning receivers in retailer showrooms:

Home Audition. Make sure your local retailer or online dealer allows for a 30-day return policy. While you can learn a lot about a product during in-store auditions, there's nothing like getting the product home and hooking it up to your source components and loudspeakers system and hearing it in your home's unique acoustic environment. Often times, it will sound different than the in-store audition. Sometimes, the result may not be what you expected, so you'll want the peace of mind of having 30 days to make a final evaluation of the product in your home.

Waiting for Model Year-End Clearances and Closeouts. Manufacturers introduce new receiver models every year. And with each new generation comes more features, or power, or slightly lower pricing. While one way to save some money is to wait for the model year-end clearances and closeout sales, you still have to be careful and ask yourself these questions: Does the new model offer added features that you could use in the near future? Will the new model's price be lower than the older model and hence negating the "savings" of buying a clearance model? Our general rule of thumb is if there is not a new feature that you want, a discount of 10% or better is a reasonably good value for a receiver on clearance or closeout.

Buying at a Local Retailer. If you're shopping for a receiver from a local specialty consumer electronics store or a department store, make sure that the receiver you want to audition is properly setup, preferably in an audition or listening room. Make sure you're getting the honest, unbiased help and guidance that you deserve. Otherwise, consider buying online to save yourself some money. Make sure your local retailer allows for a 30-day return policy to allow for a home audition.

If you choose to buy from one of these online dealers, please start your purchase by clicking through our links above or from this page so we may receive a small commission to help support this site. Thanks very much!

Did you find this Home Theater Receiver Buying Guide helpful? Let us know your thoughts, send an e-mail to us at Feedback@TimeForDVD.com.

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Loudspeaker Sensitivity [dB]	Room Size
Loudspeaker Sensitivity [dB]	Small (less than 2,000 cu. ft.)	Medium (between 2,000 and 3,000 cu. ft.)	Large (larger than 3,000 cu. ft.)
85	96	128	192
86	76	101	152
87	60	81	121
88	48	64	96
89	38	51	76
90	30	40	61
91	24	32	48
92	19	25	38