What's It Good For? Before we look at the performance of the W1700, we need to considImpressive Specifications er what kinds of applications it fits with, so that comments about performMy first impression was positive, if for no other reason than that the ance are taken in context. After living with the W1700 for a month, I can specifications of the W1700 seem to suggest several uses. One, of course, is belie its price. First, this HD-ready set is "regular NTSC TV broadcast signals simply as a TV in space-constrained locaable to accept 1080i and 720p HD sig- frequently are the toughest signals for a tions like a kitchen, office or bathroom. nals. It has a 1280x768 pixel display, Similarly, it would fit more easily and less which is a common resolution for HD display to handle The Dell looked obtrusively in a bedroom or workout room. flat-panel displays, and it has a 16:9 superb on this basic material." Another use is as a replacement for a comaspect ratio for proper display of movies puter monitor, but with typical home enterand HD material. It accepts HD (or DVD) signals on component video tainment usage as well. This would be ideal for a student or an apartment inputs. While the need for HD on such a small screen is open to quesdweller. I can also imagine the W1700 in multichannel audio systems tion, this is an impressive feature set at this price level. where a small display is needed to monitor setup and adjustments for But that's not all. Dell uses the DCDi video scaler chip from DVD-A players and digital controllers. Faroudja Labs. Faroudja is known for its masterful line doublers, quadruplers and scalers, and my personal experience is that their The Picture products are exceptionally effective at making lower resolution materiLet's get to the hard part right away. The fact is that regular NTSC TV al (read: broadcast TV) watchable on higher resolution sets. In the broadcast signals frequently are the toughest signals for a display to hanpast, these benefits have come at a price. The Faroudja chip makes dle. Because they are low resolution, they practically refuse to look good, their technology much more affordable, and has been widely used in and on high resolution displays they severely tax the capabilities of builtDVD players with good results. I was anxious to see how it would perin scalers or line doublers (a tempting place for manufacturers to cut corform in a TV, seemingly an ideal application. ners). I have lived with many displays in the $3k to $10k range that met

4 AVguide Monthly

their Waterloo on this factor. The Dell, in contrast, looked superb on this basic material. Of course, a small screen helps immensely to hide signal defects. To partially get around this, I did most of my viewing at 2 to 3 feet, which is similar to watching a 32" display at 12 feet (a common distance in small rooms). I used both analog cable and digital DirecTV signals. On the Dell, I noticed far fewer motion artifacts than on my reference 34" CRT HD display. These artifacts are often noticeable on
"DVD, on the other hand, would certainly be a major source for many users of this sort of display. Probably because of its size, the Dell gave the illusion of a very smooth image. If you are accustomed to CRT displays with their scan lines and shadow masks, this display will seem to be a breakthrough."
sports programming as blurring when players move (football is especially tough because wide-angle views of the field make individual players appear rather small on the screen). Even without motion challenges to deal with, scalers often soften the edges of low-res material, yielding an ironic situation where your new HD display looks far less sharp than the old TV it replaced. The W1700 passed this test, too, providing a satisfyingly sharp image on standard broadcast fare. When I compared the Dell with a standard definition TV, the image on the Dell simply seemed finer grained, and a touch softer and smoother, as you would expect from a higher-resolution display. If you watch closely, you will see some evidence that the signal is being processed (e.g. noise at certain edges), but on this set it is nowhere near the distracting levels often seen in $1500-3000 HD displays. Unfortunately, I had limited time to watch HDTV signals, due to a set-top box equipment failure unrelated to the Dell. What I saw looked fine, with much of the crispness that I have seen on my other, much larger, HD systems. However, obviously a 17" display just can't deliver the raw impact of a front projection system (at, say, 110 or 120"). I also didn't get the uncanny illusion of depth in the image that the better HD projectors can muster. Even so, I think HD is the least likely material to be used on a display like this, so these shortcomings, if they are even shortcomings, seem minor. DVD, on the other hand, would certainly be a major source for many users of this sort of display. Probably because of its size, the Dell gave the illusion of a very smooth image. If you are accustomed to CRT displays with their scan lines and shadow masks, this display will seem to be a breakthrough. I have also seen LCD and DLP displays that seemed more grainy, but these were far larger. If you look carefully, from say 18" away, you will see some noise, as I mentioned seeing on NTSC signals, but this is very finely textured, and not nearly as objectionable as the noise we think of in broadcast signals. At normal viewing distances noise isn't really noticeable. Color accuracy was good, but not perfect. Color saturation was fine, in part because saturation and color temperature are available adjustments. Flesh tones, with both light and dark skin, were also well rendered. My only issue was with accurate rendition of greens, which seemed just a bit too yellow. Whether this is due to the lower color gamut of LCD displays or the lack of a hue control, I don't know. In any event, this was a very small inaccuracy, and one most people would likely not notice. The other commonly noted weakness of LCDs is black level limitations. Beyond a lack of definition in very dark scenes, limited black levels can give the sense that a very light fog has been cast over the

7 AVguide Monthly

support the main speakers, not overwhelm them. When you're satisfied that you have both tonal and frequency balance right for your system and room, the crossover will probably be lower than you expectedmy setting is 40Hz-and the gain higher. But you will have lost the feeling that the bass is coming from the corner, and the soundstage will have opened up (this is critical), and you'll no longer be aware of any sense of gap when the music moves from bass to midbass and back. At this point, for heaven's sake, jot down the numbers! Terry and Kevin got it about right in ten minutes. Two weeks later, when I tore the system apart and put it back together to accommodate some equipment changes, re-set up turned into an all-day affair, partly owing to my inexperience. But a great deal was owing to my having to do double duty: tweak and listen. But I did it solo, so it can be done.
"Many sub manuals recommend crossing over fairly high, but in my experience, doubling up the midbass leads to boomy sound. The RELs are designed to cross over low, as low as 25Hz in the case of the 108, and support the main speakers, not overwhelm them."
To get the phase and position right, I played Mickey Hart's Planet Drum [Ryko]. I know the recording well, and it has acoustic bass galore. That took no time. Gain and crossover took longer. I used Cantaloube's Songs of the Auvergne [CBC] and Ravel's Piano Concerto for the Left Hand [Chandos]. On the first, the lovely voice of Karina Gauvin needed to be placed properly against the small orchestral group behind her. With the concerto, I wanted that chorus of super-bass instruments at the opening to be right: deep, rich, swelling, gravelly but melodic. With most systems, you get some of these traits, but not all. The thematic information in those first moments is usually lost in a fog of low sound. Not with the RELs. I have heard this piece in concert, and heresy to say, I like it better on this recording. In a large hall, unless you are sitting in a front row or the closest balcony, you do not get the wave-like theme the contrabassoon, double bass, bass clarinet, et al., are presenting. And if you miss that, you miss the lovely shock: Why that's jazz! You'll get it later, no mistake. But Ravel announces it right off in that first low melody. Just Listening After I had the system tweaked to a T, I went for fun. First, I listened to Planet Drum. The Maggie/REL combo brings out the wonderful characteristics of the percussion instruments Hart gathered for this recording, in all their various glories, from the reverberation of the deep Earth drum to the flat "splat" sound of body percussion-the performers slapping their chestsand the muted (and different) clatter of stick and bone. Bells resonate and decay with beauty and depth. The Earth drum makes the house shake. Many systems reproduce this instrument as a kind of no-sound-just-feel, which used to be described as "pants-leg flapping bass." We are more refined in our tastes, these days, and want fuller reproduction. Some systems give this drum depth, but it remains shapeless. I've long wondered how it was made and how played. I still don't know, but the MG-12s and the REL combine to bring out a sense of a taut skin or light wood surface. The attack is relatively gentle and does not have a metallic quality. But then comes a resonating shudder, as if the drum's huge surface were laid across the room's very foundation joists, and your house were sitting over a cavern. I haven't heard it like this before. And of course the MG-12s' clarity brings out clear details of the singers' voices on this and other tracks, and each nuance of the complex instruments. This CD was recorded in a wooden room, with cathedral ceilings, on wonderful old microphonesNeumanns and Sennheisers, mostly. The Magnepan/REL system made it almost unbearably real. I mean that. This was not just goose-bump, this was skin-crawl time. Eerie. Which of course Hart intended it to be. Then, to get the sense of a small ensemble performing in a live space, I turned to Salterio [MA Recordings], with Begoa Olavide playing Medieval music on various psalteries, stringed instruments capable of surprising richness and vigor. The ensemble includes other stringed

instruments, drums, and percussion, and the music and sound come together into a strange, seductive tapestry that's at once virile and tenderand somehow alien, as if you're being serenaded by musicians of another species. This feeling probably comes from the modal style of the early Spanish-Moorish music and is enhanced by the long reverberant time of the monastery where the album was recorded. I heard new sounds in this piece, harmonics of the psaltery, largely. And deeper stirrings from the drums, which added to the otherworldly feel, even as I was drawn in. It takes a good system to produce emotions that are this central to our response to music. It also takes a foundation of deep, realistic bass, the subterranean underpinnings of music and of emotion made manifest. After I've feasted on the unfamiliar in musicfor the thrill, almost fear, of new experienceI need to come back to the known, with its different but still powerful excitements. Britten's Cello Suites [London], played by Rostropovich, are rich and texturedand ineluctably Westernas only a cello can be. The clarity of this system brought out the Bach-like counterpoint of these compositions, achieved by the one instrument's quick mixing of melodic themes, each lingering in your ear as the other moves into the sonic foreground. This can get muddied by less transparent systems. You must also experience that "continuous" flow of real music for the composer's trick to light the bulb in your brain. You need every nuance, and on cue. This is a fine recording, marked by Rostropovich's full-bodied instrument and a room that's live but not too. And marked as well by one's memory of his playing on the Bach unaccompanied suites, though the sound on this old recording is better than on the Bach. That memory furthers the impression of the virtual counterpoint on Britten's composition, and creates, for me, one of music's intensely magical moments. By now, it was late, but I wasn't ready to stop. I went for pop and gospel. I even tried out a new CD/DVD-A player, on DVD-As. (That's for next time.) The sound was wonderfulfull, resonant, clear, musical. I stopped taking notes and played on into the night, finishing with a recent [not commercially available] CD of Odetta, her voice rich and sly with the joys and sorrows of timeBlues Everywhere I Go. And that was about all the goosebumps a body could take in a single evening.

System Budget, thus far Magnepan MG-12QR Loudspeaker: $1099 REL Q-108E subwoofer: $749
Specifications REL Q-108E Closed box subwoofer, using REL Zero-Q loading system Price: REL Q-108E subwoofer: $749 Driver: 200mm long-throw, steel chassis Frequency response: 23Hz Input Impedance: Hi-level 100k/ohms Gain Control Range: 80dB Power output (RMS): 100 watts Phasing: Positive or reversed Dimensions: 9.96 x 11.57 x 10.7 inches Weight: 16.28 pounds Manufacturer/Distributor Information REL Acoustics Limited (UK), distributed in the U.S.A. by: Sumiko 2431 Fifth Street Berkeley, CA 94710 Phone: 510-843-4500 www.sumikoaudio.net Associated Equipment Marsh Sound Design A400 amplifier; Marsh Sound Design P2000 preamp; Thorens TCD 2000 CD Player; Rotel RDV-1060 CD and DVD player; Monster Cable HS 53500 power-line conditioner; Be One 306 speakers; Monster Cable Reference 2 interconnects; various speaker cables

8 AVguide Monthly

Thuus Thompson
A Real Turntable at an Unreal Price
Music Hall MMF 2.1 Turntable & Tracker Phono Cartridge
ntil recently, my main music source has been a combination DVD, CD, and multichannel SACD player. SACD is a great technological advancement and its compact size and easy use make its thoroughly realistic sound all the better, but paradoxically it's in the area of overall realism that SACD leaves me wanting more. While the soundstaging and overall tonal accuracy of SACD are stunning, it fails on the whole to produce the rich, deep tones that really
"When the right music-music with a strong, pleasing midrange or even just with a technical set of notes-is played, however, the MMF 2.1 adds an indescribable richness."
send shivers up your spine and make you want to jump up and start wailing on the air guitar. SACD is the kind of sound that you listen to while writing email or browsing eBay. That's where vinyl comes in. I recently had the opportunity to put a turntable back into my system, and whether because of, or in spite of, being far from the high-tech wonder that is SACD, it never fails to amaze. Analog creates the kind of sound that captivates its listeners so that they can sit down, listen to music, and do nothing else for hours, simply because it's that good. And for those who think that turntables are only for audiophiles with deep enough pockets to pay thousands for the aforementioned rich, deep tones, Music Hall has the answer. For only $349, including arm and pre-installed cartridge, its MMF 2.1 turntable is an inexpensive satiation of the hunger for more enjoyable sound. The MMF isn't anything too flashyblack everything, with a squarish, clear dustcover; its looks are simple and understated, as is its sound. With this turntable you don't really get any signature sound qualities. If you were blindfolded and asked what you were listening to, your answer would simply be "a nice turntable." The wonderful thing about the MMF is that, other than the all-important analog quality, it has no amazing, extraordinary features. But it also shows no glaring impurities. Nearly flawless as it is, the most prominent blemish on the MMF's tonal range is easily in its treble, which seems a bit bright, particularly in contrast to the strong, rich bass tones it produces. The brightness is especially audible on material such as Hendrix's Electric Ladyland [MCA], where his incendiary guitar tends to be slightly overemphasized as it gets higher pitched. At this price, however, one can't really fault Music Hall for a little excess treble content. The midrange of the MMF 2.1 is one of its strong pointsagain, not overpowering, but simply true to the music that it plays. When the

9 AVguide Monthly

Sounding Board
Definitive Technology's Sandy Gross on Loudspeaker Design
The Case for Bipolar Loudspeakers with Built-in Subwoofers
I owned was the KLH 9 full-range electrostatic. This was in 1972. These speakers had a "you are there" imaging presence and box-less sound quality I had never heard before. There were many reasons for this, but an important key to their performance was the fact that they radiated sound both forward and rearward. To me, imaging is the real magic in a loudspeaker's performance. All the conventional parameters of a loudspeaker's performance (linear wide frequency response, low distortion, excellent transient response, etc.) are important, but imaging is that elusive quality that brings the musicians into the room or brings you into the concert hall or into the movie. Imaging allows the suspension of disbelief and lets you imagine that what you are listening to is real. The KLH electrostats were wonderful in this regard. Full-range electrostatic panels of that day, including the KLH, however, had many shortcomings, including very high price, large size, difficult power requirements (I used a set of Futterman output transformer-less vacuum tube amplifiers, which did a better job than most with problematic electrostatic speaker loads), limited dynamic range, limited bass performance, positioning difficulties, etc. It seemed to me that it would be fantastic to create a loudspeaker that brought the benefits of these exotic, impractical panels into a product that made sense for the majority of listeners in the real world. I designed my first bipolar Sandy Gross announcing cost-reduced Definitive Super Towers at CES 2004 loudspeaker in hris Martens recently reviewed the Definitive Technology 1973 or 1974, a narrow-format BP7001SC Bipolar SuperTower for The Absolute Sound (Issue tower incorporating multiple 146). During the review process, I discussed with him at some small-diameter bass/midrange length two of Definitive's signature technologies, specifically bipolar drivers arrayed on both the radiation and built-in powered subwoofers. Chris believed these confront and rear baffles along cepts would be of general interest to AVguide Monthly readers, and with piezoelectric tweeters and asked me to write a short piece describing them (without, of course, passive radiators. It was quite successful in the market"our first product, the BP10 loudspeaker, was also a nar- place. It also row tower with basically two complete full-range driver brought me a from arrays. One faced forward and the other rearward. This phone call loudthe great is the basic concept of a bipolar speaker. The two driver speaker designDahlquist arrays radiate sound (in phase with one another) in what er Jon was also (who is basically an omnidirectional pattern, exactly as sound is introducing a loudspeaker with radiated in real life from an original sonic event." a piezoelectric tweeterthe turning the article into a 2-page ad for my company). soon-to-be-famous, time-aligned I have always liked speakers with unconventional radiation (i.e., Dahlquist DQ-10, which non-forward-radiating) patterns. The first true audiophile loudspeaker was known for its "boxCross Section of the Original BP2000

10 AVguide Monthly

less" sound) and led to a long and enjoyable beyond the obvious ones of better coupling to friendship between myself and Jon, as well the room and more linear response (itself as with his partner, the late Saul Marantz owing to better spreading out of the excitation (Marantz not only founded the company of the room's eigenmodes). For example, you which still bears his name, but was the crecan engineer the subwoofer as an integral part ator of a number of classic high-end audio of a true full-range system, as we do in the components; he also recognized and helped Definitive "SuperTowers," rather than designing cultivate design talent in othersincluding a general-purpose subwoofer that has to be Jon Dahlquist and tuner-wizard Dick adaptable for use with a variety of other sysSequerra). tems. We design our speakers to take full When my partners, Don Givogue and Ed advantage of the fact that they incorporate Blais, and I started Definitive in 1990, our first built-in subwoofers by further optimizing the product, the BP10 loudspeaker, was also a performance of the rest of the system (which no narrow tower with basically two complete fulllonger has to handle the mid- and low-bass frerange driver arrays. One faced forward and quencies covered by the subwoofers) and by the other rearward. This is the basic concept properly integrating the subwoofers into the of a bipolar speaker. The two driver arrays system. This level of integration is very difficult radiate sound (in phase with one another) in to achieve with a single stand-alone subwoofer what is basically an omnidirectional pattern, (since it is tricky to get one subwoofer to blend exactly as sound is radiated in real life from equally well with multiple satellite speakers that an original sonic event. This technology proare placed several feet apart). In practice, the vides a lifelike balance of early-arrival sound subwoofer-within-main-speaker idea has really information, which provides focus, clarity, and caught on with the public, though I think some location data. This combines with properly customers probably value the idea as much delayed complex and somewhat random latebecause it eliminates an extra subwoofer box arrival ambient information (just like the ambior two as for the better sound quality it affords. ence of an instrument in a concert hall), which But I really do want to stress that, when properconveys the lush, natural three-dimensional ly utilized, building a powered subwoofer into soundstage of a live musical performance or the speaker allows you to optimize many other cinematically portrayed event. These effects aspects of the speaker's design, and the resultvery much help to make the walls of the lising performance (at least in the case of tening room disappear and expand the apparDefinitive) is clearly superior for both music and ent size of the listening room into something home theater. Not surprisingly, when the Dolby that more closely approximates the soundfolks introduced Dolby Digital, they demonspace in which the live event took place. strated the then-new system with a separate Listeners I've spoken with consistently find subwoofer for every channel and still recomthat the difference bipolar technology makes mend this approach for top performance. is dramatic, involving, and quite captivating. Interestingly, you can also make, as There is another benefit of bipolar techDefinitive does, bookshelf speakers and center nology, which is not as important to me as a BP2000(left) and BP7001(right) SuperTowers channels with built-in powered subwoofers. critical listener but has been praised by many The concept of a built-in powered subwoofer in reviewers and listeners. Because a bipolar the center channel is often misunderstood. It loudspeaker closely approximates an omnidirectional sound source, it goes way beyond just putting more bass energy into the room: The intent does a better job of delivering superior sound throughout the room for is really to make the center channel a true full-range loudspeaker (i.e., all listeners in that room. In effect, the "sweet spot" is greatly expandone with extended bass capabilities) in order to give it total harmonic eda real-world benefit for listeners integrity, which is important for who tend move around the room or "To me, imaging is the real magic in a loud- both music and home theater. who share their music listening or speaker's performance. All the conventional Remember that in many movie movie experiences with friends and (and parameters of a loudspeaker's performance (lin- mixes mixes some multichannel family. audio Ed.), the center Now let me talk a little about ear wide frequency response, low distortion, channel is really the main chanbuilt-in powered subwoofers. excellent transient response, etc.) are important, nel. Because of the logistics of Definitive was the first company to setting up a home theater, the introduce the concept of built-in pow- but imaging is that elusive quality that brings the center channel normally has ered subwoofers to the musicians into the room or brings you into the size limitations. Building in a marketplacetechnology that first powered subwoofer in effect appeared in the BP2000 loudspeaker concert hall or into the movie." allows the center channel to we released several years ago. achieve the performance of a Interestingly, our concept grew out of our search for better-quality large full-range floor-standing tower. It can have much the same effect in audiophile/music reproductionnot out of a search for a place to bookshelf speakers. Building a subwoofer into smaller speakers allows "hide" the subwoofer in a home theater system. Our belief was (and the designer to put some of the performance of a large tower into moderstill is) that there are significant advantages (especially for the subately sized models. tleties of music reproduction) in having dual stereo subwoofers that Definitive Technology SuperTowers are designed on the concept that have been specifically engineered to blend ideally with the rest of the bipolar driver arrays and built-in powered subwoofer technologies comspeaker system. In addition, two subwoofers are really a lot more bine to bring more realistic and satisfying musical reproduction into all powerful than one. By locating the subwoofer(s) at the same position home-listening environments. Importantly, these design approaches yield as the rest of the speaker system(s), you also eliminate the inconsisproducts that offer many of the advantages of large, exotic, and expensive tencies related to variable placement of the subwoofer(s) in the room. high-end loudspeakers, but that take up less space, and that can be built We also believe that there are sonic advantages to stereo subwoofers (and bought) for a fraction of the price.

Copyright 2004, Absolute Multimedia 11 AVguide Monthly

Jim Hannon

A River (of Sound) Runs Through It
Flexygy 6-Conductor Loudspeaker Cable from River Cable
he garden hose sized and/or stiff speaker cables many of us like to use in our audio systems are impractical and, oftentimes, cost prohibitive in home theater and multi-channel audio installations, but how much does one sacrifice by moving to an inexpensive, flat, flexible cable able to be molded against the baseboard or discretely hidden under carpeting? Well, if your experience with the Flexygy 6-Conductor Loudspeaker Cable from River Cable mirrors my own, the answer may surprise you. There's a lot of beef between the buns heresolid engineering, installation flexibility, seductive musicality, and the ability to "lock in" with a wide range of speakers and electronics. Not only is the cable a boon to home theater enthusiasts, it will be equally at home in many demanding audiophile systems. If you own Quads or other electrostatic speakers, take note. Cable companies seem to be popping up all over the internet promising sonic nirvana, but River Cable is no flyby-night cable operation. It has been providing cabling solutions to the demanding (think "Type A" personalities stoked on lots of caffeine) professional recording and broadcast industries for a couple of decades, and this experience pays off in the design and quality of this new speaker cable. Minimizing the proximity of individual conductors by its flat, side-byside layout, the Flexygy 6 offers low resistance and near-zero capacitance, extraordinary flexibility, and a lot more finely stranded, high quality copper than you would expect. With a cadmium free protective jacket dressed with a proprietary gold mesh, combined with user friendly gold plated spade connectors or excellent, locking banana plugs, this cable exudes the feeling of quality found in products costing much more. River Cable supplies a set of individual test results for each speaker cable, certified by a quality control engineer. After examining the build quality of these cables, I'm not surprised they offer a lifetime warranty. Given its modest price, the sound of the Flexygy 6 was pretty stunning. The fine results I obtained from a home theater system with the Final Sound electrostatics, reviewed in AVguide Monthly Issue #2, and NAD AVR was due, in part, to the Flexygy 6. Moreover, the low capacitance design of these cables also worked amazingly well with my modified original Quads, offering a delicacy and naturalness with mass strings, voice, and sax that must be heard. Just listen to Maria Freni on French and Italian Opera Arias [EMI] and Coleman Hawkins on Night Hawk [Prestige] and you'll immediately hear what I mean. On Stravinsky's Petrushka [Decca], the soundstage was well focused and precise, and the tonal balance was spot-on without any added sibilance or bloat. This cable also locked in well with a promising dynamic speaker system I have in house for review, the Hyperion HPS-938, demonstrating excellent speed, accuracy, and realism on a variety of jazz and classical piano recordings. The difference in sound between the Flexygy 6 and cables a dealer might throw in to complete a home theater or audio system is dramatic. Comparing the Flexygy 6 to a couple of mass marketed, 14 gauge copper cables, I noticed the Flexygy 6 expanded the soundstage, yielded much better image focus, tightened up the bottom end, reduced overall grunge, increased transparency, and more. These were not subtle changes. Despite my enthusiasm for this cable, it is not for everyone. If you like a forward, front row experience, you should look elsewhere. The Flexygy 6 gives one a mid-to-back of the hall perspective. Although I prefer this seating in a concert hall, you may value a more vivid, soundin-your-lap perspective. As is the case with other cables, the Flexygy 6 will not "lock in" with all amplifier/speaker combinations, so you should audition it in your system. With the Genesis V speakers driven by tube amps on the top, the low capacitance and resistance Flexygy 6s were

15 AVguide Monthly

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Chris Martens

Tiny but Mighty Surround Sound Speakers
ProAc Response Hexa 5.1 Channel Speaker System
lthough the name ProAc is not widely known in the USA (except in audiophile circles), the fact is that many audio and home theater enthusiasts find their first exposure to ProAc loudspeakers an unforgettable, ear-opening experience. Why? Speaking from personal experience, I would say the answer has to do with several very specific characteristics of the ProAc "house sound;" namely, extraordinary transparency, dynamic liveliness, and freedom from grain. For many, that first taste of the ProAc sound leaves the lasting impression that few other speakers offer as direct, immediate, or pure a connection to music or to film soundtracks (be careful: once you've heard ProAcs, you may find that some competing speakers suddenly seem a little sluggish, colored, or coarsely textured). While I've heard ProAc speakers in two-channel music systems on many occasions, I had neveruntil now, had a chance to sample the firm's dedicated home theater speaker system, called the Response Hexa system ("Hexa" because the system includes six components: four satellites, one center channel, and a powered subwoofer). Let me share my findings with you. Before we go one step further, though, there are two things you need to know; first, a lot of ProAc designs use very high quality drive units installed in extremely small enclosures, and second, ProAcs are as a rule fairly expensive. Together, these points make for some inevitable sticker shock when one first sees ProAc speaker systems and then learns their prices
er cabinets constructed from finely laminated and richly veneered marine grade plywood, and with recessed wiring pockets on the backs of each speaker sporting robust, gold-plated bi-wire binding posts. High quality drive units are used throughout the system whose satellite and the center channel speakers feature flush-mounted silk-dome tweeters (with neodymium magnets cooled by radially-finned heat sinks), and using

"The closer you look, the more obvious it becomes that, though diminutive, these are in every sense high-end loudspeakers."
clear (as in "you can see through them") mid/woofers drivers whose cones use the same materials as found in ProAc's more costly Response One SC speakers, etc. The closer you look, the more obvious it becomes that, though diminutive, these are in every sense high-end loudspeakers. Setup is simple. You'll want to place the satellites on stands that raise the speakers to ear level (I used Sanus' Steel Foundations stands for my listening tests), with the center channel placed on its side above or below your display. The subwoofer has a small enough footprint that it can be tucked away in a number of locations in the room without drawing much attention to itself. The Response
(one just can't help thinking, "They want how much for those little things?!?"). Here in the land of super-sized fries and 2 ton SUVs, we're seemingly conditioned to think that bigger is always better, and the tiny ProAc Response Hexa system don't fit that paradigm at all; indeed, about the only two things that are "big" about the system are its sound and its hefty (though not necessarily unreasonable) $4500 price tag. But, better a small speaker with a big sound than the reverse, eh? As we talk about the Response Hexas, just keep an open mind and remember that very good things do sometimes come in small packages. The Response Hexa system is comprised of four identical and truly tiny (8" x 5 " x 6") 2-way satellite speakers, a somewhat larger (8" x 13" x 6") center channel speaker that uses the same driver units as the satellites but with one extra mid/woofer (set up in the popular mid-tweeter-mid configuration), and a compact powered subwoofer with downward-firing 8" long-throw woofer. Those with an eye for detail will find the Hexa system's build quality is exquisite, with speak-
Hexa instruction manual specifically recommends using a main-speaker-to-subwoofer crossover frequency of 80 Hz, but again and again you find yourself eyeing the tiny satellites and not much larger center channel speaker and wondering if they could possibly go down as low as 80 Hz (in fact they do, but those small enclosures do make you wonder). I found the Response Hexas were not at all finicky about placement, provided the satellites were placed at ear level and kept them away from nearby objects (the satellites offer such broad dispersion that you could hear reflections from nearby objects, so do give them some "breathing room" and be sure not to cram them in too close to the sides of adjacent wall units or RPTVs). Once you settle down to listen, you're in for some pleasant discoveries. First, more than most home theater speaker systems, the Response Hexas offer terrific imaging and reproduction of depth (front-to-back) cues in music or in film soundtracks; with the Hexa systems, you know exactly where individual sounds are coming from. Most 5.1 channel surround speaker systems I've heard sound best with all speakers in action, almost

18 AVguide Monthly

Scot Markwell

All Bottled Up

The EuroAudioTeam KT-88 and 300B Tubes
t's a funny world. How many of us, 20 years ago, would have predicted that the Second Coming of vacuum tubes would be upon us in 2003? Yet the sheer number of tubed products that exist in today's marketplace is staggering. While in terms of circuit design, much of the equipment you can buy these days is simply rehashed from yesteryear, there are also quite a number of original and innovative derivative offerings from talented designers. It would seem to follow that there should be some new tubes out there, as well. After all, what is the point of having advanced technology, materials, and parts if we do not take advantage of them and forge ahead with new thinking, rather than simply spinning in place? In point of fact, development of new tubes has, for the most part, been virtually non-existent in the last few decades. However, a shining example of original and innovative thought in triodes has been Jozefina Krahulcova, EuroAudioTeams founder and chief consultant growing and expanding in Central Europe since 1993, evolving in ever-increasing odd jumps and latlast several years, cooperated to build some of the world's most advanced eral shifts, to finally emerge as EuroAudioTeam (EAT), an internationaircraft, EAT believes that its combination of like-minded people from seval/European cooperation between Austria, Germany, Switzerland, the eral countries can virtually guarantee a satisfying musical/technical soluCzech Republic/Tesla, and the UK. Their stated goal is to be a manution, one close to its ultimate reference: live acoustic concerts and hence facturer and distributor for the highest quality vacuum tubes and anathe absolute sound. For a few years before EAT's launch, members of the log high-fidelity products. The first products from this new concern team visited numerous international audio shows to get up to speed on were versions of some big new triode tubes (52B and 32B) that Alesa what was happening with tubes and analog in the High End, as well as Vaic invented almost a decade ago. They now manufacture several researching new materials and manufacturing techniques. Though others, including the KT-88s and 300Bs that are the focus of this report. Krahulcova and others never forgot the old factory workers who knew so The factory (a portion of the old Tesla tube factory in Prague, Czech many tricks of the trade from years of making tubes on the line, they wantRepublic) cranks out the parts and materials, and then final assembly ed to combine that expertise with modern materials and manufacturing and listening sessions with refertechnology to develop a way to build ence source materials take place "Broadly analogous (albeit on a much smaller tubes that had a natural, non-fatiguin Switzerland. scale) to a concern like the Airbus Consortium, ing, and non-euphonic sound, their Jozefina Krahulcova, an laudable goal being to return lost MBA student and passionate another European venture that has, in the last emotion and realistic excitement to devotee of opera and live con- several years, cooperated to build some of the music. Slowly, the team has built up certs, is EuroAudioTeam's world's most advanced aircraft, EAT believes momentum. Currently they have founder and chief consultant. obtained a number of distributors that its combination of like-minded people from around the world: Austria, Germany, Since the company's beginning, Krahulcova and her German several countries can virtually guarantee a satis- the UK, Scandinavia, the USA, and, importer, Joe Farkas, have been fying musical/technical solution" most recently, Japan. handling all aspects of the projSo now I am sitting here listenect. EAT, with Krahulcova and Farkas, is now a fixture at many internaing to the fruits of all of this work. Although EAT's biggest focus has been tional audio shows and events. on manufacturing high-quality SET tubes, they have recently begun makBroadly analogous (albeit on a much smaller scale) to a concern ing KT-88s that, they say, are tailored as closely as possible to the origilike the Airbus Consortium, another European venture that has, in the nal specs of the old (and almost impossible to find) British Gold Lion mod19 AVguide Monthly

Copyright 2004, Absolute Multimedia 20 AVguide Monthly
This tube is a bit of a different critter than the 300B in that it is destined, for the most part, to be used in larger push-pull designs rather than smaller SET amps. In the case of the VAC, two per channel are good for 100 watts a side. With conventional ECC 82 tubes for input and drive duties and solid-state rectification, this baby is already a lean, mean, amplifying machine. Equipped from the factory with selected Chinese KT-88s, it is a solid performer, with a better bandwidth than most other tube amps, no matter what persuasion. I was quite impressed with the sound of the thing "standard." But with the EAT KT88s, their sound became much more involving, with, again, even greater extension at the frequency extremes, and a greater sense of refinement in the whole presentation. Wide, wide dynamics were the order of the day, along with a finesse not usually associated with pushpull designs. Most of my live orchestral listening for the last 11 years has been in New York's Carnegie Hall (up close, say, rows four to ten), where the sound is pristine and clear, but a bit on the lean side, with taut, hard-hitting bass that is rich in transient impact, but with no added warmth such as can be heard at, say, Boston Symphony Hall or (on recordings at least) like the Sofiensall in Vienna (sadly now burned down). I have become quite familiar with and enamored of the sound of instruments played both solo and en masse in Carnegie, and I have admittedly (and somewhat unconsciously) tailored the sound of my home system to simulate that signature. Well the EAT KT-88s (as well as the 300Bs) have that same quality, and that, to me, makes them the most realistic-sounding of the competition. Some time after I began listening to these tubes in my home system, I managed to get a full set of KT-88s for the Antique Sound Labs Hurricanes that are currently Harry Pearson's reference amplifiers. These each take eight output tubes for 200 watts per monoblock. The difference in these amps with the EAT tubes over the Chinese "stockers" was dramatic. The original KT-88s were sweet and grainless with an excellent midbass foundation, but a bit soft in the extreme highs and just a little veiled-sounding. When we went to the EATs and got them broken in, the amplifiers still sounded like themselves, but now they had an extra measure of transparency, high-frequency extension, and a much tighter and well-defined midbass, with much more extended and controlled lower bass. Enough almost to defy logic. These tubes rule the Hurricane amps like nobody's business. Stay tuned to The Absolute Sound for a report from HP on the selfsame amps outfitted with these EAT KT-88s. I am most impressed with these tubes. They sound, in the systems and with the equipment I have detailed, as I have described. This sound will not be to everyone's liking, I predict, especially not with those who favor the "classic" warmer 300B sound. But for people who want music reproduction that is closer both to what is actually on the recording and to what real music sounds like, these tubes are a musthear. Although they are expensive, they give the listener exceptional sonic performance, and that goes a long way toward justifying their cost. I look at them not as a good short-term value but as a long-term musical investment. My only real concern here is with extended reliability. I have experienced a couple of (dead-out-of-the-box) failures that seemed to stem more from rough handling in shipping than any manufacturing defect, but that is the nature of fragile physical devices (just in before press time: I confirmed with the manufacturer during a recent visit that these two tubes had in fact been broken internally, probably from shipping damage. They would not accept bias). Many years ago, when the world still ran on tubes, the rate and density of manufacturing of these things was so great that any breakage generally was compensated for by volume. These days, however, premium vacuum tubes are just too

expensive to take undo risks with packaging. Over time, I have watched EAT's packing improve to the point where the new boxes would have to get completely physically crushed to hurt the tubes inside, even if handled roughly. And the boxes, especially the hand-painted ones that occasionally pop up, look classy, too. I have experienced only one outright catastrophic failure during use, something that would be covered by warranty. That being said, every amplifier that I tried with these tubes improved dramatically with their use (including, by the way, the fabulous Tom Evans Soul 30 wpc hybrid Single Ended Tetrode stereo amplifier). I will watch this carefully, and report any undue occurrences, but it would seem that the teething pains are now worked out. As of this writing, a full set of 16 EAT KT-88s are playing in Harry Pearson's Hurricane amps every day for several hours, and I have been running another set of four at home in a VAC Super Avatar 80 wpc integrated amp with excellent results. I also routinely play my Viva 300B integrated and those tubes are running strong and sounding excellent. Since my initial tube failure problems I described above I have experienced nothing else at all except correct performance; I have also noted the fact that the tubes, once set, hold their bias well. I shall continue to play the heck out these fire bottles and report any further refinements. Meanwhile, assuming you like your music straight up, honest and alive, I will bet my bottom dollar that you will fall hard for these babies. Just arrived news from EuroAudioTeam: The anouncement of EAT 300B Audio grade Teflon Sockets
Distributor Information: TheMusic.com 1027 N Orange Drive Los Angeles, CA 90038-2317 Ph: 1-800-457-2577 Fax: 323-466-1437 info@classicrecords.com www.TheMusic.com Tube Retail prices: KT-88 Standard Series (I used these for the review): KT88 (matched pair): $235/ea ($470 per pair) KT88 (matched quad): $250/ea ($500 per pair) Diamond Series KT88 (matched pair) $250/ea ($500 per pair) KT88 (matched quad) $275/ea ($550 per pair) 300B $440/ea Associated Equipment VPI HW-19 MK IV turntable w/VPI JMW Memorial 10.5 arm; Clearaudio Harmony Wood and Insider Master Reference Wood, Madrigal Carnegie 1 MC cartridges; Plinius M-14 (SS) and Hagerman Technologies (tubed) phono sections; Plinius M-16 (SS) and Emotive Audio Sira (tubed) line stages; Ayon Audio Classic 32B, Viva 300B, Vaic VV52 B SET amplifiers, VAC PA 100/100 and Super Avatar, ASL Hurricane push-pull tube amplifiers; Forsell Air-Bearing CD Transport and EAD Theatermaster DAC; Reference 3A Royal Virtuoso, Alon Lotus Elite, Horning Agathon, and Living Voice Avatar OBX loudspeakers; Chase Technologies CH-1 passive surround decoder with a pair of small Radio Shack Minimus speakers for surround sound, SLM/Janis subwoofer with Crown Macro Reference amplifier; Siltech Gen III, Audio Magic, and Stealth Technologies cables, Arcic Suspense Rack.

These products are already on file in the dimensions database Manufacture DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON Model Number AVR5800 AVR810 AVR881 AVR900 AVR982 CDR1000 CDRW1500 DA500 DAP2500 DCD1500 DCD1520 DCD2700 DCD3300 DCD3520 DCD425 DCD510 DCD590 DCD595 DCD615 DCD620 DCD660 DCD695 DCD700 DCD815 DCD860 DCM260 DCM270 DCM320 DCM340 DCM360 DCM370 DCM420 DCM440 DCM444 DCM450 DCM460 DCM5000 DCM5001 DCM520 DCM550 DCM555 DCM555II DCM560 DCM65 DCM777 DE70 Page 12 of 114 Rack Spaces Shelf Depth 6 17.15.15.11.15.11.15.11.11.11.11.11.11.15.11.11.15.15.15.15.15.17.15.15.15.20.17.15.15.15.14 As of 5/3/02
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These products are already on file in the dimensions database Manufacture DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON DENON Model Number DRR680 DRR730 DRR780 DRS640 DRS810 DRW580 DRW585 DRW660 DRW830 DRW840 DRW850 DTR2000 DVD1000 DVD1500 DVD2000 DVD2500 DVD2800 DVD3000 DVD3300 DVD5000 DVD800 DVM1800 DVM3700 DVM4800 LA2000 LA2100 LA2300 LA2500 LA3000 LA3100 LA3500 PMA560 PMA700V PMA737 PMA915R POA2400A POA2800 POA5200 POA800 POA8200 POA8300 PRA1100 PRA1200 PRA1500 PRAS10 TU1500RD Page 14 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.11.11.11.11.17.17.17.17.15.15.17.17.15.17.15.15.17.11.11.11.11.11.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture EXTRON EXTRON EXTRON EXTRON EXTRON EXTRON EXTRON EXTRON EXTRON EXTRON FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FAROUDJA FIDLIPAC FISHER FISHER FISHER FISHER FISHER FISHER FISHER FISHER FISHER FISHER FISHER FOCUS FOCUS FOR A FOR A FOSGATE FOSGATE FOSGATE FOSGATE FOSGATE FOSGATE Model Number SW2VGA SW2VGADA2AF SW4AR SW4ARHVXI SW4RMXHV SW6AR SW6SVMX SWY VSC100 VSC100GX DV1000 DVP5000 DVS2500 LD100 LD1000 LD200 NLD200 NRS PICTURE PLUS VP100 VP250 VP301 VP400 VP600P+ 340 AD870 CA870 CRW50 CRW56 CRW683 CRW870 EQ870 FM870 FM9335 FVH5550 FVH6500 TV VIEW PRO AV TVVIEW FA800 VTWDSLTWO DSM3602 DSM3606 DSM3608 DSM3610 Page 18 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.17.17.20.17.17.17.11.17.20.20.20.11.11.11.11.11.11.11.11.11.11.11.11.15.15.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture FOSGATE FOSGATE FOSGATE FOSGATE FOSGATE FOSGATE FOSTEX FOSTEX FSR FSR GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GATEWAY GE GE GE GE GE GE GE GE GE GE GE GEMINI GENELEC GENELEC GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT Model Number M60MKII MODEL1 MODEL3PROCESS MODEL4 MODEL5 MODEL560 6301B DUAL 6301B SINGLE KVM10 VSM10 ATXSTFE4600 ATXSTFFEDPERFORMANC.1000 ATXSTFKYS SELECT1200 DCM E3200 EV700 G6266 GS233 P55C166 USWEST 97785 ADUV3800 CABLEMAX GE1105P GRD33G2A VG7775 VG7785 PL9 1029A HT2730R 2750R 3501 4DTV 5507 650I CATV CONVERTER CFT2024 CFT2200 DCT1134 DCT1234 Page 19 of 114 Rack Spaces Shelf Depth 2 11.11.11.11.11.11.11.20.20.20.17.17.20.20.17.17.11.15.15.15.11.11.11.11.11.15.11.11.11.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENERAL INSTRUMENT GENTNEL GENTNER GO VIDEO GO VIDEO GO VIDEO GO VIDEO GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GOLDSTAR GTE GYYR GYYR GYYR HAFLER HAFLER HAFLER HAFLER HAFLER HAFLER Model Number DCT2224 DP5DRXDRZDL4 DPBB7322/RIMI DPBB7322M1 DPBB7322R2M1 DPBB7512PR2 DPV5212R3 DPV7212 DPV7234 DRX3DIC105 DRZ3 DSR4200 DSR920 DTC1234 DTC1234/1151/ABCDEFH/R2 DTC2224 DTC2244/1161/ABCDEF GI3501 HDD200 RC550 STARPHONE SFT GTDDMDV7000 DVR5000 GV10W GV8020 1410+ 1460DL 1465DLS 1710 GHV1280M LG486 LG5P SPACENET TLC1800 TLC2196HD TLC2400 110A 330 DH101 DH220 JF200 SERIES9130 Page 20 of 114 Rack Spaces Shelf Depth 2 11.11.11.11.11.11.11.11.11.11.11.11.11.15.17.15.15.17.17.17.11.15.11.11.15.11.11.11.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON Model Number 1.ADP303 AV1200 AVP2 AVR10 AVR110 AVR15 AVR20 AVR210 AVR25 II AVR30 AVR500 AVR510 AVR65 AVR7000 AVR75 AVR80 AVR85 CDR2 CITATION 22 CITATION 23 CITATION 25 CITATION 5.0 CITATION 5.1 CITATION 7.0 CITATION 7.1 DC520 DC5300 DC5700 DVD5 DVD50 EQ8 FL8300 FL8350 FL8370 FL8380 FL8400 FL8450 HD710 HD7225 HD7450 HD7525 HK3250 HK3270 HK3370 Page 21 of 114 Rack Spaces Shelf Depth 5 15.15.11.15.15.15.17.15.15.15.17.17.20.17.17.17.15.15.17.17.11.17.17.15.15.15.15.15.15.15.15.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMAN KARDON HARMON VIDEO HAYES HEWITT RAND HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HEWLETT PACKARD HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI Model Number HK3400 HK3550 HK3600 HK620 HK795I PA2100 PA2200 PA2400 PT2300 TD212 TD392 TD420 TD4200 TU905 TU909 TU930 TU9600 ALD1 ACCURA HRPS233MX 3400A 3440A 350D 3593A 5382A A2655A A4027 A4032 D2804B D2821 D2825 SURE STORE SVGA1024I VECTRA VECTRA VE 6/350 VECTRA VL VECTRA VL400 VEG/350 13GA1BA CT1396 D2200M DA501 DAC70 DE26 Page 22 of 114 Rack Spaces Shelf Depth 3 11.11.17.11.11.20.11.11.11.17.15.20.17.17.20.17.17.15.15.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI HITACHI Model Number DW800 F372 F482 F494 FT1 FX631 HDS100R HTA4000 RCC10 UX605 UX615 UX617 V089 V099 V1100A VT1720A VT2600A VT3800A VT498EM VT4990EM VTF350A VTF372A VTF381 VTF382A VTF392A VTF494 VTF99EM VTFX623A VTFX6510A VTFX665 VTM137A VTM171A VTM260A VTM598 VTM70EM VTM768EM VTP1000 VTP3000 VTS730A VTS751A VTS772A VTUX625A VTUX627A VTUX6430A VTUX6450A VTUX6570A Page 23 of 114 Rack Spaces Shelf Depth 2 11.11.11.11.11.17.17.17.15.15.11.11.11.11.15.15.15.11.11.11.11.11.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARANTZ MARK LEVINSON MARK LEVINSON MARK LEVINSON MARK LEVINSON MARK LEVINSON MARK LEVINSON MARK LEVINSON MARSHALL MATRIX MATRIX MAX TECH MAX TECH McCORMACK MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH Model Number SR63 SR66 SR680 SR7000 SR7200 SR73 SR8000 SR8200 SR82MK2 SR870 SR880MKII SR880U SR92 SR9200 SR96 ST17[WUSS ONLY] ST46 ST50 ST53 ST59 ST6000 VC5000 VC5200 VC8100 # 26S # 335(MUST BE 7 SP) # 360 # 37 # 380S # 40 AUDIO # 40 VIDEO VLCD15 MRC8 VIP SF1156V/R19 XT4888 MHD0125 C100C C100P C15 C39 C41 C42 CR12 CR16 MA6450 Page 40 of 114 Rack Spaces Shelf Depth 4 17.17.15.17.17.15.17.17.15.17.17.11.11.17.17.17.20.15.15.17.17.11.11.11.15.15.15.17.20.20.15.15.20.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCINTOSH MCM MCS MEGASTAR MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN Model Number MA6500 MAC3 MAC6800 MC122 MC126 MC150 MC162 MC202 MC206 MC352 MC58 MC602 MC7104 MC7108 MC7205 MC751 MCD7009 MDA700 MHT100 MLD7020 MR7083 MR7084 MR85 MSC1 MSD4 MSE1 MVP831 MVP841 MVS3 MX132 MX3574 VKA280 207A 207B Page 41 of 114 Rack Spaces Shelf Depth 5 20.15.20.20.20.20.20.20.17.20.20.20.20.20.20.17.15.20.15.15.15.11.20.20.11.11.15.11.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIDIAN MERIT MERLIN MFJ MFJ MFJ MGA MICRO Q MICRO SCAN MICRO TOUCH MICRO TOUCH MICRON MICRON PC. COM MICROSOFT MIDIMAN MIDLAND MIDLAND MILLENIUM MIRAGE MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI MITSUBISHI Model Number 562V 562V.CRM1005 ME158S MFJ1278B MFJ407B MFJ949E HS4112UR SM1421 4P 775C U006460 MDR530 CLT487 XBOX FLYING CALF A/D 700351C 70144DB 2.4.6. LFX3 15HX 15VX 17HX 17TX AM1401R AUM1381A AUM1391A BV1000 BV2000 CP10U CS13101 CS13103 CS13201 CS1347R DD1000 DD2000 DD3000 DD4000 DD4001 Page 42 of 114 Rack Spaces Shelf Depth 4 11.17.11.11.11.15.17.20.17.11.17.11.11.11.11.11.11.17.15.15.15.15.17.15.14 As of 5/3/02

These products are already on file in the dimensions database Manufacture PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER Model Number CLDV2600 CLDV2800 CLDV303T CLDV5000 CLDV510 CLDV704 CLDV710 CLDV720 CLDV820 CLDV840 CLDV850 CLDV860 CLDV870 CLDV880 COV200 CT05D CT07D CT1170W CT1380WR CT40 CT43 CT50R CT93 CTF900 CTM5R CTM66R CTM6R CTS609R CTS800 CTV70 CTW103 CTW1370 CTW208R CTW301 CTW351R CTW402R CTW430 CTW450R CTW451 CTW502R CTW503R CTW504R CTW505R CTW51 CTW53 CTW530R Page 64 of 114 Rack Spaces Shelf Depth 4 15.20.15.15.15.15.17.17.15.15.15.17.15.11.11.15.15.15.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER Model Number CTW54 CTW550R CTW59 CTW601R CTW602R CTW603RS CTW604RS CTW606DR CTW700R CTW704RS CTW710R CTW79 CTW850R CTW900R CTW910R CTWM62R CTWM70R CTWM77R DV05 DV09 DV333 DV343 DV37 DV38A DV414 DV434 DV440 DV444 DV47A DV500 DV505 DV525 DV535 DV606D DVAX10 DVC36 DVC503 DVC603 DVDV550 DVDV555 DVDV7200 DVDV7300D DVDV7400 DVF07 DVF727 DVK302CD Page 65 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.11.15.11.11.11.15.11.11.11.11.11.11.11.11.11.15.15.15.15.11.11.15.17.15.17.17.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER PIONEER Model Number DVL700 DVL90 DVL909 DVL91 DVL919 DVLV888 DVR7000 F449 F51 F551 F656 F91 F99X GR470 GR777 HR99 LD700 LD870 LDLKV350 LDS2 LDV2000 LDV2200 LDV4200 LDV4300D LDV4400 LDV6000A LDV8000 LDW1 LKV350 M10X M72 M90 MA9 MJD707 ORM624 PD101 PD103 PD203 PD4350 PD4500 PD5010 PD5100 PD59 PD65 PDAP1 PDDM802 Page 66 of 114 Rack Spaces Shelf Depth 4 20.20.20.17.17.20.11.11.11.15.17.17.17.15.17.15.17.17.15.17.20.15.15.11.11.11.11.11.15.11.11.14 As of 5/3/02

These products are already on file in the dimensions database Manufacture PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROTON PROVIDEO PROVIDEO PROVIDEO PS AUDIO PS AUDIO PS AUDIO PS AUDIO PS AUDIO PS AUDIO PS AUDIO PS AUDIO QINTAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUASAR QUIMAX QUIMAX QUME RAD RADIO SHACK RADIO SHACK RADIO SHACK RADIO SHACK RADIONICS Model Number AA1150 AA1660 AA2060 AD200 AD300 AM300 AP2000 AS2631 AT300 D1200 D540 D940 SD1000 MV9 SQS4B VM901B 250DELTA 6.2AMP DL THREE LAMBDA PHONOLINK REF.LINKLS ULTRALINK VM900 4004B DYNACOLOR TP1315J VH200 VH400 VH434 VH5485 VH5675 VH5975 VH6405 VH6505 VHQ540 VHQ660 DM14 DX14 QVT31 ASMPRO2026 PRO2042 PRO2066 V2100 Page 71 of 114 Rack Spaces Shelf Depth 3 15.15.11.11.11.11.15.11.11.11.11.17.11.11.15.11.17.11.11.11.20.11.11.11.11.11.11.11.11.11.11.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture RANE RBH RBH RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA Model Number THX44 SAM200 TA350 DCD205RD DRD102RW DRD203RW DRD212RW DRD222RD DRD223RD DRD302RA DRD303RA DRD403RA DRD420RB DRD420RE DRD430RG DRD480RE DRD485RG DRD503RBC DRD505RA DRD505RB DRD515RB DRD523RB DRD703RA DTC100 DWD490RE DWE490RE DXD402RA DXD416RE E13202WT E13318 E13332BC E13342 E13700 LDR310 LDR400 LDR500 NRD412 RC5200P RC5215P RC5220P RC5225P RC5230Z RC5231Z RC5240 RC5500P RC5510P Page 72 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.11.11.15.11.11.11.15.15.17.17.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA RCA Model Number RC5910P RP8085 RP8593 RT2280 RW2110 TC1100 TC1112 TC3920 VH920 VMT630HF VR250 VR290 VR301 VR327 VR500 VR503 VR505 VR522 VR540 VR557 VR601HF VR605HF VR615HF VR619HF VR621HF VR623HF VR629HFB VR640HF VR652HF VR661HF VR667HF VR673HF VR676HF VR678HF VR680HF VR688HF VR689HF VR690HF VR691HF VR692HF VR694HF VR701HF VR702HF VR705HF VR725HF VR730HF Page 73 of 114 Rack Spaces Shelf Depth 3 17.15.17.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture RCA RCA REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC REALISTIC RED ROSE MUSIC RED ROSE MUSIC REF. AUDIO DESIGN REGAL REPLAY REPLAY REPLAY REPLAY REQUEST REQUEST REQUEST REQUEST REQUEST REQUEST RIC ROBOT ROBOT ROKSAN ROLAND ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL ROTEL Model Number VR911HF XLAPM200 AV900 CD1500 CD6000 MINIMUS 3.5 MPA25 SCT74 SCT80 SCT86 MODEL 2 MODEL 3 MS2 II RTV3020 RTV3030 RTV4080 TV2000 ARQ120 ARQ130 ARQ130PRO ARQ1PRO ARQPRO30 ARQPRO60 DL1564M MDV26120E MV94P CASPIAN AR100 RA1060 RA1070 RA840BX4 RB1050 RB1070 RB1080 RB1090 RB850 RB870BX RB930AX RB951 RB951MKII RB956AX RB960BX RB970BX Page 74 of 114 Rack Spaces Shelf Depth 2 11.11.15.11.11.11.11.11.11.11.11.11.11.15.15.15.15.15.15.20.11.15.15.14 As of 5/3/02

These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number DVPNS300 DVPNS400D DVPNS500V DVPNS700P DVPNS900V DVPS300 DVPS3000 DVPS320 DVPS330 DVPS360 DVPS500D DVPS525D DVPS530D DVPS550D DVPS560D DVPS570D DVPS7000 DVPS7700 DVPS9000ES EDV7500 EDW30F EVA50 EVC100 EVC20 EVC200 EVC25 EVC3 EVC408 EVO510 EVO511 EVO520 EVO540 EVO550 EVO550H EVO9500A EVO9800 EVP320 EVS2000 EVS3000NTSC EVS350 EVS5000 EVS550 EVS7000 EVS700U EVS800 EVS900 Page 85 of 114 Rack Spaces Shelf Depth 2 11.11.11.11.15.11.11.11.11.15.15.15.15.11.11.11.11.11.11.15.11.11.11.11.17.11.11.15.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number EVT820 FDLK400 FX160 FX320520R GCS50 GDM17SE1 GDM200PS GDMF400 GVM1311Q GX60ES GX67ES GX700ES GX800ES GX900ES HCDRX30 HMDA100 INTW100 INTW200 INTW250 J1 J3 KV1326R KV13FM12 KV13M10 KV13M20 KV13M30 KV13M40 KV13M42 KV13M50 KV13M52 KV13M53 KV13TR20 KV13TR27 KV13TR28 KV13V50 KV8AD10 KV8AD11 KV9PT20 KV9PT60[MCBRAC KVG14 LDP1450 LDP1500 LDP1550 LVA3500 LVA7000 MDP1100 Page 86 of 114 Rack Spaces Shelf Depth 3 11.11.15.17.15.17.15.15.17.11.11.11.17.17.17.17.15.15.11.17.15.15.15.20.20.15.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number MDP1150 MDP1700AR MDP200 MDP210 MDP333 MDP455 MDP500 MDP510 MDP533D MDP600 MDP605 MDP650 MDP700 MDP750 MDP800 MDPK5 MDPV9K MDS101 MDS302 MDS501 MDSB3 MDSB5 MDSJA20ES MDSJA3ES MDSJA555ES MDSJB920 MDSJB930 MDSJB940 MDSJE320 MDSJE330 MDSJE440 MDSJE470 MDSJE500 MDSJE510 MDSJE520 MDSJE530 MDSJE630 MDSJE700 MTL10 MULTISCAN 200SF MVR5600 MXDD3 MXDD40 PC1270 PCM2500 PCM601 Page 87 of 114 Rack Spaces Shelf Depth 3 15.17.17.15.17.15.17.15.17.17.15.17.17.17.17.17.17.11.11.15.15.11.11.11.11.11.11.11.11.11.11.11.11.11.15.17.11.11.11.14 As of 5/3/02

These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number PCM701ES PCMR300 PS2 PSFL1 PSFL72 PVM1271Q PVM1342Q PVM1343MD PVM1354Q PVM1380 PVM14M2U PVM14N1U PVM14N5U PVM14N6U PVM8020 PVM8040 PVM8041Q PVM8220 PVM8221 PVM91 RCDW1 RMOS350 SATA1 SATA2 SATA3 SATA4 SATA50 SATA55 SATA65 SATB1 SATB2 SATB3 SATB50 SATB55 SATB65 SATHD100 SATT60 SATW60 SBV1000 SBV3000 SBV66S SCDC222ES SCDC333ES SCDC555ES SCDCE775 SCDXA777ES Page 88 of 114 Rack Spaces Shelf Depth 2 15.11.17.15.15.17.15.15.17.15.11.11.15.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.15.15.11.15.17.17.15.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number SDPE800 SDPEP9ES SEQ711 SIVED40 SL10 SL100 SL2300 SL2400 SL2700 SL2710 SL330 SL340 SL700ME SL800ME SLHF1000 SLHF2000 SLHF360 SLHF450 SLHF650 SLHF870D SLHF900 SLO325 SLO420 SLV373UC SLV390 SLV393 SLV400 SLV420 SLV440 SLV495 SLV555UC SLV575UC SLV585HF SLV595HF SLV640HF SLV660 SLV675HF SLV676UC SLV678HF SLV679HF SLV685HF SLV686HF SLV688HF SLV690 SLV696HF SLV700 Page 89 of 114 Rack Spaces Shelf Depth 3 11.11.11.15.15.15.15.15.15.15.15.15.15.15.11.11.11.15.11.11.15.11.11.11.11.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number SLV70HF SLV720HF SLV740HF SLV750HF SLV751 SLV757UC SLV760 SLV765 SLV770HF SLV775HF SLV778HF SLV779 SLV780HF SLV788HF SLV789HF SLV790 SLV795HF SLV798HF SLV799HF SLV900HF SLV920HF SLV940HF SLV960 SLV975HF SLV980HF SLV998HF SLVED100ME SLVED40 SLVED60 SLVED6PS SLVED7FS SLVED7MN SLVED8 SLVK881 SLVM10HF SLVM11HF SLVM20HF SLVM91HF SLVN50 SLVN51 SLVN55 SLVN60 SLVN70 SLVN71 SLVN77 SLVN80 Page 90 of 114 Rack Spaces Shelf Depth 3 15.15.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number SVO5800 SVO915 SVO960 SVO9600 SVP1110A SVP120 SVP1210 SVR2000 SVT100 SVT168 SVT3050 SVTL200 SVTL400 SVTLC300 SVTS3100 SVTS480ES SX1070 SXM700 SYRDA50 TAAE2000ESD TAAV531 TAAV670 TADL100 TADM1000ES TAE1000ESD TAE2000ESD TAE77ESD TAE80ES TAE9000ES TAE90ES TAF500ES TAF606ES TAF707ES TAN110 TAN220 TAN55ES TAN77ES TAN80ES TAN9000ES TCC5 TCFX120 TCFX160 TCFX170 TCFX211 TCFX505R TCFX6C Page 94 of 114 Rack Spaces Shelf Depth 4 20.17.11.11.11.15.15.11.15.11.15.15.17.11.11.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number TCK611S TCK615S TCK677ES TCK717ES TCK890ES TCKA1ES TCKA1ESA TCKA2ES TCKA35 TCKA3ES TCKE400S TCKE500S TCR302 TCR303 TCR503 TCRX370 TCRX420 TCRX470 TCRX606ES TCRX70ES TCRX77ES TCRX79ES TCW320 TCW345 TCW365 TCW370 TCW435 TCWA7ES TCWA7ESA TCWA8ES TCWA8ESA TCWA9ES TCWE305 TCWE405 TCWE425 TCWE435 TCWE475 TCWE605S TCWE625 TCWE635 TCWE675 TCWE805 TCWE805S TCWE835S TCWR10ES TCWR11ES Page 95 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY Model Number TCWR350Z TCWR445 TCWR465 TCWR520 TCWR521 TCWR531 TCWR535 TCWR545 TCWR565 TCWR590 TCWR635S TCWR645S TCWR661 TCWR665S TCWR670 TCWR690 TCWR701ES TCWR720 TCWR750 TCWR775 TCWR790 TCWR800 TCWR801ES TCWR80ES TCWR810 TCWR820 TCWR875 TCWR87ES TCWR8ES TCWR901ES TCWR90ES TCWR930 TCWR950 TCWR97ES TCWR99ES TTV8 TU1041U TU1110 UP1200A UP1200R UP2100 UP2200 UPD7000 UVW1200 UVW1400 UVW1800 Page 96 of 114 Rack Spaces Shelf Depth 3 11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.15.11.11.17.17.17.15.20.20.20.20.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS Model Number RSB11W RSB14 RSB207 RSB29R RSB50 RSB555 RSB605 RSB78R RSB85 RSB905 RSB965 RSBR465 RSD510W RSDC10 RSM222 RSM224 RST130 RST20 RST22 RST230 RST55R RST60R RST80R RSTR155 RSTR165 RSTR210 RSTR232 RSTR255 RSTR265 RSTR272 RSTR313 RSTR333 RSTR355 RSTR373 RSTR555 RSTR575 RSTR777 RSTR979 SA222 SA350 SAAX6 SAAX7 SADX940 SADX950 SAEX110 SAEX140 Page 101 of 114 Rack Spaces Shelf Depth 3 15.15.11.11.17.11.11.11.11.11.11.11.11.15.11.11.15.11.11.11.15.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.15.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS Model Number SAEX300 SAEX320 SAEX410 SAGX130 SAGX170 SAGX190 SAGX290 SAGX300 SAGX650 SETX100 SH8017 SH8065 SH8066 SHAC500D SHAV44 SHGE70 SHZ210 SLMC310 SLMC4 SLMC400 SLMC50 SLMC60 SLMC7 SLMC700 SLP101 SLP102 SLP110 SLP170 SLP2 SLP220 SLP222 SLP250 SLP300 SLP300C SLP320 SLP350 SLP370 SLP500 SLP520 SLP555 SLP600C SLP720 SLP770 SLP800C SLP999 SLPC30 Page 102 of 114 Rack Spaces Shelf Depth 4 11.11.11.11.11.11.11.11.11.11.11.15.15.15.15.15.15.15.11.11.15.11.15.11.15.11.11.11.15.11.11.15.15.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNICS TECHNOVISION TEKTRONIX TEKTRONIX TEKTRONIX TEKTRONIX TEKTRONIX TEKTRONIX Model Number SLPC33 SLPD1010 SLPD5 SLPD647 SLPD788 SLPD807 SLPD825 SLPD827 SLPD867 SLPD887 SLPD888 SLPD927 SLPD947 SLPD987 SLPG100 SLPG300 SLPG340 SLPG440 SLPG450 SLPJ1 SLPS50 SLPS70 SLPS840 SLPS900 ST7300 STG40 STG450 STG46 STG50 STG6T STG7 STK50 STZ410 SU760 SUA6MK2 SUG91 SUV660 SUV6X SUZ610 PC2 1700FCMC250 PDROF1M Page 103 of 114 Rack Spaces Shelf Depth 3 15.15.11.11.11.11.11.15.11.11.11.11.15.11.11.11.11.11.11.11.11.17.17.17.20.11.17.5 As of 5/3/02

These products are already on file in the dimensions database Manufacture TEKTRONIX TEKTRONIX TELEBYTE TELECAPTION TELECAPTION TELERATE TELEVIDEO TELEX TELOS TENLAB TERAPIN THETA THETA THOMPSON THOMPSON THRESHOLD TICE TIMELESS TIVO TMK TOA TOA TOA TOA TOA TOA TOA TOA TOA TONE COMM. TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA Model Number TXD1734R WVR500 JV419NT 4000 VR100 MDT2X ZEPHYR EXPRESS TR20 TX0002 DREADNAUGHT INTREPID CM36512V1 NRD513NB FET1 AVA TP125V TCD900 900SERIESII A512A A901A A903A A906A A912MK2 BG10 SM25A NT1U220TC CF13F22 CF13H22 CM1300K DST3000 DX7 DX800 KV6300A KV7024A M2330 M264 M4200 M441 M450 M462 M5800 M622 Page 104 of 114 Rack Spaces Shelf Depth 10 15.17.11.11.11.11.11.11.11.11.15.20.20.11.11.11.15.11.11.11.11.11.11.11.11.11.15.11.15.17.17.15.11.15.15.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA M631 M635 M641 M647 M648 M651 M655 M658 M661 M662 M672 M674 M683 M684 M735 M745 M750 M751 M752 M754 M760 M761 M765 M769 M781 M782 M784 MP200 MV13K2R MV13L3 PCG50R SD1200 SD1600 SD2008U SD2100 SD2107U SD2108 SD2109 SD2150 SD2200 SD2300 SD2700U SD2705 SD2800 SD3006 SD3107U Page 105 of 114 Model Number Rack Spaces Shelf Depth 3 11.11.11.11.11.11.15.15.15.11.11.17.11.14 As of 5/3/02
These products are already on file in the dimensions database Manufacture TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOSHIBA TOTEVISION TOUCH TRANSPORT VERILINK TRIMBLE TRIPPLITE TRIPPLITE TRUNKLINE TV-LINK TV-LINK TVONE UHF ASSOCIATES ULTRAK Model Number SD3108U SD3109 SD3205 SD3755 SD4109X SD4205 SD4700 SD5109 SD5700N SD6200 SD9000 SD9100 SD9200 SV771 SV970 TRX120 TRX1820 TRX2000 TSR202 V87MS VW57 VX445 W501 W512 W607 W608 W704 W705 W708 W717 W804 W808 XR9037 Z70K LCD640 CAD14RG CSU GALAXY SENTINAL BCPRO675 PR7B 40RFDMI EXEC.DIRECTOR MODEL 20 CSC1000 TV2000 KR7496U Page 106 of 114 Rack Spaces Shelf Depth 3 15.17.17.15.15.15.15.15.15.11.11.11.11.11.11.11.11.11.15.11.11.11.11.11.11.17.11.11.11.14 As of 5/3/02

These products are already on file in the dimensions database Manufacture YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA Model Number CDV1100 CDV1700 CDVW901 CDX1050 CDX1100U CDX2 CDX390 CDX410U CDX480 CDX500U CDX510U CDX520 CDX530 CDX550 CDX5U CDX930 CX1000U CX2 CX600U CX630 DDP1 DDP2 DSP1 DSP100 DSP3000 DSPA1 DSPA1000 DSPA2070 DSPA3090 DSPA700 DSPA780 DSPA970 DSPE1000 DSPE200 DSPE300 DSPE390 DSR100 DSR70PRO DVD1000 DVDC900 DVDC996 DVDS1200 DVDS520 DVDS700 DVDS795 DVDS796 Page 110 of 114 Rack Spaces Shelf Depth 3 15.17.15.15.15.11.11.15.11.11.11.11.15.11.11.11.11.11.17.17.17.17.15.11.11.11.15.15.11.11.11.11.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA EQ1100U EQ500U EQ550 EQ630 EQ70 K1020 K142 K30 K420 K540 K640 K65 K700 KX1200U KX200U KX230 KX250 KX300U KX330 KX360 KX400U KX500U KX530 KX690 KXR430 KXR470 KXR700U KXR730 KXW202U KXW262 KXW282 KXW302U KXW321 KXW332 KXW362 KXW382 KXW392 KXW421 KXW492 KXW500U KXW582 KXW602 KXW900U KXW952 M35 M45 Page 111 of 114 Model Number Rack Spaces Shelf Depth 3 11.11.11.11.11.15.11.15.11.11.11.15.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.11.17.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA MS101 MU50 MX1000U MX2 MX35 MX6000U MX600U MX630 MXM70 R7 RV905 RX1100U RX1130 RX350 RX396 RX496 RX550 RX595 RX596 RX700U RX730 RX750 RX770 RX777 RX930 RX950 RXV1 RXV1000 RXV1050 RXV1200 RXV2090 RXV2092 RXV2095 RXV2200 RXV3000 RXV3200 RXV490 RXV520 RXV590 RXV595A RXV596 RXV620 RXV793 RXV795 RXV800 RXV850 Page 112 of 114 Model Number Rack Spaces Shelf Depth 6 11.11.15.17.11.15.15.15.11.15.15.11.11.11.11.15.17.17.17.17.17.17.17.17.17.17.11.17.17.5 As of 5/3/02
These products are already on file in the dimensions database Manufacture YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YAMAHA YELO ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH ZENITH Model Number RXV870 RXV890 RXV990 RXV992 RXV995 RXZI SR50 T17 T32 T520 T85 TC920B TX1000U TX350 TX400U TX470 TX480 TX492 TX500U TX540 TX930 TX950 YV1000 YV1110S YV800 YELOCV510 D1314W DETMMDS2BLS8 DTV1080 DVD2200 DVX2100 E0930S EE3131(ST1622 IQADTVIW IQDVD2300 J0920X J0930Y SJ1325W SLO953X SLS1323S ST1082 SY13245 VIP VR3000 Page 113 of 114 Rack Spaces Shelf Depth 5 17.17.17.17.15.11.11.15.15.15.11.11.11.11.11.11.11.11.17.15.15.11.15.11.11.17.11.15.11.11.15.5 As of 5/3/02