SOUN D Quality
Bust out the Blu-rays – it’s time to put these Atmos bars to the ultimate test
The YSP-5600SW plays loud and has impeccable front-stage imagery
The YSP-5600SW makes a big first impression. This two-piece plays loud and has impeccable frontstage imaging. Yamaha says it’s comparable to a nine-channel Dolby Atmos amp and speaker setup, and it’s not far off.
As with any Atmos speaker layout, your seating position is key to the effectiveness. We found the ideal for this Yamaha is around 2m from the bar. The YSP-5600’s integration with the wireless subwoofer is seamless.
Oscar-winner Gravity remains one of the most effective Dolby Atmos movie mixes and has inspired channel separation: the opening scene features comms dialogue top right, panning left across the front soundstage, which the Yamaha handles well. When the debris shower hits the Space Shuttle with enormous force, the sonic impact is tangible.
The Sony HT-ST5000 is enthralling, too, with certain caveats. The system paints soundtracks high and wide, and once again has outstanding sonic precision. It doesn’t quite manage the illusion of overhead height as convincingly as the Yamaha. That said, the Sony system can kick bass ass! We measured the subwoofer down to 31.5Hz and it’s devastatingly effective at 50Hz. This makes it a superb sound system for blockbuster movies. When an anchor nearly flattens Mark Wahlberg in Transformers: Age of Extinction, the subwoofer clangs in realistic complaint.
But if you want brute force, LG is your brand. The SJ9 is a powerhouse performer, delivering a wall of sound Phil Spector would be proud of. It’s an exciting listen but, like the Sony, is more about height and scale than engulfing aural effects. Still, there’s real slam to its low-frequency attack - the opening beat to Baywatch is enough to stun a shark - and the subwoofer integrates well. But while this system can thump with action fare, it’s less musical than either of its rivals.