Anthem Electronics was born out of a well-regarded, purist-oriented Canadian high-end audio company called Sonic Frontiers. (In fact, if you look closely at the shipping cartons for Anthem equipment, you’ll still see the tastefully subdued logo for Sonic Frontiers International embedded in the graphics on the boxes.). My point, here, is that audiophile values are and always have been a core element of Anthem’s corporate DNA, meaning that superior sound quality is arguably the main reason for choosing the brand. In short, you don’t buy Anthem gear if you merely want “pretty good” equipment; you buy it (or not) because you’re looking for something that is audibly a cut above the norm.
The ultimate expression of the “Anthem sound” is found in the firm’s Statement D2v A/V controller and Statement P5 multichannel amplifier, which The Perfect Vision reviewed last year and continues to use as reference components in the TPV listening room. As you can perhaps imagine, those Statement-class components are flexible, versatile, and sound terrific (and they are arguably priced reasonably for the level of quality on offer). Even so, the fact is that Anthem’s Statement-class components are priced well beyond the means of many prospective buyers (this writer included).
What’s an enthusiast to do, then, if he or she wants Anthem-grade performance but cannot swing the hefty five-figure price that the firm’s Statement D2v/P5 combo commands? Answer: consider as an alternative Anthem’s flagship MRX 700 A/V receiver, which sells for a much more manageable $1999. In this review, we’ll take a careful look at the MRX 700 to see how much Statement-class goodness has trickled down to this comparatively affordable receiver.
•Very conservatively rated at 7 x 70 Wpc, 5 x 90 Wpc, or 2 x 120 Wpc, with an amplifier section that, claims Anthem, produces “more ‘real’ power than the competition.”
•Incorporates Anthem’s signature ARC-1 room correction system—the exact same room/speaker EQ system used in Anthem’s flagship Statement D2v A/V controller. The ARC package bundled with the MRX 700 receiver includes:
oCalibrated USB microphone and microphone clip
oMatching, calibrated software installation CD ROM
oTelescoping, boom-type microphone stand
o12-foot USB microphone cable
o15-foot serial cable (connects the MRX 700 to your PC)
•Tuners: AM/FM (with included minimalist antennas), HD radio, and vTuner Internet radio (via Ethernet input).
•Audio inputs/outputs: HDMI (4 in, 1 out), digital audio (5 in, 2 x Coaxial, 3 x Optical; 2 out, 1 x Coaxial, 1 x Optical), USB (2 ports—1 x front, 1 x rear), stereo analog audio (7 in; 3 out, 2 x Rec out, 1 x remote zone out); 7.1-channel analog audio (, 1 out); headphone (1 out)
•Coming soon: Anthem MDX 1 dock
•Decoding/Listening Modes supported via a dual-processer audio DSP system:
oDolby: True HD, Digital Plus, Digital EX, Pro Logic IIx (Movie, Music, Game), Pro Logic IIz, Virtual Speaker (Wide, Reference), and Dolby Volume and Dynamic Range.
oDTS-HD Master Audio, DTS-ES (Matrix, Discrete), DTS 96/24, DTS Neo:6 (Music, Cinema)
oProprietary Modes: AnthemLogic-Music, AnthemLogic-Cinema, All Channel Stereo
•Video inputs/outputs: HDMI (4 in, 1 out), component video (3 in, 1 out), composite video (4 in, 3 out)
oConverts composite and component video to HDMI
oSupports scaling up to 1080p60
oSupports 1080p24 mode
oSupports 3D sources via available software upgrade
•Remote controls: MRX 700 comes with two remote controls—a comparatively extensive remote for use in the main listening space, and a smaller, simpler remote geared for use in Zone 2.
•The MRX 700 does not provide multichannel analog audio inputs.
•The MRX 700 does not support direct decoding of DSD bitstreams.
•Anthem’s ARC room EQ system requires an outboard PC to run set up measurements and setup procedures (not a problem, per se)—specifically one that “must be running Windows XP or later and have one 9-pin serial port (for connecting the receiver) and one USB port (for cnnecting the mic)…”
•The alternatives, Anthem advises, are to use a PC with “one USB port and one card slot and a serial card,” or “two USB ports and a USB to serial adapter” where the USB to serial adapter “must be one that supports two stop bits.” However, Anthem flatly states that “the latter (option) is least preferred,” and the receiver does not come with a USB to serial adapter. Note: Anthem technical support advises that an appropriate serial adapter (Keyspan USA-19HS) is available from Anthem dealers for $29.
•All things considered, the ARC system would simpler and more convenient to use if offered from the outset as an all-USB solution—complete with necessary adapter hardware included in the kit.
The caveats I’ve mentioned aren’t damning flaws by any means, but they do seem a bit “out of character” for an Anthem A/V component. By addressing the shortcomings noted, Anthem could make the MRX 700 a more satisfying product for music-minded enthusiasts and one that is also easier to use.
Sidebar: About the ARC Room Correction System
Anthem makes the following impressive claim for its ARC (Anthem Room Correction) system:
“Anthem Room Correction, three years in development, is the first real implementation of research conducted over 20 years ago by the National Research Council (NRC). The NRC’s goal was to identify the correct in-room target response for a loudspeaker and then to develop a system to achieve this response from multiple loudspeakers in any listening room.”
Anthem ARC highlights
•The ARC system takes a minimum of five sets of in-room measurements, but can—at the user’s option—take up to ten sets of in-room measurements. The system applies those collective measurements in calculating individual correction curves for each speaker. This stands in stark contrast to room EQ systems that take measurements from just one, centrally located listening position.
•The ARC system targets a standard ARC EQ curve that—by design—allows for some “room gain” in the bass region. This means that the ARC system deliberately does try to force “textbook flat” bass response. In fact Anthem argues that any system that does strive for dead-flat bass response as measured at the listening position “will result in an unnatural spectral balance since it does not take into account the human hearing system.”
•The ARC system offers both automatic and manual modes of operation. When run in automatic mode, the ARC system targets a standard ARC EQ curve and presents detailed “before/after” response graphs for each speaker in the system and for the subwoofer. These graphs allow users to see exactly how ARC will affect each channel before actually apply the EQ curves. However, when run in manual mode the ARC system lets users manually select:
oCrossover frequencies between the system’s speakers and subwoofer,
oLevels of room gain that will be allowed in the bass region, and the
oMaximum frequency at which room EQ correction will be applied.
•Important: at setup time, the ARC system requires use of an outboard PC (or Mac), where the purpose of the PC is to:
oRun the main ARC software package,
oManage the ARC room EQ measurement process,
oPerform all calculations to generate individual EQ curves for each speaker, and to
oDownload final ARC room EQ settings to the Anthem AVR or A/V controller.
oNote that, whenever you make significant changes in your speaker system or in your listening room, the outboard calibration PC must always be brought back into play in order to re-calibrate an ARC-equipped system.
ARC System Hardware
•As mentioned under FEATURES, above, Anthem’s ARC package consists of the following:
oCalibrated USB microphone and microphone clip
oMatching, calibrated software installation CD ROM
oTelescoping, boom-type microphone stand
o12-foot USB microphone cable
o15-foot serial cable (connects the MRX 700 to your PC)
•On a practical level, ARC correction curves are designed to run on the MRX 700’s powerful “dual-core audio DSP” engines. Note, though, that these DSP engines serve solely to run the ARC EQ curves when you are listening to music or movies. The DSP engines are capable of running system setup procedures on their own. Thus, whenever system calibration is necessary, the process must be managed/controlled by the external calibration PC.
•While use of an external calibration PC can at times seem a bit cumbersome or complicated, Anthem cites several key benefits, including:
•Superior processing accuracy; specifically, Anthem says, “The connected PC’s 64-bit floating-point processor does the hard work of calculating the correction curves, which greatly minimizes rounding errors of a less sophisticated calculator.”
•The ability to apply custom calibration data that precisely matches the exact, measured characteristics of the individual measurement microphone supplied with the ARC kit. Indeed, ARC microphones and software CD ROMs deliberately carry matching serial numbers and must be used together as a package (i.e., you can’t use the microphone from one ARC kit with the software ROM from a different ARC kit).
•The ability to apply ARC’s “super-efficient Infinite Impulse Response (IIR) filters” and “Anthem’s Custom Filter Topology” in order to “minimize delay and reduce processing gain noise.”
On a practical level, I was very pleased by the sonic results provided by the Anthem ARC system. Specific benefits included noticeably tighter and more controlled bass with significantly improved textural and transient detail. The system also brought worthwhile improvements in midrange smoothness, yet without imposing any obvious signs of “DSP haze” and without losing detail or definition. One of the things I like best about Anthem ARC is that it improves overall system balance, yet without obscuring the textural, timbral or transient characteristics that make one speaker system sound different from or better than another.
Practical concerns: my only complaints about ARC involve a small handful of ergonomic/ease-of-use issues:
•The supplied USB microphone cable is only 12 feet long, which—according to Anthem—is the maximum distance USB can be run without an active hub. This cable length is adequate for some applications, but too short for others. A solution that allowed longer cable runs would be preferable.
•The supplied serial cable that connects the calibration PC to the MRX 700 is only 15 feet long, which is too short (again, a cable 20 feet long or longer would be preferable).
•ARC calls for use of a calibration PC that supports an old style, 9-pin serial port (for purposes of connecting the PC to the MRX 700). This can be problematic given that 9-pin serial ports have at this point all but disappeared from modern PCs. Granted, Anthem advises that you can use a USB-to-9-pin-serial adapter, provided that you use one that supports “two stop bits,” and are careful about which of your PC’s USB communications ports you use. Nevertheless, an appropriate USB-to-9-pin adapter is not included in the ARC kit, so that you’re on your own in terms of finding an adapter that will work. The bottom line is that it would preferable for Anthem to create an all-USB version of ARC.
•Finally, note that the MRX 700 positions its ARC serial interface port on the rear panel of the chassis, where it is fairly hard to access. I think it would be much simpler (from the user’s point of view) to have the ARC interface port on the front panel—if only to simplify re-calibration procedures when needed.
If you believe as a general rule that “simpler is better,” then I think you will like the MRX 700 user interface. While preserving most, though not quite all, of the functionality of the Statement D2v’s extremely elaborate (but at times somewhat inscrutable) user interface, the MRX 700 interface comes across as being simpler, more intelligible, and easier to navigate.
Listeners, especially those who are comfortable with advanced set-up functions, will appreciate the face that the MRX 700 (like the Statement D2v) allows users to configure separate Movie and Music profiles for each input. Users might wish, for example, to run slightly elevated subwoofer levels in Movie mode, but lower (and more accurately voiced) subwoofer levels in Music mode. The MRX 700 supports this.
Similarly, the MRX 700 (again following the pattern set by the Statement D2v) allows users to specify precisely which listening modes they wish to apply for each input format and source component. For example, when the receiver selects “CD” as its source component and receives a 2.0-channel audio signal from the CD player, the MRX 700 might be programmed to apply the AnthemLogic-Music listening mode. But, if the receiver selects “BDP” (for Blu-ray Disc Player) as its source component and receives a 2.0-channel audio signal from the Blu-ray player, it might be programmed to apply the AnthemLogic-Cinema listening mode. This level of programming control gives the MRX 700 tremendous flexibility, and the ability to apply “the right mode at the right time” automatically as listening contexts change.
Having logged a lot of time with the powerful (but also quite complicated) remote that Anthem supplies for its Statement D2v, I am pleased to report that the MRX 700’s main remote is lighter, smaller and considerably simpler to use, yet still very powerful (especially in terms of making the sort of “on the fly” adjustments needed on a day-to-day basis).
The MRX 700 also comes with an even smaller and simpler Zone 2 remote, which provides a subset of the control functions found on the main remote.
The receiver’s HDMI inputs and upconversion/scaling functions performed transparently, without adding any apparent noise or artifacts. The MRX 700 does not feature the elaborate video processing options that the Statement D2v A/V controller provides, but I think many users will find its “keep things simple” approach desirable.
One problem in discussing the sound quality of the MRX 700, per se, is that we are—under most normal listening conditions—observing the receiver through the sonic “lens” of its own digital front end. This is true for the simple reason that the MRX 700, as mentioned above, provides no multichannel analog audio inputs. Bearing that caveat in mind, though, let me offer some observations about the MRX 700’s signature sound.
When playing PCM digital audio source material or decoding either Dolby or DTS-encoded soundtracks, the MRX 700 offers a high degree of clarity and finesse. What I noticed, and I think that other who do comparative listening tests will notice, is that the sound provides a high degree of articulation, a good measure of detail and resolution, and a certain surefooted sense of refinement and sophistication. Tonal balance appears to be neutral, or nearly so, though I would say the overall sound conveys a touch less natural warmth than you would hear from, say, the Anthem Statement-class components. This doesn’t mean the MRX 700 sounds “cold” or “brittle” by any stretch of the imagination, but rather that its sound is not quite as rich or vibrant as, say, the sound you would hear from the big Statement D2v A/V controller and Statement P5 multichannel amplifier.
In terms of power output, the MRX 700 makes good on Anthem’s claim of “more ‘real’ power than the competition.” When I put the MRX 700 in my test system, it replaced a competing AVR whose claimed power output was greater than that of the Anthem. Nevertheless, the Anthem sounded noticeably punchier and more muscular than the competing receiver had. This, frankly, is where Anthem’s practice of quoting power specification in an ultra-conservative way pays big dividends. Where it counts most—namely, in our listening rooms—the MRX 700 consistently makes speaker systems jump and boogie in ways that some ostensibly more powerful receivers cannot.
Finally, the Anthem ARC system leverages and enhances the receiver’s strong core sound—in essence making a good thing even better. The great part, here, is that ARC follows the edict of “first doing no harm,” so that its effects appear to be entirely beneficial and free from apparent sonic downsides.
The soundtrack from Inception provides plenty of material that showcases the MRX 700’s strengths, but a favorite sequence for me is the one where Cobb (Leonardo DiCaprio) gives Ariadne (Ellen Page) her first introduction to the experience of laboratory-induced shared dream. As Cobb and Ariadne sit at an outdoor café, the scene at first seems and sounds disarmingly normal. But as the two protagonists talk, Cobb drops increasingly explicit hints that the situation is far from normal because it is, in fact, a dream. “We’re dreaming?” Ariadne asks, incredulously, at which point Cobb unleashes a series of violent but seemingly random and inexplicable explosions as if to demonstrate the utter otherworldliness of the dream state. As Cobb sits calmly at the café table, fruit and vegetable stands begin exploding, windows blow out from buildings overhead, and sections of the brick-paved street are thrust upward as if launched by a geyser from below. The strange scene ends thunderously when a pile of debris drops falls upon Ariadne, crushing her and causing her to wake from the dream to find herself in Cobb’s “sleep lab.”
What’s impressive, here, is not just the MRX 700’s highly energetic handling of the various explosions being presented, but the uncanny precision of its surround sound decoding as we hear debris being flung first in one direction, then another, and another. The sonic images of debris sizzling through the air from left-to-right, right-to-left, and even directly overhead, have a certain laser beam-like crispness and clarity that make them seem unnervingly realistic. Then, to cap things off, there is the horrendously abrupt and low-pitched “ka-ruumpff!!” of debris falling straight down upon Ariadne, burying her in a split-second. The really eerie part is that the imaging during this last effect is so precise that we have the illusion of hundreds of pounds of broken glass, stones, and brick landing just inches from our listening chairs. We can’t help feeling, just for a moment, as if we’ve only narrowly missed being crushed, ourselves. I’ve heard this soundtrack segment with other electronics in play, and for obvious reasons it almost always has lots of impact (too much for our comfort, actually). But what distinguishes the MRX 700 is that quality of laser beam-like precision, which makes the sound effects at hand feel more compelling, tangible, and real.
The soundtrack of the 2005 film Batman Begins also nicely highlights several of the MRX 700’s sonic strengths. One sequence that particularly caught my ear comes relatively early in the film as Bruce Wayne (Christian Bale) is subjected to severe test by his mentor Henri Ducard (Liam Neeson). Ducard uses a mortar and pestle to grind up the dried petals and leaves of a hallucinogenic mountain flower and then sets them on fire, ordering Wayne to breathe in the fumes. As the fumes begin to take their effect, Ducard—ably assisted by a team of ninjas—explains that it is time for Wayne to confront and presumably to overcome his worst fears, even as he must resist an attack that will be mounted by Ducard and the ninjas.
Interestingly, the sound designer and director use sonic images just as much as visual images to suggest the effects of the hallucinogen (and of Wayne’s mounting fears from within). Sounds become subtly, and then not-so-subtly, exaggerated and distorted, so the listener perceives in an instant that something seems a bit “off,” yet without initially being able to pinpoint exactly what’s wrong. Transient sounds experience momentary bursts of phase-shifted distortion effects that come, go, and then re-appear. Textures of sounds start out normally, morph without warning into other sounds that seem scarcely recognizable, and then snap back to normalcy again. It’s a heady and complicated sonic brew, which the MRX pulls off with real finesse and aplomb. While many receivers can no doubt give you a rote reading of the various types of effects used in this sequence, this one actually manages to convey what an altered state of consciousness might sound like.
I have mostly good news to report, here, but also a minor disappointment. Let’s start with that small disappointment and then work forward from there.
I listen to a lot of musical material in SACD format, which—as you may have gathered from my comments in the FEATURES section, above—isn’t the easiest thing to do with the MRX 700. The problem is that, first, you can’t listen through the analog outputs of a multichannel SACD player or universal player (because the MRX 700 doesn’t have multichannel analog inputs), and second, you can’t send a DSD bitstream to the MRX 700 and let it do the decoding (because the MRX 700 doesn’t support direct DSD decoding). So, to listen to SACD discs through the Anthem, you’ll need a player that can convert SACD content to high resolutions LPCM format. Happily, many popular players (for example, all of the Oppo Blu-ray players) support this functionality so that there is a way to get the job done.
But do SACD discs sound as good once you convert their musical content from DSD to LPCM format? To find out, I put one of my favorite test discs—the spectacular multichannel SACD recording of Gary Burton’s Like Minds [Concord Jazz], which I played through an Oppo Blu-ray/universal player configured to convert DSD to LPCM format. The resulting sound was good—actually very good, doing a wonderful job with the stunningly three-dimensional surround sound imaging cues that are a big part of what makes this record so special. Tonal colors, especially from Gary Burton’s vibraphone and from Pat Metheny’s electro-acoustic jazz guitar, were appropriately rich and nicely saturated. Even so, though, I felt a tinge of disappointment, in that I know from many past SACD listening experiences that the sound quality, though quite good as judged by most standards, might have had lost a step or two in the translation from SACD/DSD format to multichannel PCM. There’s a certain quality of aliveness and a heightened sense of air and resolution that should have been present in the recording, but that were only partially realized under the circumstances.
This isn’t a comment on the quality of the MRX 700’s analog audio electronics, (which sound exceptionally good when heard under optimal conditions); rather, it is a comment on what may be the inherent sonic drawbacks of converting DSD to LPCM format. In fairness, let me note not all listeners perceive these drawbacks as acutely as I do, and some report hearing no problems whatsoever with DSD to LPCM conversions. Thus, this is one of those areas where a precautionary “your mileage may vary” comment would apply. But if, like me, you’re a confirmed SACD fan, then this is a point to bear in mind when deciding if the MRX 700 is the right AVR for you. One very important point to consider, however, is that once DSD material is converted to LPCM format, it then becomes possible to apply Anthem Room Correction. Anthem’s position, as succinctly stated by Product Manager Nick Platsis, is that “the sonic benefits of ARC far outweigh” any hypothetical sonic drawbacks associated with DSD-to-LPCM format conversions—a legitimate point.
But the good news, here, is that when you feed the MRX 700 music material recorded in (or converted to) LPCM format, it sounds well and truly terrific. A great example would be the title track from Mary-Chapin Carpenter’s Come On Come On [Columbia]. I routinely use this highly revealing test track when evaluating ultra high-end headphones and headphone amplifiers for our sister publication Playback, so I feel that I have a pretty good idea of how good it can sound through cost-no-object transducers and electronics. Imagine my surprise, then, when the MRX 700 managed to reproduce some of the same special qualities I hear in “Come On Come On” through higher-end components. What qualities are those? Well, for starters there is the sheer complexity and beauty of Chapin Carpenter’s voice—a voice that, through the Anthem, sounds at once earthy and powerful, yet also breathy, delicate, and at times vulnerable. These subtle shadings of timbre aren’t easy to capture, at least not to their fullest extent, yet the Anthem caught them with much if not all of the richness and subtlety I would expect to hear from more costly components.
Then, there is the richness of the instrumental accompaniment, which centers on acoustic guitars, bass, and piano. The guitar work is richly, even sumptuously detailed throughout, yet not in an exaggerated way that would inappropriately draw too much attention and thus detract from the song as a whole. The piano, in turn, provides a contemplative (and at times almost melancholy) melodic and rhythmic framework, while the bass functions as a rock-solid sonic “sea anchor” that holds the song on course. Through this all, though, we also hear small—indeed almost subliminal—harmonics, overtones, echoes, and reverberations that convey a sense of the recording space in a way that imparts a quality of lifelike realism that makes the recording special. On this track, the MRX 700 differentiates itself from run-of-the-mill AVRs by successfully expressing the deeper, more soulful and emotionally involving aspects of music.
As I listened to Come On, Come On (and other 2-channel source material) I also had the opportunity to try out the MRX 700’s various two-channel-to-surround-sound processing modes. While I concede that such modes do have their appeal, I’m normally not a big fan (hey, I was raised as a dyed-in-the-wool audio purist), but I had to make an exception in the case of Anthem’s wonderful AnthemLogic-Music mode, which sounded quite wonderful. What makes AnthemLogic Music mode different and better than others of its type is its elegant simplicity. Anthem says the mode “enhances the stereo listening experience without detracting from the stereo soundstage,” adding that, “this is a minimalist design that uses no echo or reverberation effects which could negatively affect the purity of the sound.” Moreover, Anthem points out, the mode “does not utilize the center channel to ensure that the purity of the stereo music soundstage will in no way be compromised when you’re sitting in the ‘sweet spot’ and listening to your favorite stereo recordings.” Where many such modes sound like garish extrapolations upon the original stereo content, AnthemLogic-Music mode manages to sound very much like the original stereo recording—only better, because the overall presentation becomes more enveloping and three-dimensional, albeit in a very subtle and tasteful way. Good work, Anthem.
Consider this AVR if: you want a versatile, flexible, internet radio-capable receiver whose amplifier section offers the clarity and finesse for which Anthem is rightly famous, and whose muscular, punchy sound belies its comparatively modest output specifications. Also consider the Anthem if you want a receiver that incorporates one of the most sophisticated room EQ systems available today.
Look further if: you’d like to research other AVRs that may ultimately provide more audiophile-friendly features and greater ease of use at a comparable (or slightly lower) price. The MRX is a good choice, but it faces formidable competition at its price point (from Integra, Marantz, and Onkyo in particular)
Ratings (relative to comparably priced AVRs)
User interface: 9
Sound quality, music: 8-9
Sound quality, movies: 9
In terms of apparent build quality, flexibility, versatility and clean, punchy power delivery, the MRX 700 lives up to the promise inherent in the Anthem name. In short, it’s a real (not a “watered-down”) Anthem component. The MRX 700’s ARC room EQ system is also one of the two best that I’ve heard thus far—a feature that beautifully complements this receiver’s overall design brief, which basically calls for affordable excellence.
Only two things hold this AVR back. First, it is missing a handful of audiophile-friendly features (multichannel analog inputs, DSD bitstream decoding) that I would frankly expect to see in a receiver of this stature. Second, its powerful ARC room EQ system performs superbly, but is not as easy to use as some other systems on the market. If these issues could be resolved, the MRX 700 would go from being a “good” choice to a great one.
SPECS & PRICING
Anthem MRX 700 7.1 channel A/V receiver
•7 channels driven at 70 W continuous RMS into 8 Ohms,
•5 channels driven at 90 W continuous RMS into 8 Ohms, or
•2 channels driven at 120 W continuous RMS into 8 Ohms, 20 Hz – 20kHz @ < 0.1% THD
Frequency response: 20 Hz – 20kHz (+0, -0.25 dB)
•Dolby: True HD, Digital Plus, Digital EX, Pro Logic IIx (Movie, Music, Game), Pro Logic IIz, Virtual Speaker (Wide, Reference), and Dolby Volume and Dynamic Range.
•DTS-HD Master Audio, DTS-ES (Matrix, Discrete), DTS 96/24, DTS Neo:6 (Music, Cinema)
•Proprietary Modes: AnthemLogic-Music, AnthemLogic-Cinema, All Channel Stereo
Video inputs/outputs: HDMI (4 in, 1 out), component video (3 in, 1 out), composite video (4 in, 3 out)
Audio inputs/outputs: HDMI (4 in, 1 out), digital audio (5 in, 2 x Coaxial, 3 x Optical; 2 out, 1 x Coaxial, 1 x Optical), USB (2 ports—1 x front, 1 x rear), stereo analog audio (7 in; 3 out, 2 x Rec out, 1 x remote zone out); 7.1-channel analog audio (no input, 1 out); headphone (1 out). An Anthem MDX1 iPod dock is planned.
Other: IR (1 in, 1 emitter out), 12V trigger (1 out), 2nd Zone (A/V outputs, remote control), RS-232 (1 control port)
Dimensions (HxWxD): 6.5" x 17.25" x 15.25"
Weight: 35.4 pounds
Anthem Electronics Inc.