TAG McLaren AV32R DP
AV Processor

High-end processor with accelerated audio

TAG McLaren AV32R DP

From the precision watch makers and the esteemed Formula One team comes a processor targeting the top spot on the home cinema podium. Bob Tomalski gets up to speed.

The AV32R comes from a company that's relatively new to high-end home cinema. The TAG (Techniques d'Avante-Garde) Group comprises a number of diverse businesses comprising the McLaren Formula One racing team, TAG Heuer precision watches and TAG Electronic Systems who make automotive electronics for over 80 different companies.

In 1997 TAG purchased Audiolab, a famed British hi-fi manufacturer, and embarked upon a new range of hi-fi - and now home cinema - units using Audiolab's background and TAG's expertise in automotive electronics and stylish design. Its first home theatre component is the AV32R processor. It's an impressive debut.

At 445(w )x 75(h) x 338(d)mm it happily sits alongside most home cinema gear. The satin gun-metal finish, softly back-lit display and machined volume control and power switch exude expensive quality without looking flashy nor minimalist.

Up front the buttons are divided into groups - the input section, mode buttons, balance keys and status indicators. The LCD is a high-resolution dot-matrix which displays mixed alphanumerics. In layman's terms it shows detailed text as well as numbers, allowing inputs to be labelled with brand names to identify sources. Around the back we find the terminals equally regimented into S-video and composite groups, digital in/outputs and analogue in/outputs.

All this sounds great and the looks are impressive. Yet look closer and you discover a disappointment. The number of recording outputs and source inputs is ludicrously low for a processor that's expected to be the heart of a serious system. For example, there are only four composite and four S-video inputs with just a single video recording outlet for each. Also there's only one S-video and composite monitor output - not very helpful if you want to drive a projector and TV with S-video feeds using onscreen graphics. In the digital domain you have three coax and two TOSlink inputs, but only one digital recording output (two can be fitted but only if you reject the option of a laser disc RF input). And in the analogue domain there's just a single tape output - which is shared as the VCR audio output. Perchance you are recording enthusiast with a MiniDisc, a CD-Recorder and a cassette deck, you're totally stymied. Otherwise, you'll find six main outputs for driving power amps - as left, centre and right, rear left, rear right and subwoofer.

On this limited connectivity, TAG McLaren says there is minimal space on the back of the product, so more terminals are not possible - and anyway, it suits the likely purchaser, who is not likely to have many recording devices. As for the person that has an analogue audio recorder and VCR, the only solution is to use an add-on switcher to expand the functionality. TAG's help-line suggested I purchase an older (possibly second-hand) Audiolab preamp as an add-on to perform such switching. And that's not all. If you have one of the latest DVD players with component video outputs and a video projector with matching component inputs? Sorry. Component video is not supported.

Last but not least, the rear panel has a pair of RJ45 jacks for TAGtronic communications - a control bus that allows the AV32R to work seamlessly alongside other TAG components. These terminals can also be used for updating the AV32R's memory, but only via a £70 add-on RS232 adapter which allows a PC or laptop to re-programme the flash RAM.

Back to basics

Basic operation is totally intuitive. Inputs are toggled sequentially with the analogue, digital and video buttons on the front panel or directly selected via the handset. Similarly, the mode buttons select the surround modes, either automatically based upon the data stream, manually, or linked to the input selector. You can setup the processor to always select a particular processing mode (eg Dolby Digital) whenever you select, say, the DVD input. More on this later.

All the basics of home cinema are available. There's Pro-Logic, Dolby Digital, DTS and MPEG-2 decoding. And being a Lucasfilm-approved product, you have THX post-processing that can be applied in Pro-Logic, Dolby Digital and DTS surround modes. This processor also brings some minimalist DSP for use on mono and stereo sources. TM Surround offers just a tad of reverberation - not a church or concert hall full. With this engaged the centre channel bolsters left and right with the rear channels adding delay.

DTS Cinema is another TAG mode. Its a modified version of DTS that has a 10dB higher low-frequency effect filter. The result is that deep bass is played over twice as loud as in the normal DTS mode. When it comes to old-fashioned stereo, TAG once plays some tricks. Direct brings the normal two channels, but Direct+Sub directs low-frequency information to the subwoofer. As for the mode marked Stereo actually this isn't for two-channel music at all - it's used to provide a stereo downmix of digital multi-channel sources. This might be useful for making a stereo recording from a multi-channel DTS CD or Dolby Digital DVD. Last, in terms of effects, is Mono. In this mode the AV32R combines the left and right to provide a single channel. This is a bit of a waste - other brands use the mono mode in conjunction with a steep Academy (low pass) filter for tailoring noisy vintage soundtracks. On the AV32R mono its merely a summing of left and right with no attempt at equalisation.

Wizard Functions

In practice it's not the basics, but the setup that makes all the difference. Here TAG McLaren has pinched a concept from many computer programmes - a setup Wizard to help you install the system. Using a series of onscreen prompters you almost don't need to read the instruction manual. This is just as well, given that TAG sacrifices simplicity for style when it comes to supporting documentation. Two booklets are supplied in CD jewel cases and are microscopically printed, so that you almost need a magnifying glass to examine their diagrams. The Wizard appears as part of the onscreen display when you first power up the product. The alternative is an option labelled 'Change Set Up' after which you are presented a long list of functions with no descriptions - this being for experts. Assuming you accept the onscreen guidance, you are taken through two stages of installation - those functions which are essential for a well-balanced sound followed by those which are a matter of convenience.

First up is bass management, described by the Wizard as speaker type. If you have THX speakers, take this option and all the cut-off frequencies are set at 80Hz, the presence of a subwoofer is accepted and you're all set to go. If you don't have THX you are then guided through full range/bass limited options for the front and full range/bass limited/none for the rear speakers. Next comes a subwoofer yes/no choice (if you answer no, deep bass will be directed through the main speakers) followed by a choice of 120/50/80Hz cut-off frequencies.

Next there's time-alignment, where you enter the distance between your listening position and speakers. This adds the appropriate delay to ensure the sound from each speaker hits you at the same moment. Usefully, the distances can be set in feet or metres. Level calibration follows, with pink noise emitted from each speaker. Options allow you to have a static tone or to cycle from speaker to speaker.

Throughout all this setup, the Wizard describes what each of these settings do. It informs that an SPL meter is recommended for volume setting and warns that too much bass on the subwoofer could be a problem - and offers subwoofer protection.

The convenience functions include source labelling up to a useful 16 characters. For the uninitiated, inputs shown on the display (and TV screen) can be redrawn to show Sony VCR for example instead of just VCR.

Also available is a sensitivity function. This matches the input level for analogue sources, thereby optimising the best s/n ratio. In layman's terms it makes sure you don't overload the analogue inputs and offers a manual or automatic setting. Another input tweak is surround mode. Any mode can be associated with any input.

Next follows a whole series of DTS tweaks. The 10dB extra output as used in the DTS Cinema processing mode can be applied on a per-input basis. So, when sending a DTS stream via the CD digital input you can hear a walloping extra LF slam. DTS Auto sense delay is another feature. With this engaged, the processor mutes whilst also sensing the presence of a DTS data stream. This is handy for preventing the short burst of data that is sometimes heard as DTS software is identified.

You can also nominate video and audio links. The AV32R can be programmed to automatically display a particular video input each time you select an audio input. The gimmicks continue with a choice of where onscreen displays appear on your TV screen (and for how long) followed by the front panel brilliance. The volume cursor onscreen can be set to cinema mode (shown in dB) or preamp mode (shown on a scale from 0-99). And how about setting a personalised message at switch-on? This too is possible. Why not enter your post code and telephone number, lest this pricey piece be pinched?

For all this excellence and wizardry there's a silly bug which has been uncovered in this review exclusively by HCC. Once you've made all your personalised settings, there's an option to save and store your preferences. Fine. Except it does not store everything. The surround settings remain linked to their defaults until you get up from your armchair, go over to the unit and physically power off then on again. Yet every other menu choice is retained by using the handset and selecting save settings - how illogical?

On this, TAG McLaren say it's not a particularly important problem - and will be fixed in a future software upgrade. Yet £500 integrated amplifiers handle mode-linking with ease. Also, a representative from TAG visited HCC with beta-test upgrade software v2.02. Although this was supposed to cure the bug it failed to do so.

Given that TAG McLaren have made excellence their by-word, they lay themselves wide open to criticism for this minor - yet irritating - bug. The AV32R also possess an unfortunate trait when it comes to remote control. The IR codeset loosely follows RC5 conventions, meaning it can clash with other brands.

If by chance you wanted to extend the TAG's recording capabilities by using Meridian components, forget it. The VCR selector on the TAG handset wreaks havoc with the Meridian's DSP modes and the CD input button amends the Meridian's inputs. Chances are if you have any RC5-compatible preamp, you'll encounter such traits - making duplex operation a pain, at least, or impossible at worst.

The final problem concerns recording. Not only does the AV32R have too few tape outputs, when listening to a digital input, there's no analogue recording path. So, if your CD player is connected via a TOSlink or coax cable (thereby giving best-quality listening) you can't dub a CD to analogue tape. And if you have a DAB (Digital Audio Broadcast) tuner the same is true. The only recording path is in the digital domain - you must have a DAT, MD or CD recorder to make a copy of a digital radio broadcast.

Once again, TAG has missed an important point. Home cinema fans generally have a mix of old and new technology. It's limiting to assume all recordings will be made digitally. What of those who use their hi-fi VHS decks as audio recorders? Using the AV32R there's no way of making CD to VHS hi-fi compilations unless you connect the CD player's analogue connections.

Overall then, the AV32R has many quirks. Yet perhaps they become insignificant, once you settle back and enjoy what this product delivers in terms of audible quality?

Sonic satin

TAG's design brief was to make a processor that delivers outstanding audio and video. In this respect, the AV32R succeeds in every way. We tested it in conjunction with a much-loved Carver 806x power amplifier and KEF Reference THX speaker package. The first five minutes listening to the excellent von Karajan Beethoven's 9th DVD (Sony Legacy Series) creates an impression of sonic satin - the piano notes being smoothly and beautifully rendered without any hint of twang'nor stridence. Clearly this is a product of true hi-fi pedigree.

On to some favourite actioners and a test of its cinematic prowess. Chapter 30 of The Negotiator - the helicopter shoot-up sequence - is a microcosm of the dynamics capable on DVD. One moment there's a hail of bullets shattering the office suite, the next we hear softly spoken vocals from Samuel L Jackson. Then it's back to the action as the low-flying helicopter drones away. Pulling the plugs from the front channels and listening to the rear channels only reveals the total segregation between effects. As the chopper transits from front to rear, you hear zero on the rear then gradually the drone builds up until it reaches a rearward crescendo. It's an awesome experience.

The AV32R handles all this very smoothly, with detailed precision. You don't get any of the muzziness associated with budget Dolby amplifiers. As the stun grenade slams into The Negotiator it's a deep thud, not merely a metallic clonk. Armageddon is another test. In Chapter 3 Bruce Willis is speaking softly having discovered his daughter en flagrante in the bedroom. Next he's raging around the oil rig taking pot shots that thud and ricochet across your lounge. All this is a startling taster of the Dolby effects that are to come later in the movie.

And DTS? As with all processors, you get a rise in lower-mid frequencies and a different kind of presence to the surround effects. On many budget amplifiers, DTS always sounds demonstrably better than Dolby Digital, yet on the AV32R the sonics seem less aggressive. The DTS laser disc of The Lost World has all the thud and thump as the dino's footfalls echo through the jungle, yet not with exaggerated bass - at least, not until you engage the DTS Cinema mode, whereby that extra 10dB of LF takes the thud over the top.

And TAG surround? It's worthy of a mention. I have to say it's the least offensive DSP I've heard on a processor in a long time. You get a good tri-channel stereo effect up front without masses of artificial reverb on the rear. Pity more makers don't employ such minimalist ambience - as an alternative to the offensive echo - on their products. You actually enjoy using this enhancement on stereo tracks, rather than treating it as a toy to impress visitors.

Formula Bomb

In summary, the AV32R offers exquisite sonics both in terms of musicality and cinema decoding. Also, its video performance in the lab is exemplary - see our tech box (right). Pity then, it's slowed by a basic lack of understanding of what an up-market home cinema fan demands - inputs, inputs, inputs. Plus a few more outputs too, especially in the analogue domain. A potential customer for this product would likely have a VCR (or two) DVD, satellite and laser disc. He (or she) might also want to play a camcorder, video games console and TV tuner through the system. And even if he doesn't have umpteen sources, chances are he might tape the proms whilst the kids enjoy a performance DVD.

Mind you, this processor has a nifty plus-point. It's upgradable without having to be returned to the manufacturer. The future may well see additional decoding modes (Dolby Surround EX comes to mind) and extra DSP features. On the AV32R these can be added via a flash-RAM upgrade from a PC. Mind you, how they'll cope with the need for an additional rear-centre output socket (EX is a 6.1 system) has yet to be seen. If your home cinema system has but few sources - and you want simplicity coupled with superb performance, then look no further. But as you'll see, within the pages of this special edition there are other high-end processors that do more - albeit at double the price...