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The first draft I shared was done by Xiao Bian, who mentioned that the photo quality wasn't great, and I had been too excited at the time to get the machine. I ended up taking the phone and shooting it myself. Now, I've reworked it, removed the power amplifier, and used a camera instead. In addition to group photos, some text has also been added. I hope everyone enjoys these updates!
The renovation of my new house is finally complete, and the home audiovisual infrastructure is now mostly set up. The worst part of the final setup was the amplifier. After trying several options, I settled on the Onkyo 676E. It arrived yesterday, and after a few tricky attempts, everything was finally connected. I tested it with Dolby’s test disc, and the panoramic sound effect was truly impressive — a little bit of excitement, and I wanted to share it with everyone.
Initially, I had planned to go with the Marantz 6011. I had used an older Marantz model before, and I felt the sound quality was good, especially during concerts. I still have a soft spot for Marantz, and the 6011 seemed like a great option as the cheapest 5.1.4 amplifier, making system setup more convenient. However, by the end of the renovation, my budget was severely stretched. Even though the 6011 dropped below 6,000, it still felt a bit expensive. So, I went with the Onkyo 676E, which supports panoramic sound, DTSX, HDR10, and more. Compared to other latest technologies, its key price is quite reasonable. The Hong Kong Bank price of 3700 is currently the most cost-effective panoramic sound amplifier, and I can easily accept it. However, the initial plan for 5.1.4 wasn’t possible, only 5.1.2. The reflector boxes I had bought were left unused, but in the end, it was still a better choice.
The packaging was very well-structured, with a wooden stand that ensured high transport safety. The outer box of the 676E, being a low-end model, was lightweight and easy to handle, unlike many high-end models that often require two people to move. Once opened, the machine was well protected inside. The front panel continued Onkyo’s classic design — simple with minimal buttons. The logo was prominent, along with a switch button. There were also controls for listening modes, bass, and treble, all with a good tactile feel. The display panel and source switching buttons were smooth and responsive.
For input, there was a front HDMI port, but no front USB — which would have been more convenient. The back panel showed that Onkyo and Pioneer had merged, with the speaker interface moved to the center. It supported 7-channel output and ZONE2 partition output, with 6 HDMI inputs and 2 outputs, enough for a single projector or TV. At the top, you could see Dolby Panorama, DTSX, and Dolby Vision — all new features that made me choose the 676E. The transformer provided 165W per channel, which, while not the strongest, was sufficient for my speakers. Since it was a Hong Kong bank model, it came with a British plug, so an adapter was needed.
Inside the box, there was a family portrait, an AM/FM antenna, an AccuEQ microphone, and a remote control. After removing the packaging, I started connecting the speaker cables. For users with banana heads, I found the holes too small, so I had to twist them out. After nearly an hour of effort, a friend reminded me there was a protective cover — I was really frustrated. Eventually, I removed the head, pulled down the cover, and found that the top connection looked much better than the twisted one.
After connecting the HDMI cable, I remembered to avoid hot plugging, as it could damage the interface. Once everything was connected, I placed the unit in the rack and prepared for debugging. The tripod was positioned at the right height, and the AccuEQ microphone was ready. I used Onkyo’s room acoustics calibration system, which had evolved from Odyssey to AccuEQ. While AccuEQ isn’t as accurate as Odyssey, it still worked well.
I set up the speaker channels for a 5.1.2 configuration and ran the test automatically, keeping the room quiet. The system adjusted crossover frequencies, distances, and gains based on the results. Sometimes, the measurements were off — like the right front distance showing only 0.96 meters. I manually measured it with a tape measure to correct it. After running AccuEQ, I used a Taiwanese sound pressure meter to make manual adjustments for better balance.
I entered the settings menu, where the options were plentiful but the instructions were somewhat shallow, requiring self-exploration. I manually adjusted the speaker levels, setting the front left to 0 as a baseline. At volume 60, the sound pressure measured around 54dB, which became the benchmark for other channels. Finally, I increased the mid-range level by 2dB to improve vocal clarity, which helped balance dialogue and ambient sounds.
Once the system was fully set up, I enjoyed the immersive effects of blockbuster movies. I also talked about firmware upgrades — the Hong Kong site offered faster updates than the domestic one. Using a USB stick for upgrades was more reliable. I turned on the panoramic sound icon and recommended using the pass-through mode for the best results.
Even though my base setup was 5.0.2, the panoramic sound effect was still shocking. The sky sound channel wasn’t just about adding two speakers — it created a 3D experience that was clearly noticeable. Definitely worth trying!
My living room theater system is now fully set up and ready to use. I’ll write a full report on the cinema and HIFI system once I have the time, probably during the holiday. Until then, I’ll slowly organize the materials and language.
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