Review A new AV receiver from British stalwart Arcam is always worthy of note, as the brand has an enviable reputation for creating audio electronics that are uniquely musical.

Musical box: Arcam's FMJ AVR400

An Arcam amp, be it a seven-channel monster like the FMJ AVR400 reviewed here, or one of the brand’s lauded two-channel designs, never sounds like any of its Japanese competition. They’re always somehow warmer, more enveloping. But the user is usually asked to pay a forfeit for such sonic pleasure, either in basic functionality or usability.

The AVR400 is clearly a close relation to Arcam’s high-end AVR600. It shares the same minimalist design aesthetic (no volume control knob!) and distinctive green status window. It’s available in both silver and black finishes.

Video connectivity comprises five HDMI v1.4a inputs, four phono/s-video inputs and three sets of component. These are mirrored with two digital optical and four coaxial audio inputs. One of the optical ports is pre-assigned to the Sat input, acknowledging that it will doubtless be used with a Sky box; the satcaster does not deliver multichannel sound over HDMI.

More real estate is turned over to a full set of preamp outputs and 7.1 multichannel audio inputs, principally for SACD and DVD-A hardware. In addition, there’s also an RS232 input for use with Crestron or AMX system controllers, two 12V triggers for multizone equipment use, two IR external receiver jacks (again for multizone) and Ethernet LAN. iPod owners can take advantage of a terminal for the brand’s optional irDock.

Interfacing abounds

There is, however, only one HDMI output, which will be problematic for users of projectors and flatscreens. By way of compensation, there is at least a component output. The unit ships with the brand’s CR102 remote zapper. This is a learning remote able to control eight devices, accessed from dedicated device mode keys.

Audio processing and setup

The FMJ AVR400’s auto calibration system does a surprisingly good job at equalising a multi-speaker setup, adjusting for speaker type, distance, level and crossover. It also compensates for resonant room frequencies. Initially, I balanced speaker levels manually and was reasonably pleased with the results. Then I plugged in the supplied mic and tried the auto calibration software. The results sounded even better.

Internet radio and networked audio files can be accessed using the Ethernet port

The unit has a full complement of audio decoders on-board for Dolby and DTS, but no Audyssey DSX side/height tomfoolery or THX post processing modes. It does, however, offer Dolby Volume. This dynamics taming technology minimises differences in volume between disparate source inputs or programmes and ad breaks. This proved surprisingly useful in toning down the odd volume discrepancy that occurs between HD and SD broadcast channels.

The feature set is completed by an integrated DAB/FM/AM radio together with USB and network audio playback plus an Internet radio. Music file support is extensive. I successfully streamed FLAC, MP3, WAV, AAC and WMA tunes from my networked music server. However there is no support for album art.

For the audition, I ran the AVR400 in a 7.1 configuration using Definitive Technology Reference speakers allied to a Velodyne subwoofer. My source component was Arcam’s newly-released and matching BDP100 Blu-ray player.

Also available in black

It wasn’t long before the brand’s honey-sweet character was soon in evidence, as well as a delightful sense of presence. The Dolby TrueHD mix of Crash into Me from the Dave Matthews and Tim Reynolds: Live at Radio City Music Hall Blu-ray proved hugely atmospheric. It was enough to raise the hairs on the back of my neck.

Wall to wall of sound

Musically, this receiver is comfortable with both whip-cracking rock and easy listening. A streamed FLAC rip of AC DC’s Back in Black rippled though my listening room. It sounded so good that I didn’t want it to stop. More subdued fare from Japanese MOR songstress Emi Fujita proved equally enthralling. The imaging precision is pinpoint, as suddenly I was an extra in Lost in Translation.

A sound performer, but it'll cost ya

With multi-channel movie fare, the AVR400 really began to warm its lid. Arcam itself rates power output at 90W per channel. However, during my audition, I felt there was far more muscle on tap than that. At no point did the AVR strain when all channels were driven to duress.

The AVR400 offers a fair few picture processing and output options among them Edge Enhancement, MPEG N.R (removes heavy compression artefact), Noise Reduction (helps suppress random noise within the picture) and various component RGB configurations.

However leaving the AVR on its default outputs is not always the best approach. During tests it became clear that the Faroudja Torino DSP, which sits before the output stage, was creating a reoccurring frame skip on horizontal movement (confirmed by Arcam’s senior engineer Andy Moore). By putting the AVR on Bypass it cut the DSP out of the loop and immediately cured the problem.

Of course, Bypassing the Torino out means you lose upscaling of SD sources. For what it’s worth, I’d also suggest selecting the Follow Input setting as this ensures the AVR will always output exactly the input signal (ie 1080/60 source material isn’t processed erroneously as 1080/50). Of course, with so many tweaks available you’ll have hours of fun finding the ones which work best for you.

Verdict

Of course, Arcam AV receivers won’t appeal to everyone. Quite apart from the cost, these designs also slightly idiosyncratic and most definitely British. If I knew anything about automobiles I’d pull out a pertinent car analogy here. But I don’t, so I can’t. Suffice to say this particular model is so good it threatens to make the more expensive AVR600 almost redundant. At the very least you should treat yourself to an audition, just don’t blame me if you end up buying one. ®

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