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Best Home Theater Systems of 2022

When it comes to setting up a home theater, the TV may come first, but equally important is improving sound quality. There are plenty of options when it comes to buying a home theater sound system: from AV receivers and multispeaker setups to simpler yet still powerful soundbars, we've got you covered.

Soundbars offer a lot of performance in a compact package and cost much less to get up and running than a speaker system. You can even choose one with advanced features like Dolby Atmos and Wi-Fi streaming. Some soundbars offer an upgrade path including optional subwoofers and rear speakers, though if you want to truly mix and match speakers, an AV receiver is for you. 

Receivers offer a lot in the box and, unlike soundbars, they have plenty of HDMI inputs to accommodate different sources. You can start with just a couple of stereo speakers -- I did without surround-sound speakers for about five years before I upgraded, and didn't feel I was missing out.

Whichever route you choose -- soundbars or AV systems -- there should be something here that will improve your home entertainment experience. These are the best home theater systems available right now. We'll update this list periodically as we review new products.

Roku Streambar

Best budget soundbar

When it comes to bang for buck, it doesn't get much better than the Roku Streambar home theater system. This speaker offers both a dialogue-enhancing soundbar and a built-in 4K streamer in one package. If you want more bass or surround speakers, the system is also upgradable. You can choose the speaker package.

Read our Roku Streambar review.

 

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Klipsch Reference Theater Pack

Best surround-sound speaker package under $500

Originally retailing for $1,200, the Klipsch Reference Theater Pack is currently on sale for a quarter of that. This set features big sound from a compact 5.1-channel surround-sound system, and it is a perfect home theater option for apartments or games rooms. This speaker system is excellent for movies and not bad for music, either. Just add a receiver.

Read our Klipsch Reference Theater Pack review.

 

$280 at Amazon

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Elac Debut 2.0 B6.2

Best stereo speakers under $500

If there's one area where we're spoiled for choice, it's affordable stereo speakers, and at $399 the Elac Debut 2.0 B6.2s offer excellent playback of both movies and music. They offer a transparency that's unlike anything else near the price. While the Q Acoustic 3030is are more even-handed and have better bass response, they're also $550.

$400 at Amazon

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Vizio M512a

Best value Dolby Atmos soundbar system

While the rotating speakers of the Vizio Elevate are cool, that system doesn't offer the best bang for your buck within the company's range. The Vizio M512a is a Dolby Atmos soundbar that includes 4K Dolby Vision, a subwoofer and rear-channel speakers, making it a sort of hybrid between a receiver-based system and a soundbar. It also provides incredible sound quality for music and movies for a hair under $500.

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Onkyo TX-NR6100

Best 8K receiver

Despite the fact that there's basically no 8K video available now, you still can buy an 8K-compatible receiver. While the Yamaha RX-V6a with its striking looks and rock-solid performance is the best of the crop, it's also on back order at most places. If you need an 8K receiver right now then the TX-NR6100 is a worthy replacement. It offers a superior streaming suite -- including Chromecast built-in -- and better ease of use. It is a bit more expensive than the Yamaha, however, at $800 (versus $700). 

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Sennheiser Ambeo

Best soundbar with money no object

If you demand the best Dolby Atmos performance from a single soundbar, it doesn't get any better than the Sennheiser Ambeo audio system. It's not cheap, and it's not small, but if you want the best sound, this is it.

Read our Sennheiser Ambeo Soundbar review.

 

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Bose Solo 5 - Soundbar Speaker with Bluetooth Connectivity

Overview

It’s time your TV sounded as good as it looks

The Bose Solo 5 TV sound system is a one-piece soundbar that brings noticeably better sound to all your favorite TV programs. It’s engineered to help clearly reproduce everything from dialogue to details. And for even more clarity, its dialogue mode makes every word easier to hear. This soundbar is so versatile you can place it almost anywhere. And with Bluetooth® connectivity, you can play your favorite music wirelessly through the speaker, too.

Hear what you’ve been missing

The sleek design of your flat-screen TV is a beautiful feature. Unfortunately, there’s little room left for speakers. That’s why dialogue and quiet passages can be so hard to hear. The Solo 5 TV sound system is an easy solution, with advanced technologies that deliver the clear audio your TV can’t. And dialogue mode makes every word even easier to understand without having to adjust the volume from scene to scene.

Setup couldn’t be easier

In fact, “setup” may be an overstatement. Simply connect the Solo 5 system to your TV with just one audio cable (optical, coaxial or analog, in order of preference). The system automatically knows which one you’ve used. The soundbar is so versatile you can place it almost anywhere, whether it’s in front of the TV, on a shelf, or even mounted to the wall.

Bring out the bass

Dramatic programs. Live concerts. Suspenseful series. There are times you just know you’ll want a little more bass when watching TV. Go ahead—you can adjust the bass control to your liking with the remote control’s bass control button.

Universal control

Take command of your Blu-ray Disc™ player, Bluetooth connectivity and gaming system with the included universal remote control. Easily control both the system and most video sources connected to your TV.

BOSE SOUNDBARS

Your guide to selecting the best soundbar for your home

Specs

Dimensions/weight

Inputs/outputs

In the box

Rated 5 out of 5 by Johnny Boy from Great sound! I bought a reconditioned one from the Bose outlet here in Southern California. I can't believe the sound and the bass in particular. It's in my bedroom. Way better than the Samsung sound bar and sub in my living room. I'm going to buy one for the living room now. How could anyone give this a bad review seriously. Was playing songs from my iPhone too and the sound was impeccable! Great highs too. Thanks to the people at the Bose store.

Date published: 2020-07-27

Rated 5 out of 5 by RedBuzzard from Fantastic!!! Sound is Great!! Remote is easy to program!! All around best thing I've purchased in a long time. You can always count on a Bose!!

Date published: 2020-07-24

Accessories

FAQs

What is the difference between the Bose Solo 5 TV sound system and the Bose Solo 15/10 TV sound systems?

The most noticeable difference is that the Bose Solo 5 TV sound system takes up less space in the form of a small soundbar, whereas the Solo 15 system comes in a pedestal form factor, capable of being placed directly under 46-inch HDTVs, even some 50-inch.

Why is the sound from the Bose Solo 5 TV sound system better than my TV speakers?

The Bose Solo 5 TV sound system uses proprietary technology to bring out audio details that cannot be reproduced by most built-in TV speakers.

What TVs are compatible with the Bose Solo 5 TV sound system?

The Bose Solo 5 TV sound system is designed for use with most HDTVs. It can be placed in front of the TV, or on a shelf below or above, or even mounted to the wall with the optional Bose WB-120 wall-mount bracket.

What is the range of

Bluetooth performance for the Bose Solo 5 TV sound system?

The Bose Solo 5 system’s Bluetooth link is capable of stable operation at up to 33 feet. Performance can be affected by obstacles such as walls or metal, interference from Wi-Fi® networks or other wireless devices, and device manufacturers’ Bluetooth implementations.

What is the USB port on the back of the product for?

It is for system software updates only.

Support

Manuals/guides

Product and technical support

Modern cinema sound systems. Sound Equipment Manufacturer ASR Audio

Sound systems, of all cinema audio components, have the most difficult task. They must reproduce the chirping of birds, and the voice of a person, and the sound of a symphony orchestra, and the roar of engines during the launch of Apollo 13 - and do this with the same degree of certainty. In addition, the acoustic systems of spectacular channels located in the auditorium must have a modern appearance and fit seamlessly into the interior. Despite the fact that the production of acoustic systems is a very conservative industry, some changes have appeared here to improve their quality and reduce the cost. Indeed, at first glance, since the appearance of the first dynamic emitters 100 years ago, they have practically not changed structurally, the same magnet and coil, the same diffuser and metal frame. But this is only at first glance. All these years, all the constituent elements of the sound column have been gradually improved. Modern neodymium and cobalt magnets, coils made of special rectangular aluminum and copper wire, made using a special winding technology, titanium membranes and diffusers made of composite materials, as well as new technologies for designing and manufacturing the acoustic systems themselves, all this has made it possible to produce today reliable and high-quality professional sound systems of very high power and small size.

Unfortunately, it is loudspeakers that are most often underestimated in cinema sound systems, so choosing them is an important and responsible task that should not be underestimated. The author had to work with the products of many manufacturers (both domestic and foreign) and, as a rule, these were always at least good speaker systems. Of course, you need to understand that the potential of an expensive speaker system, which uses components from the best world manufacturers, is higher, but its cost is also higher. At the same time, an expensive speaker system is not a guarantee of excellent sound. Among loudspeakers, including for cinemas, the relationship between price and quality is very blurred. What's more, some very weak loudspeakers are outrageously expensive, while truly excellent models can be offered at prices comparable to midrange models. Many global manufacturers, who have been producing various acoustic systems for many years, and having achieved very good results, are now trying to exploit their “name”. They create commercial ones, models and entire series, on inexpensive components, but are offered at a fairly high price. Sometimes such systems are significantly inferior to other models not only in quality, but also in reliability. And the reliability of acoustic systems for a cinema is extremely important. In this regard, I would like to draw your attention to this, to warn against mistakes and the pursuit of a fashionable brand of a well-known global manufacturer. Since acoustic systems are an integral part of the cinema today, they need to be selected only based on the specific conditions of the cinema hall and other cinema equipment used in it.

We will address the question of the correct placement of acoustic systems when we begin to talk in detail about the equipment and acoustic processing of the auditorium, and now let's briefly recall how the acoustic system works. Under the influence of a magnetic field, the coil is displaced and pushes the diffuser, which, in turn, compresses the air environment and forms a sound wave. The main problem that arises in this case is that in practice it is impossible to ensure that the same diffuser generates the same sound wave over the entire sound spectrum from 20 Hz to 20 kHz. There are irregularities, dips and rises in the amplitude-frequency characteristic (AFC). This happens for a number of quite obvious reasons, for example, the material from which the diffuser is made must have a sufficiently large size (diameter) and weight to reproduce low frequencies well, this is due to the fact that the wavelength that it forms reaches several meters. For a frequency of 20 Hz, the wavelength is about 17 meters, for 50 Hz, almost 7 meters, for 100 Hz, 3. 4 meters. Naturally, to create a sound wave of this length, the cone must be at least 15 or 18 inches in diameter, be heavy enough and have a large stroke. But such a speaker becomes completely unsuitable for reproducing high frequencies, where the requirements are completely opposite. The wavelength at a frequency of 5000 Hz is less than 7 cm, and at 15000 Hz it is only 2.2 cm. Of course, there are many other reasons that we are not considering now, but they all only confirm that dynamic emitters with different properties. This is how multi-band speaker systems appeared. All acoustic systems used today in cinemas can be divided by the number of bands. Two-way speakers have 1-2 speakers for low frequencies and one high-frequency radiator, which is usually called a driver. In three-way systems, there is another high-frequency radiator - a tweeter. In this case, the frequency ranges on which the driver operates fall slightly lower, and the tweeter reproduces the highest frequencies. The use of sound systems with four or more bands in the film industry is unjustified, since it does not lead to a corresponding improvement in sound quality and is associated with great difficulties during the acoustic tuning of such systems.

In order to divide the entire spectrum of the audio signal into the required number of bands, a filter can be installed in the speaker cabinet (as a rule, the filter allows division into two bands). But this is not very convenient, since it is impossible to change the division band of the audio signal using this filter, and such a need may arise during acoustic tuning. Therefore, most often, electronic filters built into the speaker cabinet are used for the lowest-budget sets of audio equipment in order to save money and not use additional amplifiers.

And a few more words about the design features of three-way speaker systems. Typically, such systems are a speaker cabinet (cabinet) with a speaker and two horns installed one above the other, in which a driver (in the lower) and a tweeter (in the upper) are installed. But higher-quality three-way systems have a coaxial design. One of the world's best manufacturers of components for high-quality professional audio components, the Italian company "B&C" offers several of these high-frequency sound drivers of various capacities. A tweeter is installed in one housing with a driver, but in such a way that their centers are aligned and together they work into a common hole of one horn. At first glance, they can be mistaken for ordinary drivers in two-way speaker systems. Such a device, despite some complexity of design, has very important advantages that cannot be obtained in any other way. The fact is that the two membranes of both emitters are as close as possible to each other, they practically have a common acoustic center and are devoid of problems associated with sound wave interference. In practice, such acoustic systems have significant advantages, since the operating range of coaxial systems falls exactly on the speech range and significantly improves its quality.

Let's summarize. So, when choosing speakers, it is better to opt for two- or three-way screen systems. Moreover, it is better not to save money and not to use built-in electronic filters, but to install, if necessary, a crossover and additional amplifiers for high-frequency drivers. If two-way sound systems are quite suitable for small halls, then three-way systems are better for medium and large halls. In the author's opinion, the use of coaxial drivers in three-way systems is fully justified. Since on-screen sound systems bear the main burden of responsibility for high-quality sound transmission to the hall, the most careful attention should be paid to them. They must fully allow to realize all the capabilities of the installed sound equipment and have high reliability. The reliability of sound systems in a cinema is especially important, as they operate at high power every day from morning until late at night. Of course, any modern system allows, in the event of a failure of one of the speakers, to end the session by switching to emergency mode, but this will inevitably be at the expense of quality. And how long can repairs take - an hour, a day, a week or more? And if imported spare parts are required, but the dealer does not have them in stock, and delivery is possible only on order? And how much will the repair cost if the equipment warranty has already expired? And how to continue showing the next session? Unfortunately, there is always a chance of breakage or failure of any technical element. But loudspeakers are the weakest point in the entire audio chain. Understanding this, some dealers, when issuing warranty obligations for products sold, warn that the warranty does not apply to dynamic heads and drivers (just like light bulbs when buying them in a store). How can you protect yourself from such problems as much as possible? You can buy a pair of speakers or speakers in reserve to have your replacement fund in case of repair. Of course, this is a way out, although not very cheap. I would recommend a more acceptable, rational and proven way - selecting the power of sound systems with some margin. This makes sense for several reasons. Firstly, the power reserve will allow acoustic systems to reproduce short-term peak loads without distortion, and this will immediately affect the quality of sound reproduction, which you cannot help but notice. Secondly, without constantly working at the limit of its capabilities, the sound system will be able to serve without fail for many, many years. Having a margin of 25% -30% is a perfectly reasonable compromise from all points of view. First of all, according to this rule, you need to select screen speakers for the left, center, right channels and, of course, a subwoofer. This is also supported by the fact that it is impossible not to take into account that some even eminent manufacturers, for commercial reasons, may somewhat overestimate the power of their sound systems.

Sometimes you hear the question, how many kilowatts of sound do you need for this or that hall? Generally speaking, the question was raised extremely incorrectly - exactly as much as is necessary to achieve the required sound pressure level in a certain place in this hall. The power of a speaker is of course an important indicator, but the volume with which it is able to work rather depends on its sensitivity, while the power characterizes how much energy it is able to "digest" and not burn out. The sound amplification system of the cinema hall should allow obtaining a certain level of sound pressure when a movie is shown. These levels are strictly defined in the relevant documentation and when choosing acoustic systems for your hall, you need to adhere to these particular standards, and it is better, as mentioned earlier, to select them with some margin. Of course, the power and sensitivity of a loudspeaker are related in some way, much like the power of a car engine and the maximum speed that it can reach. The more powerful the engine, the faster the car is able to go, but another car may be able to go even faster, although its engine is less powerful. And vice versa, it is not at all necessary that a car with a very powerful engine is capable of developing tremendous speed. As in the case of a car, a lot of different factors should be taken into account, including design features. Thus, when selecting acoustic systems, one should first of all take into account the fact that they must be able to create the required sound pressure level in the hall, with its high quality. This is done unmistakably and as accurately as possible with the help of modern computer simulation programs, the most popular (and quite deservedly so) of which EASE allows you to take into account a huge number of different factors. I will tell you more about the possibilities of computer modeling later, when we talk about acoustics and acoustic processing of the hall.

Speaking of reliability, one cannot but draw the reader's attention to one more important point, which is often completely forgotten. Diffusers and other moving elements of the column gradually change their physical properties. From the constant movements of the cone, its stiffness gradually changes, atmospheric moisture and temperature changes also contribute to the properties of the speaker. All this requires some adjustment of the settings, which must be carried out regularly, and not in those cases when something breaks down. It is necessary to regularly check the operation of all sound systems, which can always be done on your own, and invite a specialist only a couple of times a year for comprehensive maintenance of all equipment.

Of all the audio components, the speaker, and especially the driver, is the most “delicate” one, and therefore it is in it that malfunctions most often occur. Let us dwell in more detail on the most typical malfunctions of dynamic emitters. First of all, by finding out the reasons why they fail, we can avoid repeated malfunctions and take measures to eliminate the causes that cause them. The most common of these is voice coil burnout. Especially often this malfunction occurs in high-frequency emitters - drivers and tweeters. The tweeter is not able to dissipate the heat generated by passing too much current fast enough, causing it to burn out. Sometimes, under the influence of a short-term, but rather powerful impulse (for example, a click when the sound equipment is turned on incorrectly), the voice coil is displaced by too much. From such an unplanned movement of too large amplitude, the thinnest wires that supply the signal to the voice coil break. Despite the fact that the voice coil does not have time to overheat and remains intact, a break in the current-carrying contacts forces the entire voice coil with the membrane to be replaced. Sometimes there are cases of destruction of the membrane dome itself, especially if it is metal. This may be due to both moisture getting inside the driver and sticking of its membrane, or due to the fact that the membrane can “touch the bottom”, while popping and chattering can be heard. The reason is that the dome of the membrane hits the lower flange of the magnetic system, which quickly leads to its destruction or separation from the voice coil. Speaker problems can occur for similar reasons. For example, you may experience rattling noise from a broken voice coil. Excessive current through the voice coil melts the adhesive that holds the winding to the frame and cone. Loose coils or a misaligned and skewed whole coil rubs against the magnet, creating an unpleasant overtone. In addition, the speakers have cases of breakage of the suspension - a ring made of an elastic material (such as rubber) that fastens the diffuser cone to the frame.

On this, perhaps, we can finish talking about loudspeakers and move on to the next equally important element - the power amplifier. The power amplifier is the last element in the audio path before the loudspeaker. It is a kind of "workhorse" of any sound-reproducing complex. Production technology, today, allows you to create compact, very powerful and at the same time high-quality amplifier models. It is especially pleasant that the degree of their reliability has become so high that they practically do not cause any trouble during operation. Regular cleaning of dust and checking the reliability of all connections and connections is, perhaps, all that needs to be done during long-term operation. Typically, two-channel power amplifiers are used to work with acoustic systems in cinemas, but there are also four-channel ones. Different amplifier models may allow different connection modes. Therefore, before connecting, you must carefully study its technical description and make sure that the connection method you have chosen is allowed for this amplifier model and is recommended for use by the manufacturer. Otherwise, you can seriously disrupt the operation of the amplifier itself and, as a result, its failure (or the speaker system to which it is connected). The correct selection of power amplifiers for speaker systems and the way they are connected is quite complicated and requires certain knowledge and experience. It is a common misconception that for their correct selection it is enough to take into account the power of the speaker system and amplifier. Usually they strive to achieve their maximum compliance. Sometimes they remember about some power loss on long wires, and then they try to pick up the power of the amplifier a little higher than that of speaker systems. At the same time, the required amplifier power is largely determined by the sensitivity of the loudspeakers, their impedance, as well as the size and acoustics of the auditorium. The Sensitivity Level parameter determines how high the sound pressure level can be produced by the loudspeaker when a certain amount of power is applied to it. In English literature, the term SPL - Sound Pressure Level is often used.

In conclusion, I would like to remind you that daily and correct operation is the key to the correct and reliable operation of all equipment. Do not forget that the sequence of turning on and off all equipment of the sound complex must be strictly defined. The rule is simple, the power amplifiers are switched on last (in turn, with an interval of 5-10 seconds), and switched off first. If you have a digital cinema processor installed, then turn on the amplifiers after the software has loaded and the processor is ready for operation. If you forgot to include any device in the chains of the sound amplifying complex, it is necessary to turn off the amplifiers before turning it on. This will help to avoid clicking in the speakers, which can disable them.

Maxim Kriklivets

Cinema acoustics. Equipment selection. Supply. Installation. Education. Turnkey project.

What to consider when buying acoustics

For cinemas, an acoustic project should be developed by engineers who take into account the features of the room: the height of the ceilings, the width of the cinema hall, the presence of sound barriers, the reflection of sound waves from surfaces. The sound quality is also affected by the distance from the speakers to the nearest audience seats. The sound should evenly fill the room so that there are no sound pits where speech and melodies are not heard. Therefore, when buying acoustics, consider:

Speakers . Depending on the size of the cinema, passive or active speakers are bought. These are speakers in a special frame, which can be equipped with built-in power amplifiers. The key characteristic of speakers is power. It correlates with the size of the hall: the larger the cinema, the more powerful acoustics is required. If we are talking about an open-air cinema, we need all-weather systems in a protected case. It is also important to consider the frequency range that the equipment supports: the wider it is, the better the sound.

Subwoofers . These are low-frequency speakers, they give expressiveness, depth, and sometimes add drive to music and speech. The number of subwoofers depends on the size of the hall, but there are usually fewer than speakers with a bass and treble range.

Amplifiers and preamplifiers . The task of this equipment is to increase the sound power without losing its quality. Amplifiers are selected based on the characteristics of the speaker systems, and active speakers do not require additional amplifiers.

Mixing console . This device combines sound signals, allows you to adjust the volume, remove interference. Thanks to the mixer, the sound in cinemas does not deafen, but allows you to clearly parse the words.

Conference Microphones . While speakers convert an electronic signal into a sound wave, microphones perform the opposite procedure: they convert acoustic vibrations in the air into an electronic signal, which is then transmitted to the mixer. Conference microphones allow you to "pick up" the voice in real time.

Acoustic and power cables are required for mounting acoustics in cinemas: twisted pair and coaxial wire. They are also available in our online store. We offer high-quality copper wires that ensure the transmission of an audio signal without distortion. You can also buy each type of acoustics from us separately or order a ready-made set: our experts will recommend a set based on the specifics of the cinema hall.

To maintain sound quality, buying good acoustics is necessary, but not enough. You need to install it correctly. Therefore, Alfa Technologies is engaged not only in the sale of equipment for cinemas, but also in its installation.

How to order acoustics for cinemas

Leave a request in the feedback forms. To make a purchase, you need to follow the simple prompts of the site: specify the address, phone number, delivery method. We will contact you to confirm the order.

You can ask a question, consult, clarify the cost and delivery time by e-mail: [email protected]. From Monday to Friday we answer calls to these numbers: 8 (800) 444-34-35 or +7 (916) 959 85 65.