Sony KDL-52XBR9

Sony has always reserved its XBR moniker for its most-expensive HDTVs, and the 2009 KDL-XBR9 lineup is no exception. These sets cost a bundle, and while they deliver plenty of features, including a lot of built-in interactive add-ons, they can't match the video quality of the best plasma and LED backlit LCDs on the market, nor the ultrathin style of Samsung's edge-lit LED models. The Sony KDL-XBR9 series exhibited respectable enough performance, to be sure, and we're sure gadget freaks will find a lot to like about its streaming capabilities and its Yahoo Widgets, but if you don't care about those extras, it's hard to justify the high price tag.

Series note: We performed a hands-on evaluation of the 52-inch Sony KDL-52XBR9 ($3,600 street price), but this review also applies to the 46-inch KDL-46XBR9 ($3,100) and the 40-inch KDL-40XBR9 ($2,800). These three sizes in the XBR9 series share identical specifications, and we expect them to exhibit very similar picture quality. This review does not apply to the 32-inch KDL-32XBR9 ($1,100), which has a lower contrast ratio and refresh rate, among other differences.

Design
Sony has gone in a different design direction with this iteration of its XBR models, and we heartily applaud. Previous XBR sets incorporated too much nonscreen real estate for our tastes. From last year, the bottom-suspended speaker and thick-looking frame of the KDL-52XBR6 and KDL-52XBR7, or the side-mounted speakers and even thicker frame of the Sony KDL-55XBR8, are good examples.

The no-nonsense, thinner black frame of the XBR9 is a departure for Sony.

The XBR9 models, which replace the XBR6s in the company's lineup, do away with visible speakers and edge the screen with a thinner frame that's the same size on all four sides. A subtly protruding lip of see-through plastic around the edge covers a dark silver border, which contrasts nicely with the glossy black of the main frame. The only accents are a Sony logo, whose white glow can be disabled, and a pair of indicators, one for power and one that lights up when the display receives an HD signal. A gloss-black, nonswiveling stand completes the package, which may not be as distinctive as previous Sony XBR efforts, but in our opinion is definitely better looking.

The remote control included with the XBR is the same as last year, but we think Sony can do better. On the plus side, it's backlit with blue lighting, but it has too many small keys crowded onto the top and they are difficult to tell apart. Numerous buttons also ring the main cursor control, and the remote's larger size requires a stretch to reach the volume and channel controls.

Sony's higher-end TVs this year again use the PS3-like "Cross Media Bar" (XMB) menu arrangement. The XBR9 has seven horizontal selections, four of which are devoted to non-TV functions called "photo," "music," "video," and "networking." Given the XBR9's accent on streaming features (see below), the prominence of the "video" option is more justified than before, but we still believe most users will spend the most time in the Settings menu.

Additional explanations are available on the XMB-style menu.

The company did make some improvements in the Settings menu over last year, ditching the input-specific submenus for picture settings and grouping numerous miscellaneous controls together into a Preferences menu. We also laud the expanded explanations, which describe the main functions of various menu topics so you don't have to expand each one to find what you're looking for. There still seems to be too much going on in the main menu, and we rarely used the a secondary menu option, called "Favorites," which offers direct input access along with a few extras like screensavers and sample music. However, we did like the context-sensitive Options menu, which offered shortcuts to setup items during regular TV watching, and switched sorting options when we browsed the online video selections.

The favorites menu includes some wacky extras like sample music, as well as quick access to inputs.

Features
As befits a Sony TV branded with the "XBR" label, the KDL-XBR9 series is rich in features. One thing it lacks, however, is LED backlighting--unlike the Sony XBR8 models from last year, the XBR9's have a standard cold-cathode fluorescent lamp (CCFL) backlight. Aside from slightly wider color gamut on that backlight--which should have no effect on color accuracy--and styling, the XBR9 models are identical to the less-expensive Z5100 series.

Two strengths of dejudder are available.

Much like the Sony KDL-52XBR7 we reviewed last year, the XBR9 series features a 240Hz refresh rate, which is twice as fast as the 120Hz refresh rate found on many other high-end sets. Sony's processing interpolates three extra frames for every original frame instead of one. Naturally Sony includes its MotionFlow dejudder processing, which is available in two strengths of smoothness. See the Performance section for more information.

The XBR9 offers extensive interactive capability. As we mentioned, these TVs are equipped with Yahoo Widgets--Internet-powered content and information modules that can be downloaded and activated right on the TV screen. Unfortunately, our review sample didn't have widgets active yet, so we can't comment on how they performed--specifically, whether they were any more responsive than what we experienced with the Widget-equipped Samsung UN46B7000. We'll update this review when widgets are enabled, but in the meantime, you can check out our full review of Yahoo Widgets review for more information.

Sony Bravia Internet Video--slideshow: HDTVs

In addition to widgets, the XBR9 basically offers all of the functionality of the Bravia Internet Video Link built-in--there is no need to buy the actual $199 box. The most compelling such functionality so far is access to Amazon Video On Demand, including high-definition videos. Amazon VOD worked well in our tests, once we waited the 20 or so seconds for the store to load (on more than one occasion, the load screen actually gave us a "timed-out" message before it finally appeared), although we missed being able to watch previews--the service on Panasonic's VieraCast TVs and Roku enables previews, while on BIVL and TiVo, for example, it does not. Videophiles will appreciate that picture settings can be modified for the Sony's online video content, just like for other inputs. On the other hand, we did encounter more than a few bugs with the system, such as when a screen full of thumbnails failed to load.

Streaming video options abound on the XBR9's main menu.

The free, non-Amazon content includes YouTube (where nearly full functionality is provided), Sports Illustrated (no sports highlights--just swimsuit model clips when we checked), and a bunch of less-compelling online video sources, including the minisode network, blip.tv, style.com, howcast.com, and numerous video podcasts. In most cases, the video quality was generally bad, especially on the big screen--it was designed for the Web, after all. On the plus side it's free, and in many cases it's still better than what's actually on TV.

The free videos from CBS offer generally better video quality in most cases, but despite the "Watch full episodes free" tagline next to the CBS logo in the menu, don't expect anything close to TV.com, the network's official Web portal for full TV episodes. Instead there's a confusing hodgepodge of clips and the rare full episode, such as the last "CSI: NY"--but no earlier ones. The worst experience came when we selected "Harper's Island" and found 23 separate 2-minute clips that together may have composed the whole episode--but we didn't have the patience to find out since as each clip ended with a CBS promo. We wish there was an option to sort by full episode, but the system seemed designed to stymie that sort of satisfaction. For more information, check out the complete review of the Bravia Internet Video Link. It mostly mirrors the experience we had with the XBR9, although the TV itself was less sluggish and does away with the My Yahoo page described in the BIVL review--presumably to avoid duplication with widgets. (Note: CNET is a division of CBS Interactive.)

The final piece of the interactive puzzle, and one we didn't test for this review, is the Sony's capability to stream photos, music, and video from networked PCs that are running compatible DLNA-compliant software, such as Windows Media Player 11. All of these interactive features require running an Ethernet connection to your TV or installing a third-party wireless bridge--Sony doesn't sell its own TV-specific wireless network solution.

The main picture menu offers the usual suite of adjustments.

The XBR9 series offers a host of picture-affecting features beginning with three picture preset modes in the main menu, each of which can be adjusted independently per input. Confusingly there's an additional Scene Select menu that adds a few more presets like Cinema, Game, PC, and Sports, which are also adjustable and independent per input yet not available from the standard picture menu. We'd prefer to have access to all modes from one menu to make keeping track of adjustments easier. Finally there's a Theater button on the remote that instantly engages the Cinema preset.

Among the basic settings, available on all presets, is a pair of noise reduction settings and four color temperature presets. The scads of more advanced settings, which can't be adjusted while in the Vivid preset but can be adjusted on many of the other presets, include a white balance control to further tune color temperature, a gamma setting, and a few other adjustments that we generally left turned off for best picture quality.

Sony's advanced menu delivers plenty of extra tweaks.

The CineMotion option affects the TV's 2:3 pull-down performance, while the Game picture preset removes most video processing, disabling MotionFlow, for example, to eliminate delay between a game controller and the onscreen action.

Sony includes four aspect ratio modes for HD sources, and a "Full Pixel" that displays 1080-resolution content without any scaling or overscan. We recommend using this setting unless you notice interference along the extreme edges of the screen, which is the fault of the channel or service, not the TV.

The TV Guide onscreen electronic programming guide (EPG) is a rarity among late-model TVs, but the XBR9 has it. TV Guide lets the Sony display a grid of information for antenna and cable channels, but people who tune primarily with an external cable or satellite box will probably use their box's EPG instead. In other words, TV Guide won't be useful for most XBR9 series owners, and we didn't test it for this review. We did appreciate that TV Guide is powered by the Sony's Ethernet connection, which also lets the TV receive any firmware or software updates the company may send out.

Just like Samsung, Sony can now send out software updates via the TV's Ethernet connection.

We were pleased to see a two-step power-saving option in the Eco menu that limited peak brightness and really cut down on energy consumption. Sony also includes a room-lighting sensor, a mode to turn off the screen but leave the sound on, and another mode that automatically turns off the TV after a set period of inactivity.

Engaging Power Saving reduces the backlight intensity to save energy.

The XBR9's connectivity is complete enough, but the company arranged the ports in an unusual way. Instead of mounting the majority of its HDMI inputs on the back panel, Sony stuck three of the four on the side-facing panel, leaving just one to the rear. The side panel also gets the VGA-style analog input for PCs, a USB port for music, photos, and video, and an AV input with composite and S-Video. The rear panel, meanwhile, merits that single HDMI port, two component-video inputs, an RF input for antenna or cable connections, the Ethernet port, and some analog audio connections.

Sony's back panel includes just one HDMI input.

The side panel is where the action is, including three HDMI and one VGA input.

One benefit for extra side-panel connectivity is improved access, which is a boon for people who frequently swap gear in and out of their systems. On the other hand, users who connect more than one piece of semipermanent HDMI equipment might prefer to see more than one rear HDMI port. In its favor, however, the side panel is roomy and recessed enough to accommodate fatter cables without exposing them to view from the front.

Performance
Overall, the Sony KDL-XBR9's picture can compete well against the best conventional LCDs we've tested, but its black level performance still couldn't match that of the best LED-based LCDs and plasmas. The 240Hz refresh rate did improve motion resolution, but we found it hard to tell the difference with normal program material.

Prior to our calibration, the XBR9's most accurate picture mode was, as expected, Cinema, which can be activated by pressing the Theater button or selecting Cinema from the Scenes menu--it's not an option in the standard picture menu. Cinema delivered a slightly bluer color temperature than we'd like to see, and its overall gamma was too high (1.89 versus an ideal of 2.2). After our adjustments, overall color temperature was somewhat improved, although there was still too much variation in the grayscale--specifically, it became a bit bluish in midtones--and gamma was still a bit too dark in dim areas. Engaging the Advanced Contrast Enhancer improved dark area gamma and shadow detail, but we preferred to leave it turned off to preserve overall gamma accuracy and prevent backlight fluctuation.

For our comparison we enlisted a few comparable sets. The LCD camp was represented by Sony's own KDL-55XBR8 and KDL-52XBR7 along with the Samsung UN46B7000 and LN52A650, while the plasma camp contributed Panasonic's TC-P46G10 and the reference Pioneer PRO-111FD. Most of the image quality tests were conducted using the "Transporter 3" Blu-ray Disc.

Black level: The Sony XBR9 produced a deep, convincing shade of black in our dark home theater but it couldn't quite match the darkness delivered by some of the other sets. Shadows and black areas from the darkest scene in the movie, where the opening credits appear over the ship's dim cargo hold, appeared a bit more washed out and less realistic on the XBR9 than they did on the Samsung UNB7000, the XBR8, or the two plasmas, although the XBR9's blacks were deeper than those of the XBR7 or the Samsung A650. In other words, the XBR9 reproduced the darkest blacks among conventional LCDs in our comparison, but didn't match the LED-backlit models.

As we mentioned, shadow detail was also somewhat less than ideal. When the Transporter finds Valentina in the back of the car in his shadowed living room, the shadows on her body and details in his shirt appeared a bit more obscured in comparison to the plasmas. On the other hand, shadow detail looked slightly more natural on the XBR9 than on the Samsung 7000 and A650 models.

Color accuracy: The Sony fared well overall in this category, although skin tones looked slightly off. During the endless shots of redheaded Valentina in the passenger seat in Chapter 5, for example, her pale face and neck seemed a bit paler and a tad green compared with our reference displays, although not as greenish as we saw on the Panasonic G10. Near dark and black areas were also tinged with blue to about the same extent as we saw on the Samsung 7000, which affected the darkest shadows and the letterbox bars.

Our measurements of the XBR9's primary colors, on the other hand, were nearly perfect, which was reflected by the natural look of the blue sky and green plants racing by alongside the road. Saturation was also quite good, if not quite at the same level as our reference displays; the bright colors of the parasols in the market in Chapter 8, for example, looked punchy and rich.

Video processing: Much as we observed with the KDL-52XBR7, the principal impact of the faster 240Hz refresh rate can be seen in the reduction of motion blur during test patterns. In our motion resolution tests, the XBR9 scored between 900 and 1,000 lines of resolution, equaling the XBR7 and surpassing every LCD-based HDTV we've reviewed aside from the LED-backlit XBR8 and Samsung LN46A950. We found it difficult to see the effect of the antiblurring processing when watching normal program material as opposed to test patterns.

Disengaging dejudder caused the display to revert to the normal LCD motion resolution of between 300 and 400 lines. In other words, to get the benefit of blur reduction on this set, you'll have to engage dejudder processing. Samsung's 2009 models such as the B7000, on the other hand, allow you to get the benefits of blur reduction without the smoothness of dejudder--an option we much prefer.

As usual, engaging dejudder processing on the XBR9 caused the film-based sources like "Transporter" to take on a more video-like look, an issue that became most apparent in scenes like the ludicrously awesome bike-to-car chase in Chapter 8. The smoothness, whether we watched Standard or High mode, removed some of the visceral impact of the shaky camera and the Transporter's movements through the alleys, into the warehouse, and through the factory workers. High mode, as usual, was prone to artifacts, such as breakup on the trailing edges of fast-moving objects, like the Transporter himself as he skids across a table. Such artifacts were much less common in Standard, and we did prefer the look of Sony's Standard to dejudder modes on other the displays, but again we preferred to leave MotionFlow turned off.

With our Blu-ray player set to 1080p/24 output mode the 240Hz XBR9 behaved as it should. It preserved the judder of film with CineMotion set to Off and showed none of the hitching motion of 2:3 pull-down, which was visible in 60Hz mode on the Panasonic G10, for example, during the flyover of the Intrepid from "I Am Legend."

In other resolution tests the Sony performed well, delivering every line of 1080i and 1080p sources in "Full Pixel" mode and deinterlacing both video-based and film-based sources properly, although the latter required us to engage either of the two Auto settings in the CineMotion menu.

Uniformity: The screen of our KDL-52XBR9 review sample didn't appear as uniform across its surface as many LCDs we've seen, with about as many variations as the Samsung 7000 and more than the other displays. In middark areas the edges of the screen appeared brighter than the middle, while in very dark areas like letterbox bars and nighttime scenes, we could make out brighter areas in three of the four corners.

From off-angle it performed better than the Samsung 7000 and about the same as the other LCDs, losing contrast and pop at about the same rate but not becoming too discolored or washed out, like we saw on the 7000.

Bright lighting: The Sony performed well in brighter rooms. The mostly matte screen of the XBR9 handles reflections from windows and lights facing the screen quite well--better than the other non-Sony displays in our comparison, which all have glossy (the Samsungs) or glass (plasma) screens. It also preserved black levels in dark areas better than either of the two plasmas.

Standard-definition: The XBR9 turned in an average standard-definition performance. It resolved every detail of a DVD source and fine details in the grass and stone bridge looked as sharp as we expected. With video-based sources we saw more jaggies on moving diagonal lines than on other displays, and more even than on Sony's KDL-51V5100, although the waving American flag appeared about the same on the two Sony displays. The XBR9's noise reduction performed very well, cleaning up the snowy, noisy shots of skies and sunsets with aplomb, although the MPEG noise reduction option didn't seem to do much in those areas. CineMotion set to Auto1 engaged 2:3 pull-down to remove moire from the grandstands.

PC: As we expected from a 1080p LCD displaying computer sources, the XBR9 resolved every detail of 1,920x1,080-pixel input via HDMI and VGA and delivering crisp text with no overscan or edge enhancement.

Geek box

TEST	RESULT	SCORE
Before color temp (20/80)	6551/6650	Good
After color temp	6436/6458	Good
Before grayscale variation	159	Good
After grayscale variation	158	Average
Color of red (x/y)	0.647/0.324	Good
Color of green	0.295/0.609	Good
Color of blue	0.15/0.055	Good
Overscan	0.0%	Good
Defeatable edge enhancement	Y	Good
480i 2:3 pull-down, 24 fps	Pass	Good
1080i video resolution	Pass	Good
1080i film resolution	Pass	Good

Power consumption:
The 52-inch Sony KDL-52XBR9 uses a bit more power than other recent 52-inch LCDs we've tested, and it's not as efficient as LED-based models. But overall the differences are slight, and the XBR9 is much more-efficient than plasmas.

Comparing the post-calibration power consumption numbers, which are equalized for light output, the 52XBR9's 160 watts is nearly identical to that of the 52XBR7 (161 watts), but not quite as efficient as the Sony XBR6 (135 watts), the Samsung LN52A650 (141 watts), or the Sharp LC-52D65U (122 watts). The 55-inch LED-powered KDL-55XBR8, meanwhile, used only 140 watts, while the 55-inch 's 145 watts also bested the 52-inch XBR9. Compared with recent 1080p plasma TVs, the Sony sipped significantly less than smaller models like the 46-inch Panasonic G10 (281 watts) and the 50-inch Vizio VP505XVT (384 watts) and Panasonic TH-50PF11UK (336 watts).

Juice box
Sony KDL-52XBR9	Picture settings
	Default	Calibrated	Power Save
Picture on (watts)	237.52	159.97	95.43
Picture on (watts/sq. inch)	0.21	0.14	0.08
Standby (watts)	0	0	0
Cost per year	$51.17	$34.46	$20.56
Score (considering size)	Good
Score (overall)	Average

Samsung UN55B7000

As HDTVs become more common--some would say commoditized--TV makers go to greater lengths to justify higher price tags. Nobody is going as far as Samsung this year. The company is the only one thus far to announce a full lineup of edge-lit LED-based LCDs, which cost a mint yet offer the most advanced technology and design you can get--at least until OLED comes along.

Each model among the three series of Samsung's edge-lit LED-based LCD lineup measures just 1.2 inches thick, thanks to that LED lighting system, which is also responsible for the TVs' excellent energy efficiency. The UNB7000 series is the middle child in terms of price and features of the three; yet, it includes buckets of add-ons, many of them interactive, along with extensive picture adjustments including a cool new tweakable dejudder mode. In our performance testing, we encountered some picture quality trade-offs caused by the LED system, namely less-than-perfect uniformity and off-angle viewing, along with the backlights' somewhat distracting fluctuations. These issues keep the UNB7000 series from earning our highest accolades for performance, but in terms of design and features, the expensive televisions set a standard that will be tough to beat.

Series note: We performed a hands-on evaluation of the 46-inch UN46B7000 ($2,999 list price), but this review also applies to the 40-inch UN40B7000 ($2,399) and the 55-inch UN55B7000 ($3,799). All three sizes share identical features and specifications. Samsung also has a retailer-specific series currently exclusive to Best Buy, the UNB7100 models, that are identical but for gray coloring, as opposed to red, and with overall cosmetics similar to the step-up UNB8000 series.

Design

Seen from the side, the UNB7000 series seems almost razor-thin. That's the attached power cord hanging from the back.

Did we mention these TVs are really thin? The UNB7000 measures just 1.2 inches deep at its thickest point, and tapers even thinner toward the edges of the panel. Samsung offers a special flush wall mount, and if you decide to keep the TV on its stand, the thin panel will look equally impressive from the side. From the front the set is no slouch either; a slim, subtle red border edges all four sides of the panel, while the outer transparent edge lends a jewel-like look. On the downside, you can't get it in any color but red, aside from the gray 7100 series.

Red shading lines the perimeter of the panel and the matching stand, bordered by a see-though edge.

The matching stand is also edged in red, and a unique transparent pedestal keeps the thin panel gracefully suspended above its surface. We appreciate that the stand lets the TV swivel to either side.

Aside from the obvious thinness, the LEDs allow for a couple of other design bonuses. The UNB7000 runs a lot cooler than other LCD and plasma displays producing a similar amount of light, and the panel itself weighs less than other models.

The semitransparent main menu system matches the red-bordered television.

Samsung used the same menu system as last year, albeit with red borders to match the TV itself, and we still think it's one of the best in the business. Big, highly legible text is set against transparent backgrounds that occupy almost the whole screen. Getting around is easy, there's helpful explanatory text along the bottom, and we dug the context-sensitive menu that would pop up occasionally to provide more options. One cool extra reserved is a built-in "product guide" that takes you through the TV's myriad features.

The product guide goes through the features of the TV, in case you want to impress your friends.

The remote control is basically the same as last year, aside from a new protrusion on the rear that keeps the clicker stable on a flat surface, and we're definitely fans--especially since Samsung ditched the rotating scroll wheel. The buttons are big, backlit, and easily differentiated by size and shape, and we liked the dedicated "Tools" key that offers quick access to the E-manual (see below), picture and sound modes, the sleep timer, and the picture-in-picture controls. We didn't like the remote's glossy black finish, however, which picked up more than its share of dulling fingerprints after a few minutes. The company also includes a small, nearly useless hockey-puck-style remote that only controls channel, volume, and power.

Features
Edge-lit LED backlighting heads the UNB7000's feature set. Samsung calls these sets "LED TVs," but it's important to remember they're actually otherwise normal liquid-crystal display TVs that use light-emitting diodes instead of the standard fluorescent backlights--check out the slideshow for more information.

We've reviewed LED-based LCD screens before, most recently the Sony KDL-55XBR8 and Samsung LN46A950, which both use local dimming technology; groups of LEDs behind the screen can be dimmed or turned off to achieve those deep, inky blacks we all love so much. None of Samsung's edge-lit LED-based LCDs use local dimming, which might be one reason they didn't perform as well as those local dimming displays (see Performance section for details).

You can cause Yahoo widgets to line the bottom of the screen in case the actual TV show can't capture your attention.

New for 2009, Samsung has added Yahoo widgets to its higher-end sets including the UNB7000 series. The system gathers Internet-powered information modules, called "snippets," into a bar along the bottom of the screen, and each can be activated to reveal the full-fledged widget. The model we reviewed came with widgets for stocks, weather, news, and access to Flickr photos, and we expect more widgets to be available shortly. Check out our full review of Yahoo widgets for more information.

Built-in "content" includes recipes, games, exercises, and children's sing-alongs.

Other interactive features on this set abound. It can stream videos, photos, and music from DLNA-certified devices via the network connection, as well from its USB ports, which can connect to MP3 players, USB thumbdrives, and digital cameras (we haven't tested this capability yet, but will update this review when we do). There's also built-in "content" such as recipes, games, workout guides, and a slideshow of high-definition art and photos with music. We went into depth discussing the content features last year, which are similar this time around, so for more details check out the Interactive section of the 2008 Samsung LN46A750 review.

We really liked the adjustable Custom dejudder setting.

Samsung's panoply of picture-affecting features starts with a 120Hz refresh rate and dejudder processing, the latter with more adjustments than we've seen on any such display so far. We also liked the myriad conventional picture adjustments, starting with four adjustable picture modes that are all independent per input. There are five color temperature presets that are augmented by the capability to adjust each via a custom white balance menu; three varieties of noise reduction, including an automatic setting; a film mode to engage 2:3 pull-down (it also works with 1080i sources); a seven-position gamma control that affects the TV's progression from dark to light; a dynamic contrast control that adjusts the picture on the fly; a "black tone" control that affects shadow detail; and a color space control that lets you tweak the Samsung's color gamut.

A Samsung staple, the custom white balance menu brings a smile to DIY picture adjusters.

You can choose from four aspect ratio modes for HD sources, two of which let you move the whole image across the screen horizontally and vertically. As we'd expect from a 1080p TV, one of those modes, called Screen Fit, lets the UNB7000 scale 1080i and 1080p sources directly to the panel's pixels with no overscan--the best option unless you see interference along the edge of the screen, as can be the case with some channels or programs.

The UNB7000 series offers good connectivity, as long as your AV system doesn't have many analog components. The highlight is four HDMI inputs, arranged vertically along the shallow connection bay on the back of the TV (note that fat cables might not fit the nearly flush sockets very well). You also get two USB inputs, a VGA-style PC input, and a single component-video input that can be converted to accept composite video instead. An RF input for antenna or cable, an optical digital audio jack, and the Ethernet port complete the picture. If you need to connect more than one analog device, you'll need to use a switcher or an AV receiver.

A single component-video-equipped input, which can also accept composite video, comprises the extent of the UNB7000's analog AV input capability.

Four HDMI inputs and a pair of USB ports, one shown here with the included "E-manual" inserted, line up along the side of the connection area.

Performance
In sum, the UNB7000 series delivered a very good picture, but a few flaws prevented it from matching the best models we've tested, including local dimming-equipped LED-based LCDs. Despite its relatively deep black levels, the UNB7000's variable backlight impaired performance in very dark scenes. We also noticed some uniformity issues, primarily in dark scenes as well, that are probably caused by the edge-lit LED system. That said, we really appreciate the set's accurate color and the Custom setting of its dejudder processing.

Our calibration for a dark room involved making a few key changes to the default Movie picture mode. The largest was raising the gamma control from zero to +3, which improved shadow detail significantly and ameliorated some of the worst effects of the variable backlight (see below), but caused overall average gamma to worsen, from 2.25 to about 2.0 (the ideal is 2.2). Gamma was still too dark in near-black areas, and became too bright in brighter ones, but the sacrifice was worth it in our opinion. We also tweaked the grayscale a bit to closer approach the D65 standard, used the great blue-only mode to set color and reduced overall light output significantly from Movie's default of 60 footlamberts to a more comfortable 40.

Check out this post for our complete picture settings and for details on how to use the blue-only mode to set color.

For comparison purposes, we have a good selection of high-end HDTVs on-hand, including the LED-powered Samsung LN46A950 and Sony KDL-55XBR8, the standard Samsung LN52A650 LCD, and a pair of plasmas, the Panasonic TC-46PG10 and our reference Pioneer PRO-111FD. This time, we used "The Day the Earth Stood Still" on Blu-ray for most of our image quality tests.

Black level: Overall, the Samsung UNB7000 didn't do as well in this category as most of the other displays in our comparison. That's mainly because the LEDs along the edges of the display, which we'll refer to as its "backlight" to avoid confusion, fluctuated depending on the overall brightness of the scene. In very dark scenes, the entire backlight, and thus the letterbox bars and shadows, would dim, while in brighter scenes it would become brighter. Other displays do similar things, but on the 7000 series it was more noticeable and affected more than just completely black screens.

In very dark scenes, the UNB7000 delivered a deep shade of black, deeper than any of our comparison sets aside from the Pioneer, to the point of fading completely into darkness between scenes. In brighter scenes its black levels rose slightly--darker still than the A950 and A650, but not as inky as the Pioneer, Sony XBR8 or Panasonic.

The backlight fluctuation caused brighter areas to darken during dark scenes, which was the worst downside to the variable backlight. In the opening credits, for example, the moon and the text such as "Keanu Reeves," as well as the stars in the night sky, all appeared dimmer than on the other displays in our comparison, despite the fact that we had equalized their light output for comparison. The effect was so pronounced that far fewer stars were visible on the UNB7000 than on the other displays, and definitely impaired the contrast ratio and "pop" of the scene.

We also noticed the fluctuation in one of our favorite test scenes from "I Am Legend" when Will Smith locks up his townhouse for the night at the beginning of Chapter 4. At the very beginning of the chapter, the UNB7000's screen goes completely black, then abruptly brighter.

That said, in most dark scenes the backlight was not distracting. A good example is when Smith goes after his dog in the warehouse at the end of Chapter 8; watching this entire 5-minute sequence, which occurs mostly in the dark, it was free of noticeable fluctuations. The same went for the nighttime scene at the beginning of Chapter 3 in "Earth" when Jennifer Connelly approaches the military academy. In both of these scenes, shadow detail and black levels were very good; better than the A650 and generally equal to the other LED-based LCDs, albeit not to the two plasmas.

Color accuracy: The Samsung UNB7000 scored well in this category, with excellent primary colors and color decoding, along with a solid grayscale that only lost accuracy in very dark areas. Connelly's skin under the hospital lights or the glare of the alien ball, for example, looked suitably pale and not overly ruddy or tinged with yellow green, while under the natural light inside her house it also looked relatively good. However, skin tones in bright areas were a bit flatter and seemingly less-saturated than on the other displays, which may be an issue with the improper gamma at the upper end--a necessary sacrifice to prevent dark areas from being too dark.

Like many LCD-based screens, the UNB7000 also suffered from a bluish tinge in blacks and near-black shades. The issue was visible in letterbox bars, the nighttime skies and Connelly's raven hair, for example.

Video processing: In addition to the three preset strengths of its Auto Motion Plus dejudder processing, called Clear, Standard, and Smooth, Samsung added a Custom mode this year, and its adjustability makes it the best implementation of a dejudder we've seen so far. Custom offers two sliders, one called Blur reduction that affects video-based sources and one called Judder reduction that affects only film-based sources. In our motion resolution tests, it was obvious that Blur reduction was doing exactly that: as we increased the slider from 0 to 10, the lines on the motion resolution pattern became more distinct and less apt to blur together, and the pattern looked best at 10. In that video-based pattern, playing with the Judder reduction setting had no effect.

The key is that with Blur reduction set to 10 and judder reduction set to 0, the cadence of film can be preserved while the blurring some viewers see with LCD (we don't notice it, but that's another story) can be largely reduced. We confirmed this by feeding the Samsung 1080p/24 content during the flyover of the Intrepid from "Legend," where the characteristic judder appeared more and more obvious as we decreased the judder reduction slider.

As usual, increasing judder reduction and thus apparent smoothness with film-based material also increased the incidence of unwelcome artifacts. In Chapter 11 when the camera follows Kathy Bates around the command post, for example, we saw the tell-tale halo-like distortion in the background near the edge of her body with judder reduction maxed out, while distortions largely disappeared when we reduced that control to the halfway point.

In resolution tests the UNB7000 performed well, delivering every line of 1080i and 1080p sources with still patterns, correctly deinterlacing 1080i material (note that we had to set Film Mode to Auto1, not the default of Auto2, to get this to work) and delivering between 600 and 700 lines of resolution in all of the AMP settings (note that reducing the Blur reduction lower than 10 decreased motion resolution on our test pattern). Plasma displays like the Panasonic and the Pioneer, by comparison, score 900 lines and above on this test, as did the Sony XBR8, KDL-52-XBR7 and Samsung A950 displays. As we've noted before, we find it tough to appreciate the benefits of any of these resolution characteristics in program material as opposed to test patterns.

Uniformity: The Samsung UNB7000 exhibited worse uniformity across the screen than the other flat-panel displays in our comparison--although it was better than the edge-lit Sony's KLV-40ZX1M. We noticed a brighter area along the bottom-left of the screen, as well as in the corners, that showed up in letterbox bars and darker scenes, such as the star field behind the opening credits, the interior of Keanu's tent and the dark lecture hall in Chapter 3. We also noticed that in brighter, flat fields such as the all-white of alien ball in Chapter 5, the left side of the screen appeared slightly darker than the rest.

In gray fields (from 10-70 IRE on our Sencore test pattern generator), we noticed more brightness variations across the screen, including a darker area across the top and subtle brighter splotches elsewhere. We didn't notice these variations much during program material, but they were more noticeable in test patterns than on any of the other displays in our test. It's worth noting that these issues can vary more than others from review sample to review sample.

When seen from off-angle, the UNB7000 also looked worse than any of the other displays in our comparison. Dark areas quickly washed out and became bluer, while brightness variations intensified, as we moved to either side of the sweet spot in the middle of the couch. The UNB7000 did seem to preserve its vertical viewing angle a bit better than the Sony or the Samsung A950, but both beat the UNB7000 in horizontal viewing angle.

Bright lighting: Samsung used the same sort of glossy screen as last year, and we're not its biggest fans. In bright lighting, with windows facing the screen and overhead lights turned on, the screen does a very good job of preserving black levels in dark areas. However, the trade-off is overly bright reflections from those light sources and from other bright objects in the room, such as this reviewer's light gray shirt. These reflections were much less bothersome during bright scenes, of course, but in darker scenes they proved distracting.

Standard-definition: On the off chance you do connect a standard-definition source to the Samsung, you find generally solid picture quality. According to our tests, the display handled every line of a DVD source and the shots of grass and steps from the detail test looked good. The set eliminated jaggies from video-based sources well, and its noise reduction cleaned up the lowest-quality shots of skies and sunset with aplomb. Finally, the UNB7000 passed 2:3 pull-down test by eliminating moire from the stands behind the racecar.

PC: As expected, the UNB7000 series delivered excellent performance with both VGA and HDMI sources from computers. It resolved every line of a 1,920x1,080-pixel resolution image with no overscan or edge enhancement.

Geek box

TEST	RESULT	SCORE
Before color temp (20/80)	6223/6689	Good
After color temp	6563/6499	Good
Before grayscale variation	198	Good
After grayscale variation	69	Good
Color of red (x/y)	0.6397/0.3344	Good
Color of green	0.3068/0.5897	Good
Color of blue	0.1556/0.0645	Good
Overscan	0.0%	Good
Defeatable edge enhancement	Y	Good
480i 2:3 pull-down, 24 fps	Pass	Good
1080i video resolution	Pass	Good
1080i film resolution	Pass	Good

Sony KDL-40XBR9

Sony has always reserved its XBR moniker for its most-expensive HDTVs, and the 2009 KDL-XBR9 lineup is no exception. These sets cost a bundle, and while they deliver plenty of features, including a lot of built-in interactive add-ons, they can't match the video quality of the best plasma and LED backlit LCDs on the market, nor the ultrathin style of Samsung's edge-lit LED models. The Sony KDL-XBR9 series exhibited respectable enough performance, to be sure, and we're sure gadget freaks will find a lot to like about its streaming capabilities and its Yahoo Widgets, but if you don't care about those extras, it's hard to justify the high price tag.

Series note: We performed a hands-on evaluation of the 52-inch Sony KDL-52XBR9 ($3,600 street price), but this review also applies to the 46-inch KDL-46XBR9 ($3,100) and the 40-inch KDL-40XBR9 ($2,800). These three sizes in the XBR9 series share identical specifications, and we expect them to exhibit very similar picture quality. This review does not apply to the 32-inch KDL-32XBR9 ($1,100), which has a lower contrast ratio and refresh rate, among other differences.

Design
Sony has gone in a different design direction with this iteration of its XBR models, and we heartily applaud. Previous XBR sets incorporated too much nonscreen real estate for our tastes. From last year, the bottom-suspended speaker and thick-looking frame of the KDL-52XBR6 and KDL-52XBR7, or the side-mounted speakers and even thicker frame of the Sony KDL-55XBR8, are good examples.

The no-nonsense, thinner black frame of the XBR9 is a departure for Sony.

The XBR9 models, which replace the XBR6s in the company's lineup, do away with visible speakers and edge the screen with a thinner frame that's the same size on all four sides. A subtly protruding lip of see-through plastic around the edge covers a dark silver border, which contrasts nicely with the glossy black of the main frame. The only accents are a Sony logo, whose white glow can be disabled, and a pair of indicators, one for power and one that lights up when the display receives an HD signal. A gloss-black, nonswiveling stand completes the package, which may not be as distinctive as previous Sony XBR efforts, but in our opinion is definitely better looking.

The remote control included with the XBR is the same as last year, but we think Sony can do better. On the plus side, it's backlit with blue lighting, but it has too many small keys crowded onto the top and they are difficult to tell apart. Numerous buttons also ring the main cursor control, and the remote's larger size requires a stretch to reach the volume and channel controls.

Sony's higher-end TVs this year again use the PS3-like "Cross Media Bar" (XMB) menu arrangement. The XBR9 has seven horizontal selections, four of which are devoted to non-TV functions called "photo," "music," "video," and "networking." Given the XBR9's accent on streaming features (see below), the prominence of the "video" option is more justified than before, but we still believe most users will spend the most time in the Settings menu.

Additional explanations are available on the XMB-style menu.

The company did make some improvements in the Settings menu over last year, ditching the input-specific submenus for picture settings and grouping numerous miscellaneous controls together into a Preferences menu. We also laud the expanded explanations, which describe the main functions of various menu topics so you don't have to expand each one to find what you're looking for. There still seems to be too much going on in the main menu, and we rarely used the a secondary menu option, called "Favorites," which offers direct input access along with a few extras like screensavers and sample music. However, we did like the context-sensitive Options menu, which offered shortcuts to setup items during regular TV watching, and switched sorting options when we browsed the online video selections.

The favorites menu includes some wacky extras like sample music, as well as quick access to inputs.

Features
As befits a Sony TV branded with the "XBR" label, the KDL-XBR9 series is rich in features. One thing it lacks, however, is LED backlighting--unlike the Sony XBR8 models from last year, the XBR9's have a standard cold-cathode fluorescent lamp (CCFL) backlight. Aside from slightly wider color gamut on that backlight--which should have no effect on color accuracy--and styling, the XBR9 models are identical to the less-expensive Z5100 series.

Two strengths of dejudder are available.

Much like the Sony KDL-52XBR7 we reviewed last year, the XBR9 series features a 240Hz refresh rate, which is twice as fast as the 120Hz refresh rate found on many other high-end sets. Sony's processing interpolates three extra frames for every original frame instead of one. Naturally Sony includes its MotionFlow dejudder processing, which is available in two strengths of smoothness. See the Performance section for more information.

The XBR9 offers extensive interactive capability. As we mentioned, these TVs are equipped with Yahoo Widgets--Internet-powered content and information modules that can be downloaded and activated right on the TV screen. Unfortunately, our review sample didn't have widgets active yet, so we can't comment on how they performed--specifically, whether they were any more responsive than what we experienced with the Widget-equipped Samsung UN46B7000. We'll update this review when widgets are enabled, but in the meantime, you can check out our full review of Yahoo Widgets review for more information.

Sony Bravia Internet Video--slideshow: HDTVs

In addition to widgets, the XBR9 basically offers all of the functionality of the Bravia Internet Video Link built-in--there is no need to buy the actual $199 box. The most compelling such functionality so far is access to Amazon Video On Demand, including high-definition videos. Amazon VOD worked well in our tests, once we waited the 20 or so seconds for the store to load (on more than one occasion, the load screen actually gave us a "timed-out" message before it finally appeared), although we missed being able to watch previews--the service on Panasonic's VieraCast TVs and Roku enables previews, while on BIVL and TiVo, for example, it does not. Videophiles will appreciate that picture settings can be modified for the Sony's online video content, just like for other inputs. On the other hand, we did encounter more than a few bugs with the system, such as when a screen full of thumbnails failed to load.

Streaming video options abound on the XBR9's main menu.

The free, non-Amazon content includes YouTube (where nearly full functionality is provided), Sports Illustrated (no sports highlights--just swimsuit model clips when we checked), and a bunch of less-compelling online video sources, including the minisode network, blip.tv, style.com, howcast.com, and numerous video podcasts. In most cases, the video quality was generally bad, especially on the big screen--it was designed for the Web, after all. On the plus side it's free, and in many cases it's still better than what's actually on TV.

The free videos from CBS offer generally better video quality in most cases, but despite the "Watch full episodes free" tagline next to the CBS logo in the menu, don't expect anything close to TV.com, the network's official Web portal for full TV episodes. Instead there's a confusing hodgepodge of clips and the rare full episode, such as the last "CSI: NY"--but no earlier ones. The worst experience came when we selected "Harper's Island" and found 23 separate 2-minute clips that together may have composed the whole episode--but we didn't have the patience to find out since as each clip ended with a CBS promo. We wish there was an option to sort by full episode, but the system seemed designed to stymie that sort of satisfaction. For more information, check out the complete review of the Bravia Internet Video Link. It mostly mirrors the experience we had with the XBR9, although the TV itself was less sluggish and does away with the My Yahoo page described in the BIVL review--presumably to avoid duplication with widgets. (Note: CNET is a division of CBS Interactive.)

The final piece of the interactive puzzle, and one we didn't test for this review, is the Sony's capability to stream photos, music, and video from networked PCs that are running compatible DLNA-compliant software, such as Windows Media Player 11. All of these interactive features require running an Ethernet connection to your TV or installing a third-party wireless bridge--Sony doesn't sell its own TV-specific wireless network solution.

The main picture menu offers the usual suite of adjustments.

The XBR9 series offers a host of picture-affecting features beginning with three picture preset modes in the main menu, each of which can be adjusted independently per input. Confusingly there's an additional Scene Select menu that adds a few more presets like Cinema, Game, PC, and Sports, which are also adjustable and independent per input yet not available from the standard picture menu. We'd prefer to have access to all modes from one menu to make keeping track of adjustments easier. Finally there's a Theater button on the remote that instantly engages the Cinema preset.

Among the basic settings, available on all presets, is a pair of noise reduction settings and four color temperature presets. The scads of more advanced settings, which can't be adjusted while in the Vivid preset but can be adjusted on many of the other presets, include a white balance control to further tune color temperature, a gamma setting, and a few other adjustments that we generally left turned off for best picture quality.

Sony's advanced menu delivers plenty of extra tweaks.

The CineMotion option affects the TV's 2:3 pull-down performance, while the Game picture preset removes most video processing, disabling MotionFlow, for example, to eliminate delay between a game controller and the onscreen action.

Sony includes four aspect ratio modes for HD sources, and a "Full Pixel" that displays 1080-resolution content without any scaling or overscan. We recommend using this setting unless you notice interference along the extreme edges of the screen, which is the fault of the channel or service, not the TV.

The TV Guide onscreen electronic programming guide (EPG) is a rarity among late-model TVs, but the XBR9 has it. TV Guide lets the Sony display a grid of information for antenna and cable channels, but people who tune primarily with an external cable or satellite box will probably use their box's EPG instead. In other words, TV Guide won't be useful for most XBR9 series owners, and we didn't test it for this review. We did appreciate that TV Guide is powered by the Sony's Ethernet connection, which also lets the TV receive any firmware or software updates the company may send out.

Just like Samsung, Sony can now send out software updates via the TV's Ethernet connection.

We were pleased to see a two-step power-saving option in the Eco menu that limited peak brightness and really cut down on energy consumption. Sony also includes a room-lighting sensor, a mode to turn off the screen but leave the sound on, and another mode that automatically turns off the TV after a set period of inactivity.

Engaging Power Saving reduces the backlight intensity to save energy.

The XBR9's connectivity is complete enough, but the company arranged the ports in an unusual way. Instead of mounting the majority of its HDMI inputs on the back panel, Sony stuck three of the four on the side-facing panel, leaving just one to the rear. The side panel also gets the VGA-style analog input for PCs, a USB port for music, photos, and video, and an AV input with composite and S-Video. The rear panel, meanwhile, merits that single HDMI port, two component-video inputs, an RF input for antenna or cable connections, the Ethernet port, and some analog audio connections.

Sony's back panel includes just one HDMI input.

The side panel is where the action is, including three HDMI and one VGA input.

One benefit for extra side-panel connectivity is improved access, which is a boon for people who frequently swap gear in and out of their systems. On the other hand, users who connect more than one piece of semipermanent HDMI equipment might prefer to see more than one rear HDMI port. In its favor, however, the side panel is roomy and recessed enough to accommodate fatter cables without exposing them to view from the front.

Performance
Overall, the Sony KDL-XBR9's picture can compete well against the best conventional LCDs we've tested, but its black level performance still couldn't match that of the best LED-based LCDs and plasmas. The 240Hz refresh rate did improve motion resolution, but we found it hard to tell the difference with normal program material.

Prior to our calibration, the XBR9's most accurate picture mode was, as expected, Cinema, which can be activated by pressing the Theater button or selecting Cinema from the Scenes menu--it's not an option in the standard picture menu. Cinema delivered a slightly bluer color temperature than we'd like to see, and its overall gamma was too high (1.89 versus an ideal of 2.2). After our adjustments, overall color temperature was somewhat improved, although there was still too much variation in the grayscale--specifically, it became a bit bluish in midtones--and gamma was still a bit too dark in dim areas. Engaging the Advanced Contrast Enhancer improved dark area gamma and shadow detail, but we preferred to leave it turned off to preserve overall gamma accuracy and prevent backlight fluctuation.

For our comparison we enlisted a few comparable sets. The LCD camp was represented by Sony's own KDL-55XBR8 and KDL-52XBR7 along with the Samsung UN46B7000 and LN52A650, while the plasma camp contributed Panasonic's TC-P46G10 and the reference Pioneer PRO-111FD. Most of the image quality tests were conducted using the "Transporter 3" Blu-ray Disc.

Black level: The Sony XBR9 produced a deep, convincing shade of black in our dark home theater but it couldn't quite match the darkness delivered by some of the other sets. Shadows and black areas from the darkest scene in the movie, where the opening credits appear over the ship's dim cargo hold, appeared a bit more washed out and less realistic on the XBR9 than they did on the Samsung UNB7000, the XBR8, or the two plasmas, although the XBR9's blacks were deeper than those of the XBR7 or the Samsung A650. In other words, the XBR9 reproduced the darkest blacks among conventional LCDs in our comparison, but didn't match the LED-backlit models.

As we mentioned, shadow detail was also somewhat less than ideal. When the Transporter finds Valentina in the back of the car in his shadowed living room, the shadows on her body and details in his shirt appeared a bit more obscured in comparison to the plasmas. On the other hand, shadow detail looked slightly more natural on the XBR9 than on the Samsung 7000 and A650 models.

Color accuracy: The Sony fared well overall in this category, although skin tones looked slightly off. During the endless shots of redheaded Valentina in the passenger seat in Chapter 5, for example, her pale face and neck seemed a bit paler and a tad green compared with our reference displays, although not as greenish as we saw on the Panasonic G10. Near dark and black areas were also tinged with blue to about the same extent as we saw on the Samsung 7000, which affected the darkest shadows and the letterbox bars.

Our measurements of the XBR9's primary colors, on the other hand, were nearly perfect, which was reflected by the natural look of the blue sky and green plants racing by alongside the road. Saturation was also quite good, if not quite at the same level as our reference displays; the bright colors of the parasols in the market in Chapter 8, for example, looked punchy and rich.

Video processing: Much as we observed with the KDL-52XBR7, the principal impact of the faster 240Hz refresh rate can be seen in the reduction of motion blur during test patterns. In our motion resolution tests, the XBR9 scored between 900 and 1,000 lines of resolution, equaling the XBR7 and surpassing every LCD-based HDTV we've reviewed aside from the LED-backlit XBR8 and Samsung LN46A950. We found it difficult to see the effect of the antiblurring processing when watching normal program material as opposed to test patterns.

Disengaging dejudder caused the display to revert to the normal LCD motion resolution of between 300 and 400 lines. In other words, to get the benefit of blur reduction on this set, you'll have to engage dejudder processing. Samsung's 2009 models such as the B7000, on the other hand, allow you to get the benefits of blur reduction without the smoothness of dejudder--an option we much prefer.

As usual, engaging dejudder processing on the XBR9 caused the film-based sources like "Transporter" to take on a more video-like look, an issue that became most apparent in scenes like the ludicrously awesome bike-to-car chase in Chapter 8. The smoothness, whether we watched Standard or High mode, removed some of the visceral impact of the shaky camera and the Transporter's movements through the alleys, into the warehouse, and through the factory workers. High mode, as usual, was prone to artifacts, such as breakup on the trailing edges of fast-moving objects, like the Transporter himself as he skids across a table. Such artifacts were much less common in Standard, and we did prefer the look of Sony's Standard to dejudder modes on other the displays, but again we preferred to leave MotionFlow turned off.

With our Blu-ray player set to 1080p/24 output mode the 240Hz XBR9 behaved as it should. It preserved the judder of film with CineMotion set to Off and showed none of the hitching motion of 2:3 pull-down, which was visible in 60Hz mode on the Panasonic G10, for example, during the flyover of the Intrepid from "I Am Legend."

In other resolution tests the Sony performed well, delivering every line of 1080i and 1080p sources in "Full Pixel" mode and deinterlacing both video-based and film-based sources properly, although the latter required us to engage either of the two Auto settings in the CineMotion menu.

Uniformity: The screen of our KDL-52XBR9 review sample didn't appear as uniform across its surface as many LCDs we've seen, with about as many variations as the Samsung 7000 and more than the other displays. In middark areas the edges of the screen appeared brighter than the middle, while in very dark areas like letterbox bars and nighttime scenes, we could make out brighter areas in three of the four corners.

From off-angle it performed better than the Samsung 7000 and about the same as the other LCDs, losing contrast and pop at about the same rate but not becoming too discolored or washed out, like we saw on the 7000.

Bright lighting: The Sony performed well in brighter rooms. The mostly matte screen of the XBR9 handles reflections from windows and lights facing the screen quite well--better than the other non-Sony displays in our comparison, which all have glossy (the Samsungs) or glass (plasma) screens. It also preserved black levels in dark areas better than either of the two plasmas.

Standard-definition: The XBR9 turned in an average standard-definition performance. It resolved every detail of a DVD source and fine details in the grass and stone bridge looked as sharp as we expected. With video-based sources we saw more jaggies on moving diagonal lines than on other displays, and more even than on Sony's KDL-51V5100, although the waving American flag appeared about the same on the two Sony displays. The XBR9's noise reduction performed very well, cleaning up the snowy, noisy shots of skies and sunsets with aplomb, although the MPEG noise reduction option didn't seem to do much in those areas. CineMotion set to Auto1 engaged 2:3 pull-down to remove moire from the grandstands.

PC: As we expected from a 1080p LCD displaying computer sources, the XBR9 resolved every detail of 1,920x1,080-pixel input via HDMI and VGA and delivering crisp text with no overscan or edge enhancement.

Geek box

TEST	RESULT	SCORE
Before color temp (20/80)	6551/6650	Good
After color temp	6436/6458	Good
Before grayscale variation	159	Good
After grayscale variation	158	Average
Color of red (x/y)	0.647/0.324	Good
Color of green	0.295/0.609	Good
Color of blue	0.15/0.055	Good
Overscan	0.0%	Good
Defeatable edge enhancement	Y	Good
480i 2:3 pull-down, 24 fps	Pass	Good
1080i video resolution	Pass	Good
1080i film resolution	Pass	Good

Samsung UN55B6000

Whether you're dating a supermodel or shopping for a new HDTV, thin doesn't come cheap. The least expensive member of Samsung's 2009 family of ultrathin LED-backlit LCD TVs is the UNB6000 series, but that doesn't mean it's a bargain. If you can stomach the extra charge, however, your reward will be an extremely sleek-looking TV, a very good-looking picture, and that sweet sense of Begley Jr.-esque self-satisfaction that comes from knowing you're consuming minimal electricity. We're not the biggest fans of the UNB6000's fluctuating backlight, and we'd like to see a more-uniform picture for this much scratch, but otherwise its image quality leaves little to be desired. That said, numerous other HDTVs offer equal or better picture quality for less money, which makes high style and higher technology the main selling points of the UNB6000 series.

Series note: We performed a hands-on evaluation of the 46-inch Samsung UN46B6000 ($2,799), but this review also applies to the 40-inch UN40B6000 ($2,299) and the 55-inch UN55B6000 ($3,599). All three sizes share identical features and specifications.

(Editors' Note: Many elements are identical between the UNB6000 and the UNB7000 series we reviewed earlier, so readers of the earlier review may experience some deja vu when reading the same sections below.)

Design

Here's what 1.2 inches thin looks like from edge-on.

The UNB6000 measures just 1.2 inches deep at its thickest point, and tapers even thinner toward the edges of the panel. Samsung offers a special flush wall mount, and if you decide to keep the TV on its stand, the thin panel will look equally impressive from the side. From the front the set is no slouch either; a slim, subtle red border edges all four sides of the panel, while the outer transparent edge, which is a bit thinner than that of the B7000 series, lends a jewel-like look. On the downside, you can't get this series in any color but red.

A transparent stalk on the stand lets the panel swing from side to side in style.

The matching stand is also edged in red, and the lack of beveling on its glass surface separates the B6000's stand from that of the B7000 series. Both have a transparent pedestal to keep the thin panel gracefully suspended above the stand's surface and let the TV swivel to either side.

Aside from the obvious thinness, the LEDs allow for a couple other design bonuses. The UNB6000 runs a lot cooler than other LCD and plasma displays producing a similar amount of light, and the panel itself weighs less than other models.

The well-laid-out main menu system is tinted red to match the TV's exterior.

Samsung used the same menu system as last year, albeit with red borders to match the TV itself, and we still think it's one of the best in the business. Big, highly legible text is set against transparent backgrounds that occupy almost the whole screen. Getting around is easy and there's helpful explanatory text along the bottom to describe the different selections.

The remote control is basically the same as last year, aside from a new protrusion on the rear that keeps the clicker stable on a flat surface, and we're definitely fans--especially since Samsung ditched the rotating scroll wheel. The buttons are big, backlit, and easily differentiated by size and shape, and we liked the dedicated "Tools" key that offers quick access to the E-manual (see below), picture and sound modes, the sleep timer, and the picture-in-picture controls. We didn't like the remote's glossy black finish, however, which picked up more than its share of dulling fingerprints after a few minutes.

Features
Edge-lit LED backlighting heads the UNB6000's feature set. Samsung calls these sets "LED TVs," but it's important to remember they're actually otherwise normal liquid-crystal display TVs that use light-emitting diodes instead of the standard fluorescent backlights. Unlike the Sony KDL-55XBR8 and Samsung LN46A950, which both use local dimming technology that mounts the LEDs behind the screen, the UNB6000 series is edge-lit, with LEDs arranged around the edge of the screen. Check out the slideshow for more information.

The main difference between the UNB6000 series and the more-expensive UNB7000 models is its interactive capability. The B7000 sets have Yahoo Widgets, built-in content, and the capability to stream music, photos, and video from a networked PC. The B6000 models lack those extras, although they do feature Samsung's InfoLink service, first seen on 2008 TVs like the LNA650 series. InfoLink is a much more basic portal to Internet-updated information than Yahoo Widgets, and can only display news, custom stocks, and local weather information. We liked the easy-to-read font in normal and large sizes, however, as well as the intuitive controls. USA Today provides the newsfeed, which can sit in the corner of the screen like a ticker, or be expanded to let you read numerous top stories in a variety of topics. One annoying quirk was that we couldn't remove the Setup screen easily--hitting "return," as the manual suggested, merely turned off the whole service.

InfoLink can display a local weather report...

as well as news clips and (not pictured) a customized stock ticker.

Samsung includes the same picture-affecting features found on the B7000 models, starting with a 120Hz refresh rate and dejudder processing, the latter with more adjustments than we've seen on any such display so far. We also liked the myriad conventional picture adjustments, starting with four adjustable picture modes that are all independent per input. There are five color temperature presets that are augmented by the capability to adjust each via a custom white balance menu; three varieties of noise reduction, including an automatic setting; a film mode to engage 2:3 pull-down (it also works with 1080i sources); a seven-position gamma control that affects the TV's progression from dark to light; a dynamic contrast control that adjusts the picture on the fly; a "black tone" control that affects shadow detail; and a color space control that lets you tweak the Samsung's color gamut.

Sliders for blur and judder reduction allow for plenty of customization of the dejudder processing.

A custom color temperature control lets you fine-tune the grayscale.

You can choose from four aspect ratio modes for HD sources, two of which let you move the whole image across the screen horizontally and vertically. As we'd expect from a 1080p TV, one of those modes, called Screen Fit, lets the UNB6000 scale 1080i and 1080p sources directly to the panel's pixels with no overscan--the best option unless you see interference along the edge of the screen, as can be the case with some channels or programs.

The included E-manual saves trees and gives you an onscreen user guide.

We appreciate the three power-saver modes, which further reduce energy use. As far as other conveniences, Samsung throws in picture-in-picture, an "E-manual" on a USB thumbdrive, and even a customer care screen that includes the firmware version for when you need to call the company. We're also big fans of the new-for-2009 capability, unique among HDTVs, to download firmware directly to the TV, rather than making you go to the Web site, as was the case before.

Plenty of digital jacks are onboard, including four HDMI and two USB along the back/side panel.

Analog jacks are scarce, numbering just one component-video and one VGA input.

The UNB6000 series offers good connectivity, as long as your AV system doesn't have many analog components. The highlight is four HDMI inputs, arranged vertically along the shallow connection bay on the back of the TV (note that fat cables might not fit the nearly flush sockets very well). You also get two USB inputs, a VGA-style PC input, and a single component-video input that can be converted to accept composite video instead. An RF input for antenna or cable, an optical digital audio jack, and the Ethernet port complete the picture. If you need to connect more than one analog device, you'll need to use a switcher or an AV receiver.

Performance
Samsung's UNB6000 showed very good picture quality overall, with relatively deep black levels, accurate color and excellent, adjustable video processing. We weren't fans of the way the backlight would fluctuate, and screen uniformity is disappointing for such an expensive TV. In case you're wondering, the UN46B6000 review sample we examined delivered basically the same picture quality as the UN46B7000 we placed right next to it, with just a couple of exceptions noted below.

One area where the 6000 and 7000 differed slightly was their initial picture settings in Movie mode: the 6000 measured bluer in its most-accurate Warm2 color temperature setting, scoring an Average and not a Good as we saw on the 7000. It's not a big deal, however, since Samsung's numerous picture controls allowed us to calibrate the 6000 to achieve an excellent grayscale in addition to our normal light output of 40 footlamberts. As with the 7000, we had to increase the gamma control from zero to +3 to improve shadow detail significantly and ameliorate some of the worst effects of the variable backlight (see below). Unfortunately, this change caused overall average gamma to worsen, from 2.22 to about 1.9 (the ideal is 2.2). Gamma was still too dark in near-black areas, and became too bright in brighter ones, but the sacrifice was worth it in our opinion.

For our comparison, we set the UN46B6000 up next to the UN46B7000, along with a few other high-end HDTVs we have on hand, including the LED-powered Samsung LN46A950 and Sony KDL-55XBR8, the standard Samsung LN52A650 LCD, and a pair of plasmas, the Panasonic TC-46PG10 and our reference Pioneer PRO-111FD. We checked out "Appaloosa" on Blu-ray for the majority of our image quality tests.

Black level: Performance in this area was good overall, but not as impressive as that of the best sets in our comparison--and about equal to that of the 7000. Our main complaint revolves around the fluctuations of the LED backlight. In very dark scenes, the entire backlight, and thus the letterbox bars and shadows, would dim, while in brighter scenes it would become brighter. Other displays do similar things, but on Samsung's edge-lit LED screens it was more noticeable and affected more than just completely black screens.

During "Appaloosa" the first instance we noticed was in Chapter 1, when the screen goes to black right before the title appears. The illumination basically switches off abruptly instead of fading naturally to black. That switch-off occurs infrequently enough to not be a major distraction, although we wish it didn't happen at all, and in material that fades to black frequently such as the beginning few minutes of "Transformers," it can become annoying.

The 6000 also suffers from another backlight-related issue, similar to what we saw on the 7000: in some very dark scenes, illuminated areas appeared darker than on the other displays, robbing the image of pop and contrast. We didn't see the effect in "Appaloosa" except for during the end credits--where the white name "Ed Harris" against the dark background, for example, appeared significantly dimmer than on the rest of the displays--but we did see it elsewhere. The initial sequence from "The Day the Earth Stood Still," which we cited in the 7000 review, showed dimmer and fewer stars on the 6000 than on the other TVs, for example, although the effect wasn't as pronounced as on the 7000. It's worth noting, however, that scenes dark enough overall to trigger this loss of contrast are relatively rare, and most dark scenes had plenty of pop.

Indeed, the UNB6000 did deliver a deep shade of black, although not quite as deep as that of the 7000. It appeared about as dark as that of the A950 and deeper than the A650, but not as inky as the Pioneer, Sony XBR8, or Panasonic. On the flip side, shadow detail and gamma were slightly better on the 6000 than the 7000 we tested, although still a bit too dark on both compared with the plasma displays. We noticed the difference in the dark fireside scene in Chapter 20, for example, when the face of Harris looked dimmer and less-distinct than on the other displays, but a bit better on the 6000 than on the 7000.

Color accuracy: The Samsung UNB6000 scored well in this category, with excellent primary colors and color decoding, along with a solid grayscale that only lost accuracy in very dark areas. Skin tones, such as the well-lit face of Renee Zellweger in the restaurant with Harris and Viggo Mortensen, looked accurate enough if a bit too flat and slightly under-saturated compared with our reference displays. This may be an issue with the improper gamma at the upper end--a necessary sacrifice to prevent dark areas from being too dark. Other colors, like the deep blue sky above the town and the green of the brush, looked quite accurate, but again were missing some punch and saturation in bright areas.

Like many LCD-based screens, the UNB6000 also suffered from a bluish tinge in blacks and near-black shades. The issue was visible in letterbox bars, the shadows around the campfire, and in Harris' shaded face, for example, but the tinge was not as severe as we saw on the 7000.

Video processing: In addition to the three preset strengths of its Auto Motion Plus dejudder processing, called Clear, Standard, and Smooth, Samsung added a Custom mode this year, and its adjustability makes it the best implementation of a dejudder we've seen so far. Custom offers two sliders, one called Blur reduction that affects video-based sources and one called Judder reduction that affects only film-based sources. In our motion resolution tests, it was obvious that Blur reduction was doing exactly that: as we increased the slider from 0 to 10, the lines on the motion resolution pattern became more distinct and less apt to blur together, and the pattern looked best at 10. In that video-based pattern, playing with the Judder reduction setting had no effect.

The key is that with Blur reduction set to 10 and judder reduction set to 0, the cadence of film can be preserved while the blurring some viewers see with LCD (we don't notice it, but that's another story) can be largely reduced. We confirmed this by feeding the Samsung 1080p/24 content during the flyover of the "Intrepid" from "Legend," where the characteristic judder appeared more and more obvious as we decreased the judder reduction slider.

As usual, increasing judder reduction and thus apparent smoothness with film-based material also increased the incidence of unwelcome artifacts. In Chapter 7 of "Appaloosa," for example, when the trio raises a toast with shot glasses, the quick-moving hands of Mortensen and Harris suffered from obvious break-up that became less obvious as we decreased the control.

In resolution tests, the UNB6000 performed well, delivering every line of 1080i and 1080p sources with still patterns, correctly deinterlacing 1080i material (note that we had to set Film Mode to Auto1, not the default of Auto2, to get this to work) and delivering between 600 and 700 lines of resolution in all of the AMP settings (note that reducing the Blur reduction lower than 10 decreased motion resolution on our test pattern). Plasma displays such as the Panasonic and the Pioneer, by comparison, score 900 lines and above on this test, as did the Sony XBR8, KDL-52XBR7 and Samsung A950 displays. As we've noted before, we find it tough to appreciate the benefits of any of these resolution characteristics in program material as opposed to test patterns.

Uniformity: The Samsung UNB6000 exhibited similar uniformity characteristics as the 7000, which was worse overall than the other displays in our comparison--although better than the edge-lit Sony's KLV-40ZX1M. In dark areas and letterbox bars, the 6000's corners and the right side appeared brighter than the rest of the screen, an effect which was visible in Chapter 20, for example.

In gray fields (from 10-70 IRE on our Sencore test pattern generator), we noticed more brightness variations across the screen, including a darker area across the top and subtle brighter splotches elsewhere. We didn't notice these variations much during program material, but they were more noticeable in test patterns than on any of the other displays in our test. Although these issues can vary between review samples, both the 6000 and the 7000 showed similar variations.

When seen from off-angle, the UNB6000 also looked worse than any of the other displays in our comparison. Dark areas quickly washed out and became bluer, while brightness variations intensified, as we moved to either side of the sweet spot in the middle of the couch. The UNB6000 did seem to preserve its vertical viewing angle a bit better than the Sony or the Samsung A950 did, but both sets beat the UNB6000 in horizontal viewing angle.

Bright lighting: Samsung used the same sort of glossy screen as last year, and we're not its biggest fans. In bright lighting, with windows facing the screen and overhead lights turned on, the screen does a very good job of preserving black levels in dark areas. However, the trade-off is overly bright reflections from those light sources and from other bright objects in the room, such as this reviewer's light gray shirt. These reflections were much less bothersome during bright scenes, of course, but in darker scenes they proved distracting.

Standard-definition: On the off chance you do connect a standard-definition source to the Samsung, you find generally solid picture quality. According to our tests, the display handled every line of a DVD source and the shots of grass and steps from the detail test looked good. The set eliminated jaggies from video-based sources well, and its noise reduction cleaned up the lowest-quality shots of skies and sunset with aplomb. Finally, the UNB6000 passed 2:3 pull-down test by eliminating moire from the stands behind the racecar.

PC: As expected, the UNB6000 series delivered excellent performance with both VGA and HDMI sources from computers. It resolved every line of a 1,920x1,080-pixel resolution image with no overscan or edge enhancement.

Geek box

TEST	RESULT	SCORE
Before color temp (20/80)	6934/7121	Average
After color temp	6500/6486	Good
Before grayscale variation	552	Average
After grayscale variation	79	Good
Color of red (x/y)	0.636/0.327	Good
Color of green	0.303/0.598	Good
Color of blue	0.154/0.059	Good
Overscan	0.0%	Good
Defeatable edge enhancement	Y	Good
480i 2:3 pull-down, 24 fps	Pass	Good
1080i video resolution	Pass	Good
1080i film resolution	Pass	Good