The name Honeywell is probably best known in the United States for its appearance on fans, humidifiers, air purifiers, and the like, but the conglomerate--which is involved in industries from aerospace and fluorocarbon to automotive turbochargers, according to its Web site--recently licensed its name to Soyo, a maker of LCD TVs and monitors such as the DYLT032D we reviewed a couple of years ago. That TV didn't fare well in our tests, and the Honeywell Altura MLX had a tough time as well. In this set's favor is a relatively inexpensive price, especially for a model with a 120Hz refresh rate. Going against it is just about everything else, from black level performance and color accuracy to the actual performance of its 120Hz processing. In the end it's tough to recommend this TV to anybody, especially when much better performing LCDs are available for around the same price.
The Honeywell Altura MLX--we'll drop that MT-HWJCT42B2AB part for the remainder of this review--disguises its budget TV status with pretty good looks. In evidence are the same styling cues that graced Samsung sets from last year, for example: glossy black finish, rounded corners, and a swiveling, pedestal stand. The only accent, aside from the too-prominent "Honeywell" logo, is a thin horizontal strip of chrome-ish plastic set above the gap housing the hidden speakers below the screen.
When you include the stand, the Alura MLX measures 40.4 inches wide by 28.5 inches tall by 13 inches deep and weighs 50.7 pounds. Remove the stand and its dimensions shrink to 40.4 inches wide by 26.3 inches tall by 3.8 inches deep.
Remote control design is one area where makers of budget TVs often cut corners, and Honeywell is no exception. In its favor, the medium-length remote can control three other pieces of gear, features lighting behind the volume and channel keys, and incorporates some differentiation between the various button groups. Unfortunately it's not as responsive as we'd like--we often had to press buttons more than once to execute some commands--and the cluster of 16 identical keys toward the bottom, which runs the gamut from aspect ratio and input selection to picture and sound mode toggles, is jumbled together into an indistinguishable grid.
Honeywell's menu system looks very similar to the one found on Vizio TVs and the Haier HL47K, and it even shares some remote codes with the latter. "Coincidences" such as this are common among budget models that share off-the-shelf electronics and software. The menu design is clean enough, and nothing serious was missing, although we'd like to see text explanations to accompany menu items.
The Honeywell's big bullet point is that 120Hz refresh rate, complete with a dejudder processing circuit that smoothes out motion in film-based sources. Other benefits of 120Hz include somewhat reduced blurring in motion and the capability to take advantage of 1080p/24 sources. We'll cover these items in more detail below, but first it's worth mentioning one major problem we had with the Honeywell's dejudder feature: you can't turn it off. The Altura MLX is the first TV we've tested with dejudder that doesn't provide the option to forgo the (often artificial-looking) processing.
Like most LCDs these days, the Honeywell also has a 1080p native resolution, although at this screen size it's nearly impossible to see any extra detail compared with 720p models.
The picture controls on the Honeywell are relatively sparse and ill-conceived. First off, only one of the picture modes ("User") can be adjusted--making changes to any of the others automatically switches back to the User setting, which has the unfortunate side effect of erasing whatever settings you had there originally. Worse, the User controls are not independent per input. The two component-video inputs and the two HDMI inputs share the same User settings, so contrast on HDMI1 and HDMI2, for example, must be set at the same level. Finally, there's no backlight control, which makes adjusting the display for optimum contrast in dark rooms a lot more difficult.
There are a few advanced controls on tap. The most important is a User color temperature setting, which, unfortunately, behaves the same way as the User picture setting (in other words, write down your settings). We did appreciate having the capability to adjust color temperature beyond the three presets, however. An Advanced picture menu is filled with options that, for the most part, are best left turned off.
Aspect ratio control on the Honeywell Altura is also a bit less comprehensive than we'd like to see. You can only choose from among two selections with HD sources, wide screen and 4:3, and worse yet, there's no "dot by dot" or similar mode that maps 1080i and 1080p sources to the TV's pixels with no scaling. That means the set can't perfectly resolve those sources, and that there's always some overscan. Standard-definition sources allow a third option called Zoom, as well as a setting that automatically selects an aspect ratio. We did appreciate the inclusion of a picture-in-picture mode as well as the option to freeze the action.
The number of connections on the Honeywell is a bit below average, even for a budget set. The back panel offers just two HDMI ports, a VGA-style PC input (1,920x1,080-pixel maximum resolution), and a pair of component-video inputs. There's one composite video and one S-Video input (although they share a single set of audio input jacks), an RF input for antenna or cable, and a coaxial digital audio output. There are no easy-access connections on the side or the front panel of the TV.
The Honeywell Altura MLX left plenty to be desired in the picture quality department. The worst issue was overly dark gamma--basically, dark areas of the picture were too dark compared with bright areas--that made everything appear too dull, joined by the fact that dejudder, which again couldn't be disabled, introduced numerous artifacts.
Prior to our calibration, the Honeywell was among the least-accurate HDTVs we've tested this year, and afterward it wasn't much better. The best precalibration picture mode was User with the Warm preset engaged, but it resulted in a very green grayscale--the human eye is most-sensitive to green among all the colors--that plunged deep into blue in dark areas. Our calibration reduced the green tinge and tamed the set's light output somewhat, but we still had to leave it brighter than we'd like to, at 60 footlamberts compared with our standard 40 ftl. That's because the nonadjustable, overly dark gamma made the entire image seem too dull at 40 ftl, and really hurt the image quality. Of course, in our darkened room the resulting brighter image caused some eyestrain, especially during bright scenes (see below), but it was better than the alternative. Check out the bottom of this blog post for our complete picture settings.