The HD Ready badge is sealed and delivered by a native resolution of 1,366 x 768, but this is unfortunately joined by a claimed contrast ratio of just 700:1. Compare this with the Toshiba's 30,000:1 claim, and you can see the extent of the problem. Companies' claimed contrast ratios can't be trusted, of course. Everyone knows that. But it's hard to believe that a gulf in figures as great as the two we've just given doesn't point to some pretty major performance differences.
The low nature of the Goodmans' figure also shows that unlike its Toshiba rival, the LD2667D doesn't employ any kind of dynamic contrast system, whereby the backlight output is reduced when dark scenes are detected in order to make black colours look less grey. This is definitely a concern, since provided a dynamic contrast system doesn't cause the image to look too unstable, TVs that use them tend to deliver much more dynamic, believable pictures than those that don't.
Heading into the LD2667D's onscreen menus is a pretty depressing experience. For while the onscreen menus aren't bad - they're clean looking and sensibly organised - the remote control is horrible. Partly because it feels so depressingly plasticky, and partly because it's horrendously laid out, with far too much button crowding and not enough weight given in terms of size or position to the most important keys.
Not surprisingly given its decisively budget ambitions, the LD2667D is pretty low on features. In fact, there's really nothing noteworthy enough to bother covering here, other than mentioning that the set's Standard factory preset is quite sensibly calibrated compared with the OTT nonsense many big-brand TVs ship with.
Much more important, though, is stuff the TV doesn't have, such as a backlight adjustment, 100Hz, or indeed any video processing at all beyond a basic scaling engine necessary for converting both standard and high definition sources to the native 1,366 x 768 resolution.
To be honest, spending time with the LD2667D's pictures is quite an illuminating experience - and not in a particularly good way. For the bottom line is that while watching them I felt like I'd stepped back in time at least a year or two.
The screen's black level response, for instance, is a classic throwback to an earlier time. For wherever there's supposed to be something approaching blackness, all you get instead is greyness, with all the depth-reducing, detail-hiding, colour-muting side effects that entails.
While watching the end credits of In The Night Garden on BBC HD with my young daughter, for instance (!), the supposedly night sky looked more like dusk, so extensive was the amount of unwanted or at least uncontrolled light still pouring through the LCD panels.
What's more, while the lack of a dynamic backlight system means that dark scenes do at least look stable, with no flickering or brightness jumps, there's a different kind of inconsistency on show. For the backlight just doesn't look even across the whole screen, leaving some parts of dark pictures looking brighter or darker than others. In particular, there's an obvious (albeit very narrow) strip of leaking light along all four of the image's sides. Yikes.