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Mark Fleischmann Posted: Oct 24, 2014 0 comments

Performance
Features
Ergonomics
Value
PRICE $699 ($899 as reviewed)

AT A GLANCE
Plus
Warm, tubey sound
Headphone impedance switch
New York born and bred
Minus
No DAC
Too polite for some headphones

THE VERDICT
Woo Audio’s WA6 is a Class A headphone amp whose glowing tubes are voiced to warm up any headphones.

The glow of vacuum tubes has fascinated me all my life. When I was a kid, my parents bought a Magnavox console TV with a built-in phonograph and AM/FM radio, the early-1960s equivalent of a home theater system with all the trimmings. It stood on 18-inch legs, and I loved to crawl under it, lying on my back to stare up into the orange glow of the tubes. My first few audio systems were solid state, but a cadre of die-hard audiophiliacs never really gave up on tubes. Now they’ve also wiggled back into my life and onto my desk, where the Woo Audio WA6 headphone amplifier sits, with three glowing obelisks keeping the retro audio flame alive.

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Rob Sabin Posted: Oct 24, 2014 0 comments
If This Is Hell, Count Me In

I got a good belly laugh as I was proofreading our Perfect Focus section for the November print issue. I’d just finished putting together our Letters section, in which I’d responded to a reader inquiry about Dolby Atmos with one of my usual geeky diatribes. Then I turned to Perfect Focus and saw...

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SV Staff Posted: Oct 24, 2014 0 comments
A kick-ass, ultra-wide soundbar, add-on ambient lighting for TVs, a new Slingbox, and more.
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SV Staff Posted: Oct 24, 2014 0 comments
Marantz has announced that a fee-based firmware upgrade for the new Auro-3D surround-sound format will be available for its SR7009 receiver (shown, $1,999) and the AV7702 preamp/processor ($1,999) in early December. Both models have built-in Dolby Atmos surround sound processing.
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Al Griffin Posted: Oct 23, 2014 1 comments
Got a tech question for Sound & Vision? Email us at AskSandV@gmail.com

Q Are there any AV receivers available that provide crossover frequencies assignable by speaker type in a surround sound system? Say, 60 Hz for the fronts, 80 Hz for the center, and 100 Hz for the rears? —Jason BF

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Thomas J. Norton Posted: Oct 22, 2014 0 comments
The annual Rocky Mountain Audio Fest was held in early October in the Marriott Hotel at the Denver Tech Center. For at least the past 10 years this has been the biggest of the many audio shows now jostling for position around the U.S. Depending on who you ask, the Newport Beach (CA) show, held in June, is nipping at its heels but isn’t quite there yet.

Manufacturers (not to mention the press) must be tearing what’s left of their hair out trying to support all these shows, which now include RMAF, Newport, (northern) California, Chicago, New York City, Washington D.C., and Toronto. Let me know if I’ve missed one! And this doesn’t even include the trade-only CES (and, for some, CEDIA EXPO). For small manufacturers this is a major expense, and many of them only attend one or two. If they support two, it’s most likely they’ll include RMAF and CES).

Unlike many present-day audiophiles I keep one foot in the audio/video world of home theater and surround sound and the other in the 2-channel world of high-end audio. I regret that multichannel, even for music alone, remains anathema to many audio fans. As for film sound, for many that’s clearly the spawn of the devil...

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Chris Chiarella Posted: Oct 22, 2014 0 comments
Picture
Sound
Extras
At its best, science fiction sparks the imagination, inspiring the question, “What if…?” And in the world of cinema, this enthusiasm gives way to conjecture, even debate: Remember the decades of geek chatter about the version of Blade Runner that might have been, eventually leading to Ridley Scott’s Final Cut? We come away from Frank Pavich’s remarkable documentary Jodorowsky’s Dune with that same excitement. The second half of that title is no doubt familiar, either as Frank Herbert’s seminal novel or as the much-reviled 1984 film by David Lynch that it eventually became. The first part, not so much: Chilean-born filmmaker Alejandro Jodorowsky is perhaps best known for the surreal Western El Topo, widely considered the first “midnight movie” for its offbeat appeal.
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Josef Krebs Posted: Oct 22, 2014 0 comments
Picture
Sound
Extras
Is man ruled by heaven or his own will? Is the great flood coming again? Does man deserve to survive? Often defying logic, this mythological story where miracles occur regularly explores such questions. Noah, who follows the ways of God and respects fellow creatures, is conservationist, vegetarian, but not pacifist, slaughtering those who oppose the Lord’s work. Those, the descendants of Cain, have created cities, ripping minerals from the land to forge weapons and armor. But the land is dying, and the cities are dead. And since selfish man has broken the world and exploits other creatures, God decides to annihilate humans. This, once the family is isolated on the ark and all special effects are done with, sets off a smaller, more intimate drama closer to Greek tragedy with sons murderously set against father.
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Mike Mettler Posted: Oct 22, 2014 0 comments
“It’s a very common name. Back of $20 bills, that’s me.” Producer Andy Jackson is being typically self-effacing as he leans back in a chair across from me in front of the massive Neve 88R console that dominates the control room in the Astoria, the grand houseboat recording studio moored on the Thames somewhere near Hampton, Middlesex in England. It’s late August 2014, and it was my distinct honor to be summoned across the Pond to partake in an exclusive listening session for The Endless River, which has been deemed the final Pink Floyd album. (River will be released worldwide by Columbia on November 10.) After a rousing listening session in a place where much of the music I heard was either created, recorded, and/or mixed, I sat down across from Jackson exclusively to discuss the genesis of River, the costs and benefits of mixing in both analog and Pro Tools, and what may (or may not) be in Floyd's future.
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John Sciacca Posted: Oct 22, 2014 0 comments
Manufacturers have been so busy focusing on video upgrades with 3D, 4K, local dimming, and OLED, they’ve pretty much forgotten that audio makes up at least 50 percent of the experience. The end result is that we haven’t really seen any significant surround sound advancements since 2000 following the release of Star Wars: Episode I—The Phantom Menace, which brought Surround EX and rear channels.

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