LATEST ADDITIONS

Mark Fleischmann  |  Mar 22, 2007  |  First Published: Feb 22, 2007  |  0 comments
Multinational speakers meet American amps.

On the battlefield of speaker design, I am the triage nurse. I walk into speaker demo rooms at trade shows, my badge sometimes inadvertently turned inward, listen for a moment, and quietly mutter to myself, "This one's a keeper," or, "He's dead, Jim." Or occasionally just, "Hmmm," because good speakers may sound iffy under bad conditions, and I respect the potential buried within an ambiguous first take. But, if my instincts tell me to pursue a review, I whip out a business card and start making arrangements on the spot.

Darryl Wilkinson  |  Mar 22, 2007  |  First Published: Feb 22, 2007  |  0 comments
Moving speakers for moving pictures.

I've had the good fortune of being able to bring some extremely cool gear into my house: a 50-inch plasma HDTV (way back when 50 inches was big for a plasma), a $40,000 Kaleidescape multiroom movie server, and, last but not least, five gorgeous Legacy Audio Harmony in-wall speakers (each one weighing 54 pounds). So, when something arrives and causes more than one member of my family to say, "That's the coolest thing you have ever reviewed," I know there's something special about it.

Mark Fleischmann  |  Mar 22, 2007  |  First Published: Feb 22, 2007  |  0 comments
Listen to the violinist.

Reviewing the PSB Alpha B1 speaker system is a bit like coming home. I reviewed the original PSB Alpha for Rolling Stone back in the 1990s. Its little sister, the PSB Alpha Mini, anchored my surround system during a time when I was struggling to launch an online business, barely making ends meet, and dissipating my savings. I needed new speakers, wasn't then in a position to freeload, and didn't have much to spend. The Alpha Minis gave me what I needed—a big soundstage in a small package with no off-putting aggressiveness. The bass was just good enough to make a sub unnecessary. Let the record show that a borrowed Yamaha receiver ran the system.

Chris Chiarella  |  Mar 22, 2007  |  First Published: Feb 22, 2007  |  0 comments
The universe is still expanding.

People seem to love bashing the last great format war—SACD versus DVD-Audio—in which, of course, there was no real winner. My personal opinion has always been a little different. I consider it a unique pleasure to bask in the warm embrace of 5.1 high-resolution channels of some of the best popular music ever. I continue to do this, as I always have, by way of an affordable universal disc player, as one could fairly call it in the days before HD DVD and Blu-ray. I'm glad to see that manufacturers are still supporting the high-resolution audio formats, helping the consumer take advantage of all the great software currently available, much of it heavily discounted in the aftermath of the conflict.

Chris Chiarella  |  Mar 22, 2007  |  First Published: Feb 22, 2007  |  0 comments
Games and movies collide, again, this time in high-def.

Microsoft's Xbox 360 HD DVD player is targeted specifically at the owners of the Xbox 360 gaming console—or those on the fence about purchasing one. It's an affordable way to bring HD DVD into your existing multimedia system. This small disc spinner will not work by itself; rather, it will only operate in conjunction with one of the two available versions of the Xbox 360, or with a PC (sort of, as you'll see later). It's another box (which will of course take up more space), and it lacks the sleek approach of a single-chassis solution. But the easily replaceable USB cable that connects the HD DVD player to your Xbox does offer a bit of placement freedom. This in turn makes the drive's integrated USB hub potentially more versatile.

Mark Fleischmann  |  Mar 22, 2007  |  2 comments
Should the Motion Picture Association of America add a sixth rating? The current set of five includes G, for general audiences: PG, parental guidance suggested; PG-13, parents strongly cautioned; R, restricted; and NC-17, no one 17 and under admitted. Pressure is building to subdivide R into two new ratings, one for fleetingly racy material, and another (already informally known as hard-R) for extremely graphic horror pics. There are precedents for subdivision and name changing. After all, before there were PG and PG-13, there was a single M rating, for mature audiences. And X changed its name to NC-17 when the terms obscene and pornographic became "legal terms for courts to decide," as the MPAA notes in its explanation of ratings (a comic masterpiece of hairsplitting and equivocation). Now pressure is building from parent groups who feel, as Variety explains, that the current R "is too broad, encompassing everything from a few swear words or brief flashes of nudity to repeated scenes of stomach-churning mutilation and disembowelments." Hollywood is listening, but doesn't want to shove hard-R titles into NC-17 because exhibitors shun films in that ultimate category almost completely and Blockbuster won't stock them at all. My suggestion: Rather than complicate the system with a sixth rating, keep the hard-R material within R, and move soft-R material down into a broadened PG-13. The MPAA's rating guide already uses 306 words to describe PG-13 versus a mere 65 words to describe R. I say add another hundred words of fork-tongued bureaucratese to PG-13 and call it a day. (The illustration is facetious, not a serious proposal.)
Mark Fleischmann  |  Mar 21, 2007  |  2 comments
A watermarking technology used to trace pirated movies back to the source will soon be built into set-top boxes. Thomson developed NexGuard to trace pirate masters back to the theaters where they were stolen with camcorders or to DVDs distributed to reviewers and awards juries. Soon chips will be built into STBs to read watermarks in MPEG-2, MPEG-4 AVC, and VC-1 formats. The technology might be applicable to cable, satellite, or any other kind of STB. So if a piece of copyrighted material enters your home through the box, and ends up being pirated or file-shared, it will bear an individual watermark leading the copyright holder back to you. Should you worry? Said a Thomson executive: "The idea is to slow down piracy without limiting the use of the consumer. They should not be upset about this unless they are widely redistributing content." Of course, if you loan an archival video to someone who does file sharing, the copyright holder might become upset, and the copyright holder's attorney might make you very upset.
Chris Chiarella  |  Mar 20, 2007  |  0 comments
Bose recently invited us by their Columbus Circle store in Manhattan to give a listen to their in-ear headphones. While not a new product per se, they wanted to discuss some new and upcoming enhancements that I'll touch on in a moment, but this was my first chance to really evaluate the 'phones and, as someone whose been using earbuds extensively for a decade now, I was genuinely impressed by the sound. While not noise-canceling or sound-isolating, they incorporate the same Bose Tri-Port technology as in their QuietComfort line: small ports in the earpieces that help in bass reproduction without adding great size, so they're a handy accessory to iPods et. al.
Mark Fleischmann  |  Mar 20, 2007  |  5 comments
The fight over new Internet-radio royalties heated up Friday when National Public Radio took a stand against against them. In advance of a petition for reconsideration, filed with the federal Copyright Royalty Board, came this statement from NPR's Andi Sporkin: "This is a stunning, damaging decision.... Public radio's agreements on royalties with all such organizations, including the RIAA, have always taken into account our public service mission and non-profit status. These new rates, at least 20 times more than what stations have paid in the past, treat us as if we were commercial radio--although by its nature, public radio cannot increase revenue from more listeners or more content, the factors that set this new rate. Also, we are being required to pay an internet royalty fee that is vastly more expensive than what we pay for over-the-air use of music, although for a fraction of the over-the-air audience. This decision penalizes public radio stations for fulfilling their mandate, it penalizes emerging and non-mainstream musical artists who have always relied on public radio for visibility and ultimately it penalizes the American public...." Like NPR itself, many local public radio stations now have active websites with audio feeds, podcasts, and other content that doesn't make it on the air. NPR's audience hit an all-time high of 26.5 million in fall 2006 and has been adding a million listeners a year for the past five years.
Darryl Wilkinson  |  Mar 20, 2007  |  0 comments
Martin Logan's new on-wall/off-wall Fresco i is another gorgeous speaker from a company known for its pretty, precise speakers.

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