Nestled among the rolling estates of northcentral New Jersey is a recently completed 22,000-square-foot mansion on 11 acres that represents the height of luxury. Among the usual features associated with such homes—the large and well-appointed kitchen with industrial-grade appliances, the sprawling master suite with grand bath and giant hisand-hers walk-in closets, the fully equipped gym area, the climate-controlled wine cellar, the multi-bay garage complex stocked with one or more exotic cars, the attached pool and cabana, and, of course, the dedicated home theater—is the extraordinary media/entertainment space you see here. Dubbed the Sports Room by the homeowner, it’s one of the still rare examples of a commercial video wall used in a residential application, and it is indeed the ultimate game day oasis.
After achieving success with 2013's passive Triton Seven mini-tower ($700 each) and last year's powered Triton One flagship ($2,500 each), GoldenEar Technology has plans to introduce another affordable passive tower, the Triton Five.
In a recent Signals blog (“Saving Hi-Res Audio”) Ken Pohlmann spotlighted the near-rabid sniping in the audiophile community and the public at large about whether hi-res audio delivers real, discernible benefits. Ken suggested that if the music industry wants hi-res to succeed, they should drop the significant premium now attached to hi-res downloads and charge the same as for any other music file, then reap the benefit of people buying more music because they like engaging with high-quality content.
The message from Chinese TV maker Hisense to its competition at CES on Tuesday was muted but still clear: Duck and cover, because we’re coming for you.
In a pre-show press conference that was short on product demos but refreshingly business-like and informative, the owners of the leading TV brand in China for the last 13 years running and the number 3 brand globally laid out their plans for conquering the U.S. market.
Eleven years ago, in the fall of 2000, the Sunday Arts & Leisure section of The New York Times published a long freelance article I wrote announcing the birth of digital cinema. Digital projection for large venues was mostly a dream at the time, but the technology existed and had been proven to provide satisfying images for the average moviegoer. Meanwhile, digital cinema’s biggest booster, filmmaker George Lucas, had just finished shooting Star Wars: Episode II—Attack of the Clones in 1080p/24-frame-per-second digital using a cutting-edge camera developed by Sony and Panavision. It was the first major motion picture to be shot entirely in video.
I’ve had almost a month to ponder CES 2016 and what strikes me most as I look back is how a show that was once strictly about audio/video has grown into an enormous and wild Mardi Gras of tech, encompassing everything from drones and hoverboards to smartphones and digital health wearables and much more.