Focal ingeniously integrates a soundbar with a subwoofing TV stand. They're two separate products, but notice how they fit together. The Dimension 5.1 soundbar ($1399) is a "true 5.1" bar with a brushed aluminum chassis holding five inverted dome full-range drivers and lateral bass drivers, driven by six times 75 watts, along with HDMI, lossless surround decoding, and touch controls at the right side. Four dip-switch DSP controls compensate for room size, seating distance, and whether you're using a wall mount or placing the bar on a cadenza. Both standing and wall brackets are provided. If you want more bass, place the Dimension SUB ($399) behind the bar. Wouldn't that block the sub's drivers? No, the elliptical drivers are on the sides. The demo sounded excellent, with a warm, un-screechy midrange and full bass.
The rethought CM Series from Bowers & Wilkins includes three towers, three monitors, two centers, and one sub. They use a double dome aluminum tweeter array which combines a dome with a ring radiator, stiffening the driver and shifting its breakup mode from 30 to 38 kHz. Nautilus-style tweeter tube loading is employed in all of these new speakers though it's most visible in the tweeter-on-top models (the CM10 S2 tower and, pictured here, the CM6 S2 monitor). Woofers continue to be Kevlar. The models, all priced per speaker, are the CM10 S2 tower ($2000), CM9 S2 tower ($1600), CM8 S2 tower ($1200), CM6 S2 monitor ($1000), CM5 S2 monitor ($800), CM1 S2 monitor ($550), CM Centre2 S2 ($1250), CM Centre S2 ($700), and ASW 10CM S2 subwoofer ($1500).
Two years in the making in close association with Dolby Labs, Triad's approach to a Dolby Atmos enabled speaker is to build four two-inch ScanSpeak drivers into the top for the height channels. The Inroom Bronze LR-H is based on the InRoom Bronze LCR, with the front driver array consisting of a one-inch fabric dome tweeter and dual 5.5-inch woofers. We've heard the prototype in Dolby's New York offices and it produces impressive height effects. Atmos capability raises the basic model price from $600 to $1000/pair.
One question about Dolby Atmos that we haven't seen raised before: What effect would it have on auto setup and room correction systems in receivers and pre-pros? D+M's Atmos demo provided the answer: Audyssey has updated its technology to handle Atmos related concerns. The D+M demo used vaguely specified products including a Marantz pre-pro, Marantz multichannel amp, and Snell speakers. It used the same Dolby Labs clip disc as every other Atmos demo at CEDIA, but because it wasn't abusively loud, we enjoyed it more than most of the others.
KEF's famous coaxial Uni-Q driver array is what distinguishes its R60 Dolby Atmos enabled speaker ($1200/pair) from the competition. With a one-inch aluminum tweeter nestling amid a 5.25-inch aluminum woofer, it's the same version of Uni-Q used on the R100. KEF also showed three new tower speakers and a monitor: Blade Two ($24,000/pair), Reference 5 ($18,000/pair), Reference 3 ($13,000/pair), and Reference One ($7500/pair).
Dolby Atmos, a new object-oriented surround standard, was perhaps the biggest audio story at CEDIA, with speaker and receiver makers both unveiling Atmos enabled products. At GoldenEar Technology that was the HTR 7000 ceiling speaker ($500/each), which angles sound at the downward angle recommended by Dolby. There were four of them running along with GoldenEar's world-beating Triton One tower in front, SuperCenter XL, and smaller Triton Two in the rear, powered by a combination of Pass and NAD amps fed by an Integra pre-pro. One of the cool things about Atmos is that the ceiling speakers are fed with genuine spatial information specified by the mixer, as opposed to fake height channels derived from other channels. Combined with GoldenEar's signature folded ribbon tweeter, this made for strong height effects, which were especially striking in the Dolby demo material. A scene from Transformers: Age of Extinction showed off the system's dynamic prowess, including the folded ribbon tweeters' ability to remain coherent at high volumes.
Of the many cool things on display at the MSE booth, Phase Technology's little P3-35 amp ($330) was among the coolest. Feed its Toslink input with a two-channel Dolby Digital signal and it will convert it to three amp channels, just the thing for Phase Tech's Teatro passive three-channel soundbar, cropped out of the picture. Use the analog input and it converts to two channels of Dolby Pro Logic. Power output is 35 watts times three or 50 times two. It's also got Bluetooth and learns TV remote volume commands. Phase Tech also showed its refreshed CI in-wall and in-ceiling lines, which include the CI7.3 X, a three-way eight-inch in-ceiling speaker for $375/each. The PC60 is a 30th-anniversary celebration of a classic monitor with new crossover and drivers including the flat-diaphragm woofer. Then there's the Rockustics X1-PowerRock ($700), the first horn-loaded rock speaker.
Paradigm introduced two new speaker lines, one for the home theatrically inclined, one for two-channel. The Millennia LP XL on-wall speaker ($699/each) handled the front channels with the LP 2 ($499/each) handling the surrounds. The whole system, but especially the dual Monitor SUB 10s, benefitted from Paradigm's homegrown ARC room correction in the MRX 710 receiver. The climactic scene of Jack Ryan: Shadow Recruit sounded as if it were playing through a much larger speaker system. Then we got an earful of the new Prestige line, which includes three towers and a monitor. The tower playing was the Prestige 85 F tower ($3999/pair and up depending on finish). This 2.5-way model's PPA tweeter uses a phase aligned lens that improves not only phase but output. While the k.d. lang and Boz Scaggs tracks sounded pretty upfront in the upper midrange, they also had a delicious lower midrange richness, underpinned by tight but extended bass. Both series are worth a demo if you have the chance. Incidentally, Paradigm continues to manufacture in North America, in Mississauga, Ontario.
Listen Audio captured our attention by stating its intention to build the kind of product that "allows the listener to shut off from the world." One such product is the Diffuse, an absorptive panel that takes the form of a modular 2 x 2 foot panel in foam, vinyl, wood, or laminate finishes, starting at $90 for the foam version. It uses differing slot widths and a 3/4-inch air gap to increase bandwidth. It can zap high-frequency flutter echoes but operates down to low frequencies. Benefits: "More stage. The walls seem to push away." Listen also showed the Voice ($3995/each), an in-wall speaker with a 3.5-inch-thick enclosure, 3/4-inch-thick cabinet walls, coaxial drivers, and a 94dB sensitivity rating. It is designed "to compete with the highest-end freestanding two-channel speakers" while also satisfying multichannel and in-wall needs. Listen's Concierge service will dispatch one of its several acoustic design firm partners to the location. Once they determine the specs, the installer comes in and does his work, and then the engineers return to see how the installation worked out and assess the need for tweaks. This is a most impressive company.
Definitive Technology's Dolby Atmos demo sounded excellent, with the A60 elevation speaker ($499/pair) plugged into the top of the BP8060ST powered tower ($1998/pair). The height effects were good, the midrange was well dialed in, and the powered tower's bass was awesome. Why, then, are we running a picture of The Borg? It's actually part of Def Tech's new line of products built on the DTS Play-Fi wireless platform. You're looking at the W7 powered speaker ($399). It joins the W8 powered speaker ($699), the rack-mountable W Adapt ($399), the W Amp ($499), and the W Studio soundbar ($1299). The beauty of Play-Fi is that it's not limited, Apple-style, to a single manufacturer. There will be more Play-Fi products from the likes of Polk, McIntosh, Paradigm, and MartinLogan. Oh, and Def Tech plans to provide 24-7 tech support for its Play-Fi products. Play-Fi is going to be huge. Resistance is futile.