Last week the local ABC affiliate in Los Angeles, KABC, became the first station in California (or so they said) to broadcast their local news programs in high definition. That includes the midday, late afternoon, early evening, and late night editions. And while that might not raise hosannas for a station whose idea of news includes shameless plugs for what's coming up that evening on <I>Dance With the Stars</I>, when you've got endless hours of news time to fill, what do you expect—an in-depth analysis of what's happening at city hall?
Steven Soderbergh's feature film, <I>Bubble</I>, premiered last week in high definition on HDNet. It also opened simultaneously in several dozen theaters around the country, all of them either Landmark theaters (owned by HDNet owner Mark Cuban) or independent art houses. Theater chains boycotted the film because in its simultaneous release on cable television, in theaters, and (this past Tuesday) on DVD, it represented a perceived threat to their box office revenue.
These days, you can't tell the players in television manufacturing without a scorecard. At every CES, including this year's, new names sprout like kudzu. Some are strange and unfamiliar. Others are old standards, but under new ownership. Many will be gone by next year.
If you're an old hand at this home theater audio business, you know that both Dolby Digital and DTS first appeared in theaters, then on laserdiscs, and finally moved on to DVD. Because of the limited data space for audio on all of these delivery systems, the audio had to be heavily compressed—not in dynamic range (a common misconception) but to reduce the space it takes up on the film or disc. Both DTS and Dolby Digital use sophisticated encoding schemes to allow them to save space by discarding data that are not deemed audible. This "perceptual coding," together with other clever tricks, allow full-bodied, powerful sound to be squeezed into that itty-bitty living space.
This is the week. Throngs of unsuspecting innocents are expected to descend on the Las Vegas Convention Center. (That's in Nevada, not Las Vegas, NM. Yes, there is such a place, but they don't hold conventions (there aren't enough rooms at the Motel 6).
Denon's flagship AV receivers have long been rated among the best, if not <I>the</I> best that money can buy. They've also been loaded with features, sometimes to the point where using them for anything but normal operations is a real challenge for the average user. The company's latest top-of-the-heap effort, the $6000 AVR-5805, is both of these things, and much more.
You could write a book about how loudspeakers work in real-world listening rooms. In fact, many experts have. And while they may differ on many of the details, I suspect they will all agree on one point: The room-loudspeaker interface remains most neglected link in the audio reproduction chain.