The Darbee Fidelio, not yet available, will be a more upscale version of the current Darbee video processor when it ships at a date TBD (the basic Darbee will still be in the line). It is expected to sell for around $2000 and offers not only video enhancement but a touch screen interface, Video EQ, Multiple inputs and modes, and downloadable features.
Seymour-Screen Excellence showed its new, acoustically transparent screen that does the job without an obvious weave or visible perforationsthough its surface does have some texture to it. It's available in a variety of formats including fixed frame, retractible (masked or not) and curved widescreen. A 100-inch wide, retractible, 2.35:1, flat model will cost you about $4000. For masking, add $2000.
When it comes to high-end speakers, Sony has had tough sledding in the U.S. market, despite some quality products. Its current SS-AR1 and SS-AR2 are excellent designs, but at $27,000 and $20,000 per pair respectively, they'll be a hard sell to any but the passionate and well-healed audiophile.
So when I saw a new pair of concept speakers side-by-side with Sony's new 84-inch, 4K flat panel on the company’s show floor booth I was intrigued. They weren't getting much attention from the CEDIA crowd, of course. All eyes were on the HDTV, and the sound was at a very low level and drowned out by the general din of the convention center din.
But the speakers were being demonstrated rather secretively at a nearby hotel. The official introduction is still weeks or months away (possibly at the Rocky Mountain Audio Fest in Denver in October but more likely at CES in January), so it’s all very hush-hush for now. If I tell you more about them here I’d have to kill you. But you can get a closer look in the following entry, including the speaker’s unique tweeter arrangement. For now I'll just say that they will get a lot of positive attention when they arrive officially. The pricing is still TBD, but will be lower, and perhaps considerably lower, than the SS-AR1 and SS-AR2. And unlike be those determinedly 2-channel designs, matching centers, bookshelves, and subs will be available.
Digital Projection was featuring Its D-Vision 35 LED ($39,000 with lens) and D-Vision Scope ($34,995). Both are single-chip home theater designs, identical in form factor to the photo here, but very different in their features. The D-Vision LED uses LED lighting for consistent color and long life, though with some sacrifice in brightness. The D-Vision Scope has a higher than HD resolution chip that enables projection of 2.35:1 films without an anamorphic lens and with an on-screen pixel density of 2560 x 1080. Both looked outstanding, though I favored the brightness and big screen capability of the D-Vision Scope.
JVC’s booth on the show floor, using its top of the line DLA-X95R projector with e-Shift2 technology, provided one of the more eye-popping demos at the show. The 2D demo, with clips produced specifically for demonstration purposes from a 4K source file downscaled to 2K for transfer to Blu-ray, looked incredible on a 123” diagonal, 16:9, Stewart Studiotek 130 screen, suggesting that e-Shift2 really is a genuine step up from last year’s original e-Shift. The sound was special as well, provided by Definitive Technology speakers (anchored by the Mythos Super Towers at the left and right).
I always take time out at CEDIA to sample some of the home theater seating exhibits that sprinkle the show floor. OK, so it’s a tough show and the dogs do bark! This jumbo love seat from Cinema Tech is more than just comfy. It not only reclines, but a powered headrest can be raised or lowered, depending on your needs of the moment. It’s available in different configurations (such a single seat). The catch is the price (for the loveseat shown) of about $7500 depending on the leather selected. A number of other manufacturers were also showing theater seats with adjustable headrests.
Screen Innovations has incorporated adjustable (and defeatable) backlighting at the boarders of its zero-edge, fixed-frame projection screens. Just don’t call it Ambilight! Apart from this, however, I saw a stunning, bright, and colorful image (granted, the source was Speed Racer) on the 138-inch diagonal, 2.35:1, 1.4-gain Black Diamond screen, driven by a Sony VPL-VW1000 4K projector and a standard 2K Blu-ray disc.
OK, the wording should be One Adam 12, but if you know the reference you’ve been on the planet and watching TV for far too long. But Adam Audio GmbH, of Germany, was one of several manufacturers (including KEF, Totem, and Wharfedale) attempting to make music on the open show floor. The strikingly styled Tensor Gamma Mk2 shown here is the smallest model in Adam’s top of the line Tensor Mk2 Series.