As I perused the latest Polk speakers at the company’s Baltimore HQ last week, I felt I’d been transported to a more civilized age—to an era before the low end of the speaker market was taken over by HTiBs and soundbars, before the middle of the...
Price: $14,995 At A Glance: Superb color performance • Potential for zero-drift performance over time • Detail and contrast strong, but not state of the art • Expensive
Solid-State Front Projection
Digital projection is finally digital. Yes, we’ve been looking at projected images made of discrete pixels created by digital imaging chips for the last decade or so. But in one essential aspect, digital projection has remained in the analog domain. The lamps that drive light through these projectors and onto our screens have been 100-percent analog. Even when they’re new, the performance of these lamps can adversely affect color fidelity, gamma, and gray-scale tracking. They also determine the overall light output the projector is capable of. As the lamp ages, virtually all of these critical aspects of performance drift somewhat. In the better designs, the change is mostly benign. But there’s no denying that any lamp-driven projector’s light output drops over time, and multi-hundred-dollar lamp replacements every 2,000 hours or so are a fact of life. Until now.
Price: $1,799 At A Glance: Second- and third-zone A-BUS keypad outputs with video • Extra channels to biamp front speakers • Audio Split mode • Optional iPod dock
Simpler Sounds Better
I’m not sure I qualify as an Anglophile, but I do like most things British—except for spotted dick. Even after you know that it’s just steamed suet pudding, it still doesn’t sound any better. So I expected that I’d feel a continually growing affinity for the new Azur 650R AVR from Cambridge Audio (that’s the “other” Cambridge for you Massachusetters). Since it began in 1968, the company has made a well-respected, high-fidelity name for itself. It even built the world’s first two-box CD player. After a tough time in the mid-’80s, Cambridge Audio was acquired by Audio Partnership, which currently owns a number of other venerable U.K. brands. As I hear them tell it, this economy of scale is a good thing for Cambridge Audio—and something that most higher-end companies don’t normally enjoy—because such a spread of brands lets the parent company employ an unusually high percentage of engineers on their staff (almost 40 percent). They happily tell the fact as if it guarantees them success and good cheer. Or at least good gear. I certainly expected it to be that way. I was initially impressed by the specs and build quality, so it surprised me when I didn’t keep that warm and fuzzy-logic feeling after I first set up the Azur 650R. In fact, I began to think that maybe Audio Partnership had hired too many engineers.
Time Warner Cable is playing catch-up with Comcast. Three months ago, Comcast announced an iPad app that would let customers schedule their DVR and browse channel listings directly from their Apple device. Now, Time Warner Cable is announcing its...
The Italian high-end bastion Sonus Faber is well known among audiophiles for its superb speakers. Just over a month ago, the company introduced its latest creationthe Feniceat the Palazzo Grassi in Venice.
CDs are arguably on the way out. Cassette tapes are extinct. Vinyl albums are generally used only by audiophiles and other extreme music enthusiasts. Over the last decade, we've seen digital distribution become one of the most popular ways to...
Kevin Collins, Microsoft's Director of Custom Installation Channel, Connected TV Business, Entertainment and Devices Division, reminisces about HD DVD and gets geeky about Windows Media Server, including broadcast tuners, NICs, Ethernet switches, Xbox 360 as media-center extender, downloading movies, UltraViolet DRM, and answers to listener questions.