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Integrated Amp Reviews
Review: Pass Labs INT-150 Integrated Amplifier
Michael Trei  |  Feb 22, 2012

Few audio companies are as closely associated with a single individual as Pass Laboratories is with its founder Nelson Pass, a man who has always blazed his own path when it comes to designing audio gear. Pass founded Threshold Electronics back in the early 1970s, but when he wanted to explore new, simpler circuit topologies in the early 1990s, he created Pass Labs as a way to market his latest creations.

The two integrated amps in the Pass Labs line, the INT-150 and INT-30A, are a good example of his less-than-conventional approach, seeing as both appear to be  identical except for the critical question of output power. Physically the two amps are indistinguishable, with exactly the same functions, weight, dimensions, and even price tag. It’s only when you take a peek at the spec sheet that the differences become apparent, with the INT-150 delivering a healthy 150 watts per-channel, while the INT-30A tops out at just one-fifth that amount.

So what gives? Why would anyone buy an inline four when they’re offering you the V-12 for the same money?

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Power Amplifier Reviews
Review: Pass Labs INT-150 Integrated Amplifier Page 2
Michael Trei  |  Feb 22, 2012

Few audio companies are as closely associated with a single individual as Pass Laboratories is with its founder Nelson Pass, a man who has always blazed his own path when it comes to designing audio gear. Pass founded Threshold Electronics back in the early 1970s, but when he wanted to explore new, simpler circuit topologies in the early 1990s, he created Pass Labs as a way to market his latest creations.

The two integrated amps in the Pass Labs line, the INT-150 and INT-30A, are a good example of his less-than-conventional approach, seeing as both appear to be  identical except for the critical question of output power. Physically the two amps are indistinguishable, with exactly the same functions, weight, dimensions, and even price tag. It's only when you take a peek at the spec sheet that the differences become apparent, with the INT-150 delivering a healthy 150 watts per-channel, while the INT-30A tops out at just one-fifth that amount.

So what gives? Why would anyone buy an inline four when they're offering you the V-12 for the same money?

Continue Reading »
Bluetooth Speaker Reviews
Review: Geneva Lab XS Portable Bluetooth Speaker
Brent Butterworth  |  Feb 21, 2012

Sadly, I’m old enough to remember when the mark of a tech-savvy traveler was a hand-wound folding alarm clock. So, apparently, is someone at Geneva Lab, a company known for making stylish, capable — and pleasingly plump — iPod docks. The Lab’s new XS Bluetooth speaker/FM radio/alarm combines styling cues from the company’s larger systems and from classic analog travel clocks.

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The Big Picture
Pina 3D Dazzles
Scott Wilkinson  |  Feb 21, 2012
As a musician, I've played for a number of modern-dance performances and classes, including classes taught by members of the renowned Bella Lewitzky Dance Company. So when I learned that Wim Wenders, director of Buena Vista Social Club, made a 3D movie about the late modern-dance choreographer Pina Bausch and her Tanztheater Wuppertal troupe, I had to check it out—especially since Pina has been nominated for an Academy Award as the best documentary feature of 2011.
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Headphone Reviews
Review: TDK Life on Record EB950, BA100, and BA200 Earphones
Brent Butterworth  |  Feb 20, 2012

Companies that sell in-ear monitors seldom talk much about the technologies inside their products. But they should, because there are big differences between the ~$20 Philips and Skullcandy IEMs you buy at Target and the ~$200 models you get from Etymotic or Shure.

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Blu-ray Movie Reviews
Downton Abbey: Season Two
David Vaughn  |  Feb 19, 2012

Originating from the other side of the Atlantic, Downton Abbey is one of the most entertaining shows on TV and looks spectacular on Blu-ray. Each episode costs a reported one million pounds to produce and it certainly shows in the marvelous costume design, lavish sets, and all-star cast. Shot with an Arri Alexa digital camera, the level of detail is mesmerizing and the AVC encode is spectacular. Unfortunately the DTS-HD MA 2.0 doesn't have robust dynamics but at least the dialog intelligibility is never an issue.
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Vote
Do You Prefer an Anamorphic Lens or Lens Memories?
Scott Wilkinson  |  Feb 17, 2012
As I explain in today's "Ask Home Theater" blog, there are two ways to project a 2.35:1 movie onto a 2.35:1 screen without black letterbox bars. One way is to place an anamorphic lens in front of the projector's primary lens to stretch the image horizontally and use electronic processing to upscale the image vertically. The other way is to use a projector with motorized zoom, focus, and lens shift and several less memories to store and recall the settings for different aspect ratios. As with most things in life, each approach has its pros and cons.

If you have a 2.35:1 projection system—or you only dream about having one—which approach do you prefer? An anamorphic lens with its increased brightness and vertical resolution but potential scaling artifacts and optical distortion, or lens memories that avoid these problems at the expense of lower brightness and vertical resolution? Or are you happy with a 16:9 screen and black letterbox bars framing movies?

Vote to see the results and leave a comment about your choice.

Do You Prefer an Anamorphic Lens or Lens Memories?
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Ask S&V
2.35 Movies on a 2.35 Screen
Scott Wilkinson  |  Feb 17, 2012
I have received an estimate for a basement home theater utilizing an Epson PowerLite Pro Cinema 6010 projector and a Dragonfly 2.35:1 screen. The installer recommends a Panamorph FVX200 anamorphic-lens system to convert movies to match the aspect ratio of the screen, but I question the value of this $3000 add-on to improve the home-theater experience.

Gregg Berkowitz

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Tech2
Get in the Hatchback: The Ford Mobile Studio Unveiled
Geoffrey Morrison  |  Feb 17, 2012

Ford has built a mobile recording studio into a 2012 Focus with the help of legendary producer Don Was, engineer Krish Sharma, and car customizer “Mad” Mike Martin.

At the LA unveiling, I got to see the studio in action: recording a band and playing back the mix. As an added bonus I got to talk to Was and Sharma about how dynamic range compression/limiting is ruining modern music.

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The Big Picture
Star Wars 3D Falls Flat
Scott Wilkinson  |  Feb 16, 2012
Last night, I saw Star Wars Episode I: The Phantom Menace in 3D—RealD, not Imax, which was showing Journey 2: The Mysterious Island instead. That Dwayne Johnson vehicle looks pretty bad from the trailers I've seen, but I bet the 3D is better than it is in the new Star Wars release.
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