At the highest level of execution, building a home theater is an expression of fine art, an engineering as well as aesthetic endeavor that combines technical know-how with inspired interior design, all with the idea of creating a room that wows its inhabitants no matter if the lights are on or off. The end game of a great theater room can be summed up in a single word: impact.
Every review I write has an "associated equipment" graf in which I dutifully list all the major components of my reference surround system: speakers, subwoofer, surround receiver, and universal disc player. When I use my turntable, I list that as well as the phono cartridge and whatever I'm using as a phono preamp. But I never go into similar detail about another significant component in my system, namely the cables that tie everything together. Readers may be wondering what I use and why I use it. This blog will tell all my dirty little cable secrets.
AT A GLANCE Plus
Fast and simple setup
Long transmission range
Zero detectable latency
Minus
Optical input doesn’t support Dolby or DTS bitstreams
THE VERDICT
XStream works exactly as promised, beaming audio around the home with little effort. Easily integrates with existing audio distribution systems or functions standalone.
Thanks to companies like Sonos and Bluesound, wireless audio distribution systems are gaining real traction in the marketplace. And if you’re starting from ground zero, these can be terrific options for sending music around an existing home.
But what if you have an existing audio system you want to expand on? Say an older Elan, Niles, or Russound housewide system that’s feeding multiple rooms that you want to add to? Or if you purchased a multi-zone A/V receiver and want to add music to a far bedroom or porch? Or maybe you just want to add some surround channels to the back of a room or new Dolby Atmos speakers that wouldn’t be possible or cost effective to do with traditional wiring? If any of those sounds like you, Russound’s new XStream X1 wireless audio system might be the perfect solution.
Q I hope you can help me. I am old school: born in the early 60s, rocked out in the 1970s. I had a nice JVC stereo receiver that I bought in 1985, but it died after a couple of resistors got fried. What can I buy to replace it? I would like to play my vinyl records so I need a phono input. I also have a nice Onkyo Cassette Tape deck and a Technics Compact Disc player I want to use (both with the old red and white jacks). Plus I have four speakers that use copper wire to clip to the back of the receiver. Major volume potential is a requirement as I need to crank my 1970s rock! I don’t want to break the bank doing it, either. —Scott Wellington, Marietta, GA
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From the smallest of triggers come great things. I was sitting in the dressing room at Pearl at The Palms in Las Vegas on April 14, 2012 with Garbage drummer and co-producer Butch Vig before soundcheck, and we were looking at an album cover from his lesser-known ’80s band, Fire Town. “You know, one of the guys in this band, Phil Davis, and I have started a side project, a band called The Emperors of Wyoming,” Vig revealed. Initially released in late 2012 by Proper Records, The Emperors of Wyoming is a grainy, smoky spaghetti western come to life — pure Americana through and through, from the defiant twang of “I’m Your Man” to the harmonica-driven singalong jangle of “Cruel Love Ways.” Vig and the EOW gang decided to update the album for a 2014 Deluxe Edition released by Liaison Records (“a Super Duper Super Deluxe Edition,” Vig clarifies) by adding two covers — the Afghan Whigs’ “Rebirth of the Cool” and House of Love’s “I Don’t Know Why I Love You” — plus one original: “Drinking Man’s Town." Here, Vig, 59, and I get down to discussing the Emperors’ recording techniques, his views of hi-res audio, and what to expect from Sonic Highways, the new Foo Fighters record that Vig just finished producing, which is slated to come out in November. Right from the hilt of the holster, Vig and The Emperors sure know how to draw big.
AT A GLANCE Plus
Outstanding dynamics and headroom
Equal power to all channels
Seven-year transferable warranty
Minus
Very, very heavy
Recommended for two independent 20-Ampere power outlets
THE VERDICT
This amp never broke a sweat driving my 4-ohm speakers at insanely loud levels.
There are quite a few people in the audio world who have become household names, at least among audiophiles. I’m talking about legends like Paul Klipsch, Amar Bose, Saul Marantz, Henry Kloss, Bob Carver. But these aren’t the only influential contributors to the business and history of hi-fi. Among the lesser-known audio icons is Morris Kessler, the founder of ATI.
After an onslaught of Real American Heroes and Robots in Disguise, we often meet a new toy-inspired movie with the lament, “It’s just a two-hour commercial!” And so it is with no small measure of shock and awe that I watched The Lego Movie. The immensely talented filmmaking duo of Phil Lord and Christopher Miller has managed to tell an engaging story with boundless wit, originality, and even audacity, while still embracing what we know and love about these little bricks and the many associated characters.
American cable subscribers get way more cable channels than we really want. In 2008, according to Nielsen’s Advertising & Audiences Report, U.S. households received an average of 129.3 channels and viewed 17.3 of them. In 2013, the number of channels jumped to 189.1, of which 17.5 were viewed. So the number of channels went up 46 percent, but the number viewed rose only 1 percent. Why are cable systems jamming so many channels down our throats? Their dilemma is that channels travel in packs—and a network that owns a popular channel will always insist that cable operators buy all of its channels. “However,” says the Los Angeles Times, “the rising cost of sports programming is starting to lead to louder calls that at least some content should be sold to consumers who want it and not forced on everyone.”
Service to Include HD Music Videos and Editorial Content from Music Journalists
WiMP HiFi, the Scandinavian music streaming service, today announced it will introduce Tidal, a high fidelity streaming service in the U.K. and U.S. later this fall with a monthly subscription of $19.99.