Hi-res audio is having problems. Not your garden-variety problems. These are the life threateningproblems. Where do I begin? Well, Neil Young used Kickstarter to raise $6 million to fund his Pono project and deliver it into the hands of music enthusiasts. Good for him. Good for music. Good for hi-res playback. Of course, nothing is ever that simple.
A bit of an eclectic mix this time around with two topics, the first somewhat controversial, the second a useful (I hope) tip.
Elsewhere on this site, and in our June Q&A column, we recommended using the same amplifier power for the front, surround and height speakers in an Atmos setup. I don’t entirely agree, though my personal experience with Atmos is limited so far to trade demos and theatrical presentations. Most Atmos-ready AVRs will, of course, have matched powerthat’s just the nature of the beasts. But if you have a pre-pro and, say, 200Wpc amps driving the front speakers, do you really need 200Wpc on the other six (for 5.1.4 Atmos) “full range” surround and height channels?
One consideration here is the sensitivity of the surround and height speakers...
AT A GLANCE Plus
Smooth tonal balance
Euro design flair
Minus
High-ish head-clamping pressure
THE VERDICT
Focal’s latest-generation headphone strikes a keen balance of resolution and a sweet tonal balance.
Here we go again. That’s what I remember thinking when I heard that Focal, France’s largest speaker manufacturer, was going to start making headphones. After Beats by Dre opened the floodgates, a number of speaker and electronics companies that never made headphones started jumping into the market. We all know about Bower & Wilkins and Klipsch, but then there was KEF, NAD, Polk, PSB, RBH, and more—so when Focal joined the pack a few years ago, it wasn’t a shocker. Thing is, making great speakers is a completely different skill set than crafting headphones. After all, speakers “play” the room; headphones only have to make your ears happy. Apparently, that’s harder than it seems.
Proving once again that size does matter, a home theater setup based on floorstanding tower speakers—like the ones featured in our recent “Top 10 Tower Speakers: Under $3,000” list—was the hands-down favorite in last week’s poll.
Rdio isn’t new to the highly competitive streaming music market, but they just announced a new price structure that’s garnering some big interest in the music industry. Aiming for the cost-conscious consumer, Rdio has initiated a plan that’s just $3.99 per month, Rdio Select, for an ad-free experience with unlimited skips and 25 downloads. This makes it the cheapest commercial-free subscription streaming service. How does that compare to what they’ve offered before, and why should we care?
I also don’t like to give away anything in movie reviews. So if you click to the next page, the first part will be a spoiler free paragraph on what I think. Then the trailer. Below the trailer THERE BE SPOILERS. You are warned!
Prestige 15B Speaker System Performance Build Quality Value
Seismic 110 Subwoofer Performance Features Build Quality Value
PRICE $6,145
AT A GLANCE Plus
Advanced driver designs
Fine-grained, transparent, dynamic playback
Compact but powerful
subwoofer
Minus
Boxy, non-curved enclosures
THE VERDICT
Paradigm’s Prestige series speakers and Seismic 110 sub employ unusual driver design to achieve remarkable transparency and punch.
As I sat down to write this review of the Paradigm Prestige speaker system, I couldn’t get a seemingly unrelated subject—the Pono hate—out of my head. No joke, folks: I sat at the keyboard for hours mulling it over. What chance did I have to convince readers that a $6,145 speaker system is worth hearing when a $400 music player is greeted with language like “don’t buy” and “snake oil”?
OK, I know I’m preaching to the converted. You probably wouldn’t be reading Sound & Vision if you weren’t open to the idea that a well-designed speaker system has the power to bring you closer to music. That’s what the Paradigms did for me when I informally played a few recent additions to my high-resolution music library (more on them later). I felt as if a curtain had been lifted and music was in the room with me—not just recorded music, but music.
Don’t Look Now is a weirdly captivating creep-show of a movie: dark, vaguely Gothic, crudely energetic, occasionally ridiculous—in short, it resembles a lot of other films directed by Nicolas Roeg in the ’70s (Performance, Walkabout, The Man Who Fell to Earth, Bad Timing). This one’s about an artistic couple, living (inexplicably) in a huge house on a huge estate, whose daughter drowns in a nearby pond; the couple takes solace in Venice, where he has a job restoring an old church; she meets two old sisters, one of whom—the blind one—sees the spirit of the daughter, and many other hobgoblins, too; meanwhile, it turns out that the husband has a bit of a sixth sense as well; trouble, chaos, and the cruel hand of fate ensue.
In films like La Femme Nikita, The Fifth Element, and The Messenger, director Luc Besson presents the mysterious transformation of unthinking, undeveloped, unambitious girls into educated, sophisticated, strong females. He also includes large dollops of action, striking visuals, and sound that deliver boffo home theater.
Speaker designer extraordinaire, Andrew Jones, who left Pioneer in the wake of the recent merger with Onkyo to join the German speaker company ELAC, has not been sitting idle.
The 89-year-old German-based speaker company announced yesterday that it is returning to the U.S. market with a new affordable line of speakers designed by Jones. Dubbed ELAC Debut, the eight-model series will include bookshelf, floorstanding, center-channel, and Dolby Atmos-enabled speakers along with three powered subwoofers.
A 17-year Pioneer veteran, Jones was the driving force behind a number of affordable home theater speakers, including the Dolby Atmos-enabled SP-EBS73-LR speaker system, a 2015 Sound & Vision Top Pick. Jones was also chief speaker engineer at Pioneer’s high-end speaker company, TAD, and held positions at KEF and Infinity prior to Pioneer.