While video manufacturers were busy demonstrating their takes on the technologies best suited for UHDTV, espousing the relative merits of High Dynamic Range and wider color gamuts, and discussing the all-important question of 4K content delivery methods at the International Consumer Electronics Show back in January, everyone else seemed concerned with making sure practically every device imaginable will be connected to the Internet in some form or fashion.
Moving is never fun, and my move from southern California to northwest Florida was particularly challenging. The packing and unpacking were chores I don’t wish on anyone, though the actual transportation from point A to (a distant) point B was, thankfully, relatively uneventful. Some of you may be faced with a similar situation, as spring is invariably the busiest moving season. For the AV fan, with a likely collection of valued components and program software, it can be particularly traumatic.
The difference between regular and high-definition video is something that most folks will immediately recognize when they see it. But what about high-resolution audio? Unlike HDTV, which caught on fairly quickly and enjoyed a broad base of support from program providers and hardware manufacturers, hi-res audio or HRA, (now an industry-sanctioned term) has struggled to move out of its audiophile niche since downloadable content first came online back in 2008.
The city government of Lincoln, Nebraska wants its citizens to enjoy the benefits of cable competition. So it is allowing a second cable operator onto the playing field. And guess what? The incumbent cable operator isn’t happy about it.
2015 is shaping up to be a banner year for home entertainment as the promise of pristine 4K images from a new generation of Blu-ray players sparkles on the horizon. As a follow-up to Rob Sabin’s technical overview of the Ultra HD Blu-ray, we spoke with Ron Martin, vice chair of the Blu-ray Disc Association’s U.S. Promotions Committee and vice president/director of Panasonic Hollywood Lab to learn more about this highly anticipated product launch.
A quick look at the pie chart suggests that the music industry exists in a nice state of equilibrium. Sales appear to be evenly split among downloads, streaming, and physical media. If you were a financial planner, and your client's portfolio was as neatly balanced as that, you could sleep soundly. But of course, that equilibrium is only a snapshot of a very dynamic situation. In reality, the way we listen to music is changing fast.
Good news for audiophiles who like to take control of their music. A while back we reviewed a rather unique pair of in-ear monitors, the Torque t103z (MSRP $180). While they were a really good-sounding earphone, what made them stand out were the interchangeable passive filter valves—patented by Torque as PAVT, Passive Acoustic Valve Technology. When Sound&Vision initially reviewed the t103z, there were only three filter options. Now, we get a chance to listen to three new offerings from Torque Audio. For choosy music lovers (and who here isn’t?) this is great news.
I’m a big fan of Death Cab. I’ve got all their albums, yadda yadda, and several of them are among my favorites of all time (Plans is masterful). So you’d think I’d have been impatiently awaiting the March 31st release of their new album.
Except… I didn’t buy it until last week.
Why? I’m a terrible music reviewer, and not paying attention to new releases isn’t even top 5 why.
Thomas is disjointed and confused as he wakes up on a rising elevator not knowing who or where he is. When he finally regains his focus, he’s surrounded by a group of teenage boys and realizes he’s not in Kansas anymore. He’s in the Glade, an enclave surrounded by giant walls that hide a maze, a mostly off-limits area that’s protected by the Grievers—cybernetic organisms that come out at night and will kill anyone who has ventured into the maze and hasn’t exited when the sun goes down.