EDITOR'S EYE

The Closer Is a Class Act

Last summer, Sound & Vision was invited to visit retired Yankee relief pitcher Mariano Rivera to profile a renovation that had been done, with JBL’s help, to his private home theater. Baseball fans know Rivera as the Major League’s all-time leader in saves, and undoubtedly a future Hall of Famer. As a New Yorker, I knew him as a fixture in my city for the nearly two decades he played here, when, on any given day from April through September (and frequently, October), he might be the figure gracing the back-cover sports page of the New York Daily News or Post. The very nature of Rivera’s work as a closer—to be trotted out in the late innings to hold a slim lead or demoralize the competition and give his team a chance at the tying or walk-off run—made him an exciting figure.

I love the walk down (short-term) memory lane that accompanies the preparation of our annual Top Picks of the Year feature. At the forefront of that is the great pride I take in revisiting all the hard work our reviewers and edit/art staff have put in throughout the prior 12 months.

Working on our July/August print edition we had fun with some categories we don’t normally follow closely. Yours truly got curious enough about so-called pico projectors to call in a few for a test. Watch for our survey, which includes two remarkable projectors that actually slip into your breast pocket, and two “minibeamers” that resemble the big-boy home theater projectors we test year round, just shrunk way, way down.

This year’s CEDIA Expo in Denver could have been dubbed “Dolby Atmos Expo,” with no fewer than a dozen active demos at the show including Dolby’s own. It makes sense that CEDIA would be the Atmos coming-out party. As compelling as Atmos can be (check out Dan Kumin’s impressions of our first Atmos system), I’m of the mind that the customer shopping for a soundbar isn’t about to toss that idea in favor of a discrete component system just because he’s heard Atmos. On the other hand, custom integrators building media and theater rooms are in good position to bump what would have been a conventional 5.1-channel or 7.1-channel system to a 5.1.4- or 7.1.4-channel Atmos system. They, along with enthusiasts like you and me who map our own upgrade paths, will drive this market.

Have you been throttled lately? If you have, Home Theater wants to hear about it.

Okay, I'll explain.

In this brave new world where streaming media from the likes of Netflix, Vudu, and Hulu have virtually eliminated video rental stores and threaten to carry away our beloved reference-qualty Blu-rays on a river of rushing bits, the notion of "internet access" takes on new meaning. The capacity of the data pipeline running into our homes affects both the quality and quantity of the video content we can download, not to mention our ability to upload, store, and share our personal media in the Cloud.

And on this front, I'm afraid all is not well in Streamville...

I had the unexpected and unexpectedly pleasant experience recently of viewing the 3D version of the theatrical blockbuster Gravity in what proved to be a perfectly competent RealD (i.e., not IMAX) presentation. I say unexpected because I’d actually recommended that our group that day skip the 3D entirely and just watch the (undoubtedly brighter) 2D version—such has my need for theatrical and at-home 3D dropped off the cliff. I only walked into the theater reservedly after a mishap in which the wrong tickets got purchased online in advance of our arrival.