Someday I'll write a blog headlined Why Surround Receivers Are Cooler Than Ever. But before I get to that one, I'd probably better write one called Getting to Know Your Surround Receiver. Lots of folks dread the whole idea of buying an audio/video receiver because they fear that the getting-to-know-you phase will scar them for life. So here's what to do when you take your new receiver out of the box. This is not a detailed step-by-step guide. You'll have to infer the smaller steps yourself, refer to the manual, or buy a book on the subject (hint hint). But the following may make it a little easier to get started.
A weekend of 3D demo events will entertain a grateful nation next month. The 3D demo days will be sponsored by the Consumer Electronics Association and ESPN with the additional participation of AT&T, Comcast, and DirecTV.
The first review of LG's BH100 Blu-ray and HD DVD combi player is in--from Gizmodo. They paid for the thing! That's not fair! Highlights: The interactive menus on HD DVDs didn't work (as rumored). The interactive video features worked only with difficulty. Load times were 30-40 seconds, better than some, and editor/reviewer Brian Lam loved the chassis though he felt "weird" about saying it out loud. Really, that's perfectly OK. I wish someone would say the same about my chassis. More here. I'm a big Gizmodo fan, read it twice a day.
My job is to write audio equipment reviews and news briefs for our magazine. My hobby is to write this blog. Writing for a print medium means writing tight because there's only so much space to go around. That means routinely eliminating material. The temptation I face most often is to lard hardware reviews with music criticism. I'm a lapsed music critic and like to blur the boundary between tech criticism and music criticism as long as it doesn't disserve the tech-oriented reader. Recently I faced a similar temptation when reviewing a Sony Walkman and earbuds. It required a trip out of the office. Some impressions of the trip ended up on the cutting room floor. They weren't strictly necessary for the review, but they haunted me. I'll blog them here instead.
Are Apple's new higher-fidelity downloads worth their premium prices? No, says a recording engineer writing for the Sci Fi Tech blog. Critic Leslie Shapiro downloaded 20 songs from iTunes Plus at 256 kilobits per second and compared them to 128kbps versions (both using Apple's favored AAC codec). "I bought into the idea that the difference would be drastic, or at least noticeable," Shapiro writes. "I spent hours listening, switching from 128 to 256 and back, straining to hear something--anything--different about the tracks. My critical listening skills are pretty good, but this was pushing the limit. To be fair, there were differences, but they were subtle. For example, on David Bowie's 'Space Oddity,' the high-end clarity was a bit more pronounced on the 256-kbps version, and on KT Tunstell's 'Other Side of The World,' the guitars were slightly more detailed. It would've been extremely hard to distinguish had I not been switching instantly from one format to the other." True, Shapiro might have reached different conclusions if comparing MP3s at the same data rate--or compressed files to lossless ones. But considering what Apple's charging for these higher-bit-rate downloads, the winner (at least for people who care about sound quality) may be the dear old CD. After all, you can rip it to any codec you like, and even change your mind in the future. Mmmm, my bulging CD shelves are sure lookin' good!
Aon 2 Speaker System Performance Build Quality Value
ForceField 5 Subwoofer Performance Features Build Quality Value
Price: $3,000 At A Glance: Broad dispersion • Good power handling • Powerful subwoofer
A review is more interesting when it tells a story. How should the story of the GoldenEar Aon 2 begin? There’s the technology angle: The Aon 2 is among the few speakers on the market with an unusual pleated tweeter design that uses a squeezing motion (as opposed to a piston motion) to generate the changes in air pressure that we hear as sound waves. Because the benefits—wide horizontal dispersion and vivid imaging—are easy to describe, that would be a good way to begin. And then there’s the human interest angle: GoldenEar is the third brand to be cofounded by Baltimore-based loudspeaker impresario Sandy Gross, whose genuine love for audio is balanced by his love for gourmet food, Expressionist canvases, and ancient statuary. The only thing wrong with these angles is that reviewers hither and yon have used them so often in the past. That leaves the musical angle. Here I believe I have a variant that might qualify as an exclusive.
GoldenEar Technology's SuperCinema 3D Array XL soundbar (top) features three of the company's signature folded ribbon tweeters, and really, that is so cool, we could just stop right there. But there are also eight 4.5-inch woofers in an enclosure with a depth of just 2.7 inches. GoldenEar's 3D Array processing cancels out crosstalk between the left and right channels, spreading the soundstage beyond the bar. Designed to go with TVs of 70 inches and up, the bar will sell for $1499 when it ships in spring 2014.
Dolby Atmos, a new object-oriented surround standard, was perhaps the biggest audio story at CEDIA, with speaker and receiver makers both unveiling Atmos enabled products. At GoldenEar Technology that was the HTR 7000 ceiling speaker ($500/each), which angles sound at the downward angle recommended by Dolby. There were four of them running along with GoldenEar's world-beating Triton One tower in front, SuperCenter XL, and smaller Triton Two in the rear, powered by a combination of Pass and NAD amps fed by an Integra pre-pro. One of the cool things about Atmos is that the ceiling speakers are fed with genuine spatial information specified by the mixer, as opposed to fake height channels derived from other channels. Combined with GoldenEar's signature folded ribbon tweeter, this made for strong height effects, which were especially striking in the Dolby demo material. A scene from Transformers: Age of Extinction showed off the system's dynamic prowess, including the folded ribbon tweeters' ability to remain coherent at high volumes.