At the party last night at the Roosevelt Hotel in Hollywood to celebrate the release of the Blu-ray Disc and DVD of Dexter, Season 5, I got to spend some quality time with Craig Eggers, Director of Blu-ray Ecosystems for Dolby Labs. Eggers was there because the Blu-ray release is in Dolby TrueHD 5.1. I think I was supposed to talk with him about the new discs, but instead I cornered him for an update on something far more interesting to me: the status of 7.1 sound.
I'm writing this from my sofa. In my lap is a keyboard. MS Word is part of a 50-inch tall image that also includes Netflix playing an episode of Sports Night, and Steam downloading Portal 2.
That, and much more, is the promise of a home theater PC. But in this age of ultra-cheap everything, is the complexity of an HTPC worth it? Well, I'm about to find out. Again.
I recently took a bit of a road trip for my summer vacation. All told, it was about 1,000 miles, starting in rural New Hampshire (is there any other kind?), down through New York into rural-ish Pennsylvania, and back again.
In the late 1990s, a product manager from Zenith brought me the company's first HDTV set for review. After an afternoon spent checking out the TV - an engineering marvel for its time - I told him how impressed I was with it. "Yeah, we'd sell a ton of them if it said 'Sony' on the front," he wisecracked.
We all know what distortion sounds like. We've heard it in heavy metal tunes, cheap iPod docks and the crummy speakers at Taco Bell drive-thrus. And we've all read distortion specs on things like receivers and subwoofers. But other than a general understanding that distortion isn't something we want in home audio gear, most people really don't know what it is.
I've got LG's new 50PZ950 plasma in my lab for an upcoming review in the magazine. The set had some cool features I didn't have space to mention, so I figured I could talk about them here instead.
The short version? It has some of the most extensive calibration settings I've ever seen on a TV.
The review I just wrote of the Sonos Play:3 streaming music system, and another I recently finished of several small Bluetooth speaker systems (you’ll see the full results soon in the print edition of Sound+Vision) reminded me of just how important listening is in audio produ
Last year, an audio dealer named Gordon Sauck called to get my permission to use a 1997 article of mine on his website. As I chatted with him, I realized there was a huge emerging trend to which I and most of the other guys who write about audio have been largely oblivious.
Last year, an audio dealer named Gordon Sauck called to get my permission to use a 1997 article of mine on his website. As I chatted with him, I realized there was a huge emerging trend to which I and most of the other guys who write about audio have been largely oblivious.
When Netflix announced their new pricing plans this week, it was as if they'd kicked a baby. Twitter, Facebook, and even the desolate Google+ ignited as thousands cried out in horror: "How dare you raise your prices!" "I'm cancelling my subscription!" and the terseless "Netflix is making their service more "convenient" by charging me $5 more a month. Thanks a lot."
An audio reviewer hears two lines over and over: “That never happened with any of the other samples” and “We created this [fill in the blank] because the products that are out there now are inadequate.” I heard the second line last week in a ramshackle Van Nuys, California industrial space bordered by a security gate and half-filled with piles of decades-old test gear. Unlikely as the setting seemed, its tenant actually delivered on his claims.
Sitting beside my laptop computer is the coolest portable TV I have ever used. But the question I’m trying to answer is whether anyone’s going to want it.
I have a confession to make: Often when I see a new über-expensive high-end audio product, I think, “It’s cool, but who would actually buy this?” I sure didn’t feel that way when I got a demo of the new Steinway Lyngdorf S-series at the company’s showroom in Los A