Alfred Vassilkov’s latest sonic creation looks more like a sculpture than a speaker, which is why you can’t help but do a double take. But beyond its stunning looks are several unexpected—and highly practical—surprises. We asked Estelon partner Alissa Vassilkov, who also happens to be Alfred’s daughter, to tell us the story behind this unique, $239,000/pair speaker.
Forty-five years ago this past weekend, the Woodstock Music & Art Fair took place on Max Yasgur’s Farm in Bethel, New York, and the world hasn’t been the same since. The music and overall collective harmony in evidence August 15-18, 1969, showed how the counterculture had spread to and ultimately influenced the mainstream. To further commemorate this 45th anniversary, besides producer/recordist Eddie Kramer, I spoke with five other Woodstock principals about their experiences during that storied weekend: Michael Lang, Woodstock’s chief organizer and festival impresario nonpareil; Gregg Rolie, keyboardist for Santana; Tom Constanten, keyboardist for The Grateful Dead; Graham Nash; vocal cornerstone of Crosby, Stills & Nash (and sometimes “& Young”); and folk singer Melanie, who went from relative obscurity to international acclaim in the span of her 30-minute set. It’s been a long time coming…
Writer/Director David Cronenberg translated William S. Burroughs’ “unfilmable” book Naked Lunch in a (ahem) novel way, creating an intensely hallucinogenic, psychosexual trip that’s more about the writer himself than the writer’s cultural lightning rod of a book. Cronenberg incorporates bits of the book, but infuses his film with a profound statement on the artistic process, and especially the inner turmoil that fuels many artists’ best work. Cronenberg’s movie sees Naked Lunch the novel through Burroughs’ shame and torment over being a homosexual and his consuming drug addiction. Other aspects of the author’s life are also interwoven into the film’s narrative with the most notorious being that he was married to a woman, Joan, who Burroughs shot and killed during an intoxicated “William Tell Routine.”
When you think about technology, you probably imagine the sexy-cool stuff like multichannel home theater systems, über-thin flat-panel displays, or high-res audio from your favorite artist streamed to any room of your home. And, yes, these are definitely the fun parts of tech that make this such a great hobby for us all.
I am a huge fan of Dolby Atmos in commercial movie theaters. I routinely specifically choose to see movies in theaters that are Atmos-equipped, and will gladly pay a little extra if necessary. The immersion provided by Atmos playback, particularly from the array of ceiling speakers, is remarkable and in my opinion measurably improves the movie experience.
Thus I was overjoyed when the rumors of Atmos at home came true. The prospect of hearing Atmos soundtracks in my home theater suddenly made me excited about home-theater audio again. I could hardly wait for the specifications to be released, so I could install the necessary speakers, and buy whatever gear I would need. Now, comments from a Dolby heavyweight have made me a little nervous.
Editor's Note: Following Sound & Vision's initial print publication of this article, Neil Young took the post of PonoMusic CEO, replacing John Hamm. The company also named Rick Cohen, PonoMusic's general counsel, to be its COO, and accomplished producer Bruce Botnick to be its Head of Content Acquisition.
If there’s one thing we know about Neil Young, it’s that he’s deeply passionate about how his music gets heard. As an artist who’s long championed sound quality over final-mix compromise, Young has been on a lifelong quest to make sure listeners have the opportunity to hear his music the way he intended from both the studio and the stage, whether it be via high-grade 180-gram virgin vinyl or high-resolution stereo PCM on Blu-ray. “That’s all I do now—192/24,” he tells me. “Back when I started recording, we did everything we could so that our listeners could hear the music. The more we presented and the more you were able to hear, the happier you were. We lost touch with that.”
Does Pono deliver on its promise of providing high-res digital music that best reflects how the artist intended you to hear it? I listened to a number of FLAC files at 192/24, 176.4/24, and 96/24 on a yellow PonoPlayer through Sennheiser HD-650 headphones during an exclusive listening session in New York City, and—spoiler alert—the answer is a most emphatic yes.
China-based TV brands Hisense and TCL (The Creative Life) today announced the availability of smart TVs based on an operating system designed by Roku, creator of the popular Roku Streaming Stick.
The “David Bowie Is” exhibition will make its U.S. debut at Chicago's Museum of Contemporary Art (MCA) on September 23, following recent visits to London, Berlin, São Paulo, and Toronto.
Audio Performance Video Performance Features Ergonomics Value
PRICE $1,199
AT A GLANCE Plus
Ready for UHD with HDMI 2.0
Refined amplifiers headline strong sonics
Outstanding multiroom abilities, including dual HD-on-HDMI programs
Dolby Atmos capability
Minus
Proprietary auto-EQ had much subtler effect than previous-gen’s Audyssey
THE VERDICT
Onkyo’s usual benchmark audio and video get incremental upgrades, plus new features that include future-proofing HDMI 2.0 and Dolby Atmos.
Onkyo may or may not be the actual market leader in audio/video receivers, measured by unit sales, dollars, or any other B-school metric you care to name. But I’m fairly certain that, year in, year out, they produce more new AVR models combining performance, value, and innovation than anyone else. The TX-NR838 is a suitable example. On the face of things, the receiver seems identical to last year’s TX-NR828, which it replaces: unchanged power ratings, same basic specs, nearly identical quantities of inputs and outputs (this year’s version drops the composite count by one and kicks S-video to the curb altogether), and largely untouched cosmetics and user interface. But look a bit closer, and distinctions begin to come to light.