Home Theater February 2010

NEW
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The Authority in Entertainment Intelligence • www.hometheatermag.com February 2010 Volume 17 No. 2
★ PARADIGM'S ELITE LEVEL BUDGET SPEAKERS P62 ★ STUNNING DESIGN-FOCUSED THEATER P36
SPEAKER BUYER'S GUIDE

40+ EDITORS TOP PICK
SPEAKER SYSTEMS
SPEAKER SETUP MADE EASY
• TIPS AND TRICKS FROM THE EXPERTS
• WHERE TO PUT YOUR SPEAKERS
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Definitive’s Mythos STS System is
O
f all the outstanding products reviewed by
Sound & Vision in 2008, only one was
selected as “Audio Product of the Year,”
not merely “Speaker of the Year” but “Audio
Product of the Year.” And that product is the
Definitive Technology Mythos STS SuperTower
multichannel speaker system.
Where’s the Subwoofer?

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The Mythos STS's
Each STS features a built-in 300 Watt built-in powered
SuperCube™ powered subwoofer for soul-stirring subwoofers, advanced
bass impact, earth-shaking dynamics along with technologies and
tight, detailed musicality. You’ll enjoy double the superior materials
bass while saving floor space and enhancing the bring you sonic
beauty of your room. perfection.
“…prepare to be amazed. The Mythos

STS is one of the most exciting products
that I have come across in a long
time…unrivaled at its price point.”
— Roger Kanno, SoundStage.com
“…in a class by themselves – rich fine
detail, full-bodied mid-tones, and
More Praise adjustable self-powered bass, in fact
The Mythos STS SuperTowers earned considering what you get, these are value-
SoundStage.com’s 2008 Reviewer’s Choice Award priced speakers. " — Piero Gabucci,
for Aesthetics and Sound. Home Theater Magazine
Secrets of Home Theater and High Fidelity.com
called the STS system “Crisp, Lush, Focused” and
tagged it with a Top Pick award. The STS also won
two Innovations Design and Engineering awards at Get the Whole Story
CES 2009, one for High Performance Audio and There’s not enough room on this page to tell the
the other for Home Theater Speakers. One industry whole story of this magnificent system. For all
award is an honor, five is a sweep. Yes, this system the details, including where to get a demonstration,
is that good. visit the web address below today.
www.DefinitiveTech.com/ht
www.storemags.com & www.fantamag.com
“one of the best values going in
high-end speakers”
— Al Griffin, Sound & Vision
“…the Definitive
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—Wes Phillips, Stereophile
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system: MSRP $4355.
The Mythos STS system is

Sound & Vision Magazine’s
2009 Audio Product of the Year. TEL 800. 228.7148
www.storemags.com
m & www.fantamag.com
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February 2010 Volume 17 No. 2
ON THE COVER Special speaker issue. Our loudspeaker buyer’s guide, LOG ON TO HomeTheaterMag.com and sign up to receive our
how to configure speakers, and more. Gear from B&W and VIZIO. Screen on the new, free eNewsletter for first-rate, up-to-the-minute reporting
images courtesy of Universal. web of everything that’s hot in the world of home theater.
30 32 35
24
Loudspeakers Buyer’s Guide
COLUMNS FEATURES
Ask Home Theater Loudspeakers
Your how-to and technical home theater
questions answered. by Scott Wilkinson 21 Don’t underinvest in your surround system. 24
Speakers: Where Do I Put Them?
Curtain Call Almost Perfect
by Michael J. Nelson 90 Getting the most out of your sound. 30
Configuring Speakers
Optimizing your sound, one step at a time. 32
24 Home Theater Design A style-conscious home
theater brings this sunny California home to life. 35
www.storemag
www.storemags.com
ags.com & www.fantamag.com
ag
We understand if
you get emotional.
Ever seen an audio engineer weep? They’re a pretty tough bunch. But when the engineer-
ing is done, and they’ve spun the cold mechanical components of a loudspeaker into a
warm fabric of thrilling, emotional sound, we pass the hankies and look the other way.
At Polk Audio, we’ve not only mastered the mechanical process of building a loudspeaker,
we’ve also mastered the tools required to take that process to the next level: our ears.
Great design and engineering, and the latest scientific tools (like the sensitive microphones
found in our specially designed binaural head testers), can take you far. But in the search
for the sublime, only a skilled set of human ears can achieve the magic of lifelike sound.
So our gifted audio engineers listen closely for even the most subtle of nuances and color-
ings. We adjust and tweak. It may be as subtle as manipulating cone material, or changing
a crossover slope. Suddenly, merely good sound begins to have a real emotional impact.
We’re committed to that impact. So we build loudspeakers that reveal the true dynamic
realism of your music and movie audio. That’s the magic of the Polk Audio sound.
Experience it today. We’ll bring the hankies, and we promise not to tell anyone you cried.
If It Makes Sound, We Make It Sound Better
For almost forty years, Polk Audio has surfed the edge of innovation to bring you excellent
sound at a reasonable price. Our award-winning products are designed to fit both your
life and your style: play your iPod by your bedside, frag zombies in your den, revel in the
warmth of vinyl recordings in your living room or enjoy the cinema impact of digital technol-
ogy in your home theater. We’re Polk Audio, The Speaker Specialists, and so much more.
This is just the beginning of the Polk Audio story. Find out more! Join us on
our Facebook page, see us on YouTube, or at www.polkaudio.com/greataudio.
Polk Audio is a DEI Holdings, Inc. Company. Polk Audio, Polk & The Speaker Specialists are registered trademarks of Polk Audio, Inc.
Neumann is a registered trademark of the Georg Neumann GmbH in certain countries.
Polk Audio uses Skip, the Neumann

binaural head, to formulate and test
speaker materials & designs. If it sounds
good to Skip, it’ll sound even better to you.
& www.fantamag.com
PREVIEW
FROM THE
16 72
DEPARTMENTS HIGH END P42-48
Sony BDP-CX7000ES Blu-ray Disc MegaChanger
Prologue The more things change...
by Shane Buettner 9 Dream machine? P42
Letters Sonics Amerigo Speaker System

When Buyer’s Guide charts attack. 14 German brew, U.S. bottle.
MIDRANGE P50-60
P46
AV News
Video rental companies transition to streaming. 16 B&W CM9 Speaker System
Well centered. P50
Cinema Scope Inglourious Basterds, Public
Enemies, Angels & Demons, and more of the
hottest new titles on Blu-ray. 72 VIZIO VF551XVT LCD HDTV
LED for the masses. P54
Top Picks Boston Acoustics Reflection RS 260 Speaker System

Not sure what to buy? Check out this exclusive
listing of our reviewers’ recommended gear. 84 Between VS and CS.
ENTRY LEVEL
P58
P62-70
Dealer Locator Before you run out to buy a prod-
uct we’ve reviewed, find a quality dealer near you. 86 Paradigm Special Edition SE 1 Speaker System
Seeing Red in a new way. P62
Sony STR-DN1000 A/V Receiver

72 Slick but affordable. P66
42
54
VISIT THE “HOW WE TEST” link on our Website for a detailed explanation of
hometheatermag.com on the
web our testing regimen and a list of our reference gear. HomeTheaterMag.com

They don’t make them like
they used to. But we do.
Did you know that some of today’s leading loudspeaker manufacturers don’t have
audio engineers?
Polk Audio is a company of professional audio engineers who love to make great sound.
We still design, specify, and develop every component that goes into our loudspeakers,
just as we did when our company first started.
Back then, we had to build the machines that built the parts we wanted, so we could
construct our loudspeakers from scratch. We’ve engineered the resonance out of cabinets,
manipulated materials to make distortion-free cones, designed inert baskets and reshaped
baffle geometries to produce more realistic dispersion patterns. We designed, and
redesigned, and redesigned again, and today we hold over 65 patents for audio innovations.
From napkin-sketched ideas, to fabricating our own unique high performance components,
we build loudspeakers that go beyond machine-made sound to deliver the rich, realistic
Polk Audio sound you love.
Others may find it easier to make loudspeakers from kits or off-the-shelf parts. But that’s
just not who we are. We are audio engineers who love audio, and we build the loudspeakers
that we want to hear. We believe that you’ll be able to hear the difference, and that
you’ll appreciate it.
If It Makes Sound, We Make It Sound Better
For almost forty years, Polk Audio has engineered high performance sound at a reasonable
price. Our award-winning products are designed to fit both your life and your style: play
your iPod by your bedside, frag zombies in your den, revel in the warmth of vinyl recordings
in your living room or enjoy the cinema impact of digital technology in your home theater.
We’re Polk Audio, The Speaker Specialists, and so much more.
This is just the beginning of the Polk Audio story. Find out more! Join us on
our Facebook page, see us on YouTube, or at www.polkaudio.com/greataudio.
Polk Audio is a DEI Holdings, Inc. Company. Polk Audio, Polk & The Speaker Specialists are registered trademarks of Polk Audio, Inc.
Neumann is a registered trademark of the Georg Neumann GmbH in certain countries..
Polk Audio uses Skip, the Neumann

binaural head, to formulate and test
speaker materials & designs. If it sounds
good to Skip, it’ll sound even better to you.

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BY SHANE BUETTNER, EDITOR FEBRUARY 2010
FREE
A /V catalog
crutchfield.com
Over 600 products inside, over 8,000 at
The More Things Change…

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enjoy electronics
35 years of helping people choose, use, and
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Four ways
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your TV, pg. 28
T
he most common complaints that consumers have with electronics of all kinds
center around the speed of transition and the ever-shorter life span of consumer
electronics before they become obsolete. One of the biggest challenges Home
Theater faces is getting as many hot ticket component reviews in print as early as
possible. In some categories, the product life cycles in the market are so short that
it’s a very tight window with the natural lag between completing reviews and getting the
magazine into readers’ hands. Consumers feel the urgency too. Moore’s Law has been
co-opted from the semiconductor world and is now a cultural marker for how long it takes Bring your favorite
an electronic product or component to double its performance at half the original cost. music to life
Whether it’s a computer, a cell phone, a new A/V receiver, or a flat-panel HDTV, how
many people do you know who want to wait a few months before they jump in and buy to ■ Huge selection from top
see if a new model is released that will be newer, cheaper, or both? Then there’s the focus of
this issue: the loudspeaker.
brands like Thiel, Klipsch,
If the pace of information in consumer electronics is now a superhighway that’s been Mirage, Yamaha, Denon,
pumped up on performance-enhancing drugs, loudspeakers might represent a nice rest Marantz, Wadia, Peachtree
stop or vista point where you can slow down, take some time, and know that today’s smart Audio and more
purchase will provide enjoyment for years to come with little if any fear of near-term
obsolescence. For instance, if there’s a new killer app or physical interface coming that will ■ Count on our experts for
render your speakers obsolete the way the advent of HDMI and Blu-ray have obviated shopping solutions, tailored
component video and DVI in a few short years, we’re not
aware of it! Lossless audio has become reality in just the
to your needs
last two to three years with Blu-ray. Your disc player and ■ Comprehensive & caring
TV might not have been ready for that transition, but
your speakers have been ready for lossless as long as tech support, free on most
you’ve owned them. And some sort of mechanical orders
failure aside, they’ll serve you for years to come.
The new speaker system reviews in this issue
illustrate that globalization has impacted the
loudspeaker category as much as any other category in
consumer electronics. Many manufacturers, even
stalwart high-end brands, have gone east, at least for
their cabinets, if not for production and assembly.
Drivers and other critical components are sourced from
China or Europe. As a result, terrific performance in
loudspeakers is more accessible to more people than
“
The speaker reviews in
this issue illustrate that
globalization has im-
ever before. While some aspects of this might cause
some consternation with the more patriotic among us,
no one wants to pay more for their speaker fix than
necessary. That being said, it still costs more to
manufacture and purchase truly great speakers than it
Putting the focus
back on sound »
pacted the loudspeaker does ones that are very, very good. That part is the same
as it ever was… Call for your free catalog today
category as much as any
other category in con- 1-800-555-8347
sumer electronics. or visit
www.crutchfield.com/hmt
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FEBRUARY 2010 Volume 17/Number 2
Senior Vice President/Group Publisher: Al Crolius

Publisher: Keith Pray, 212-915-4157, keith.pray@sorc.com
Associate Publisher: Ed DiBenedetto, 212-915-4153, ed.dibenedetto@sorc.com
Editor-in-Chief: Shane Buettner

Executive Editor: Claire Lloyd
Show off your theater with a profession- Senior Editor, Technical Editor, Video: Thomas J. Norton
Audio Editor: Mark Fleischmann
ally produced customized introduction Technical Editor, Audio: Mark J. Peterson
DVD. Complete with your theater’s Consulting Technical Editor: Kris Deering
Editor-at-Large: Darryl Wilkinson
name on the marquee, visually stun- Contributors: Michael Fremer, Corey Gunnestad, John Higgins,
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a dazzling Dolby® digital sound track. Art Director: Heather Dickson
A CustomHT.com introduction DVD is Web Monkey: Jon Iverson
Contributing Designer: Robbie Destocki
the ultimate home theater accessory! Contributing Photographers: Randall Cordero, Paul Dimalanta,
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ase Intro
NEW! Space Ch Digital Sales Director: Jonathan Banner, 212-915-4155, jonathan.banner@sorc.com
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Custom Installer/Retailer Locator: Helene Stoner, 505-474-4156,
FAX 505-473-1641, hmstoner@msn.com
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HOME THEATER
surprised that no high-end players were
featured as Top Picks, and there was no
explanation of why not. You previously gave a
pretty glowing review of the Denon DVD-
A1UDCI, with a 4.5-star rating performance
rating. Why did this or other high-end players
not make the grade as Top Picks?
D. Lewis
WE WELCOME QUESTIONS AND COMMENTS. E-mail them to htletters@sorc.com. Please note: Be sure to check the FAQ page on Cochrane, AL
our Website (HomeTheaterMag.com) to see if we’ve already answered any questions you might have. Questions about the features
and functions of a particular product are best directed to the manufacturer. Questions about what product you should buy are best I’m glad you asked this question, as it provides
directed to a dealer who knows all the details of your system, your preferences, and your personal habits. All submissions are consid- an opportunity to offer some additional 411
ered the exclusive property of Home Theater magazine and Source Interlink Media. Due to the volume of mail that we receive, we regret
about this product category and our ratings.
that we cannot respond to every letter.
There are two ways to look at this. One, that
high-end players have not offered enough across
the board to make the grade. And two, that
Attack of the HDTV Charts This is a question that will probably exist as long players in our Entry Level and Midrange price
Thanks, guys! You saved me thousands of as we have 16:9/1.78:1 displays as a standard, categories are making life hard for the High End
dollars. After I went blind trying to read the and it’s a good question to revisit from time to products by offering superb performance and
fine print on your Flat Panel HDTV Buyer’s time. Indeed, many feature films are presented value. This last one is really the crux of that
Guide, I realized when I got to Best Buy that I in aspect ratios that are wider than our HDTVs’ matter, as my review of the Denon DVD-
couldn’t tell the difference between a Pioneer native 1.78:1. The most prominent widescreen A1UDCI exemplifies. The Denon’s performance
KURO and a microwave oven, whether it was format is the 2.35:1/2.40:1 widescreen or scope was astounding, beyond reproach. But much of
set on Vivid or not. So I decided to keep the aspect ratio. When filmmakers compose their its superior performance is tied to its analog
TV that I have now. However, I did take films to be viewed theatrically in a wide aspect audio outputs, which fewer people will make use
advantage of the great deal they had on ratio, they more often than not choose to present of (although I’m admittedly one of them). It’s
Fisher-Price Close-N-Play audio systems. them the same way on home video as it’s most slow to load Java-intensive Blu-rays compared
xo, Peter B. representative of their artistic vision. Personally, with the Top Pick Entry Level and Midrange
Salinas, CA this is how I want to watch films at home. While players, and it offers nothing in the way of the
there are black bars, the imagery is truest to the innovative streaming and networking features
Our Buyer’s Guide charts are a dilemma. artistic integrity of the movie. It reminds me that the Entry Level and Midrange players offer.
Presenting the growing amount of relevant info immediately that I’m watching a movie at I felt that in spite of its superlative performance,
while making it readable are the balls we have home, and not just watching TV. The only way its ergonomics and value ratings at its price were
in the air for that particular juggling act. The to eliminate the appearance of black bars while too low to warrant an unqualified Top Pick. To
people who want to see everything in the market watching films wider than 1.78:1 on our current make Top Pick, all the ratings matter, not just
want that level of detail. We had hoped our HDTVs is to crop (remove) parts of the image performance. Many current Top Pick players
inclusion of our Top Picks, with larger pictures and/or alter the geometry of the image in order between $200 and $500 offer full audio
and expanded treatment of the components to zoom in on a segment of the screen. Pioneer’s decoding and interactivity, built-in Wi-Fi,
we’ve reviewed and recommend would help. Zoom mode is a prime example. When you innovative networking/streaming features, and
And I’ll see your little hug, little kiss, and raise select the Zoom screen size on playback of a superb video processing and image quality, even
you a big hug, big kiss—XO.—SCB 2.35:1 movie, the black bars disappear, but the on the large front-projection systems we test
people on the screen are noticeably skinnier than them with. Surprisingly, not all of the High End
Stop Worrying and Love the they are in real life. That’s not an acceptable players we’ve tested have met the challenge and
Black Bars choice to me. Personally, I want to see all the passed all of our video processing tests, and
First I just want to say I really can’t wait every information the filmmaker intended when I virtually none of them have incorporated
month for your magazine to arrive in the mail! watch a movie, not just most of the information built-in Wi-Fi or streaming/networking features.
I have an issue, and I’m not sure if there is larger on the screen. So my advice is to stop It also surprises us that the major CE companies
anything I can do about it. I have a Pioneer worrying about the black bars and revel in the aren’t adopting some of these features in their
Elite KURO PRO-111FD plasma, which was fact that you’re seeing every bit of the film, as the (often much) more expensive players. For
the best purchase I ever made, thanks to your director intended.—SCB example, the high-end Sony BDP-CX7000ES
reviews. I connected it to an OPPO BDP-83 MegaChanger reviewed in this issue (page 42)
Blu-ray Disc player and a Yamaha RX-V765 Wither High-End Blu-ray Players? doesn’t offer the streaming feature set of Sony’s
A/V receiver. My question is about the black I just received my November issue of Home own BDP-N460, a $250 Network Blu-ray
bars on the top and bottom of the screen when Theater and was stoked that it featured a player. While the MegaChanger has a lot of
I watch BD movies. I switch between different special Blu-ray article. However, I was strengths, which we praise in the review, we
screen sizes, but it doesn’t matter; I can’t get rid
of those bars and fill the entire screen. Is there
a solution to get rid of the bars? I talked to my
dealer where I purchased the TV, and he told
me that this is the way most of the directors/
producers of the movies want them to be seen.
I know I should just enjoy the picture, but it’s
still confusing why I can’t get rid of them. Any
help would be greatly appreciated. Keep up the
great work, and I will definitely renew my
subscription!
Harper Woods, MI
14 FEBRUARY 2010 hometheatermag.com

couldn’t overlook our surprise and disappoint- it’s not significant in the subjective visible result
ment at the exclusion of meaningful features that (that will, after all, be…um, subjective), then at
Sony includes in its lower-priced players. In a least it will be to manufacturers who sweat blood
mostly HDMI world, the high-priced players to get to the lowest blacks and buyers who are
have some catching up to do to provide enough searching for the state of the art in black levels. Home Theater Headquarters
value to justify their prices.—SCB The technique described below is applicable
only to projectors. It will become obvious why it is for Your New Home
The Fourth Digit not applicable to one-piece displays such as Call us to order individual home theater decor
As an avid reader of your magazine, I have to flat-panel plasmas or LCDs. products, or complete cinema interior packages
admit to being most partial to your reviews of To minimize the meter issues described above,
front projectors. I know this is probably a small we first measure the peak white and black levels
portion of your readers, but to me, it’s the only off the screen. If the black level, taken over sev-
true home theater experience. Even the largest eral readings, is a consistent 0.002 ft-L or above,
typical plasmas and LCDs don’t immerse me in that’s the reading we use. If it’s less, we then
the movie the same way that a 100-inch or position a smaller screen close enough to the
larger screen can do. As for my question, I’m projector to produce an image that’s approxi-
wondering how you have begun measuring mately 18 inches wide. (The small screen is
black levels as low as you are on the units from actually a small sample of the same Stewart
companies like Sony, Epson, and JVC projec- Studiotek 130 material used for the big screen.)
tors. It was my understanding that the LS-100 Without changing the picture or zoom settings
light meter you use only has three-digit on the projector, we take another set of peak
resolution, so where did the fourth digit come white and video black readings, this time on the
from? Are you using something else to measure small screen. Because these numbers will both
these black levels, such as a colorimeter capable increase proportionally on the small screen, the
of such resolution? Are you amplifying the light readings will be dramatically higher than on the Innovative Seating
at that level by zooming in or using a material big screen. Most significantly, the small screen Affordable High-quality Cinema Loungers,
with gain, and then extrapolating the black black level will be well above the meter’s 0.001 Media Room Seating & Authentic Theater Seats
level? I’m sure you mentioned this somewhere ft-L minimum sensitivity. This greatly reduces
in your magazine, but I can’t find it. the potential for meter error.
Matt We now calculate the full-on/full-off contrast
ratio using the readings from the small screen.
First of all, keep in mind that the actual With this number and the peak white level on the
black-level value shown in our reviews applies large screen we can calculate the black level we
only to a screen with a specific size and gain. would measure on the large screen if we had a
However, all of my projector reviews in the past meter with minimum sensitivity well below 0.001
ten years have been made on the same 78-inch- ft-L.
wide, Stewart Studiotek 130 screen (gain 1.3) and Here’s a real example from our recent review
at very nearly the same throw distance, so the of the Epson PowerLite Home Cinema 6500
results should be directly comparable. UB LCD projector (August 2009). It shows how
While this is a smaller screen than many our published result for black level can some- Custom Interiors
readers might choose, it provides something of a times extend to more than three decimal places.
Acoustic Panels, Fabric Walls,
worst-case scenario for black levels. Both the peak With the dynamic iris engaged and in the low
white levels and the black level will be lower on a lamp setting, the peak white level on the big Concession Stands, Ticket Booths,
bigger screen, but to an equal degree. Everything screen measured 14.15 ft-L and the black 0.001 Columns, Prosceniums & Stages
else being equal, including the projector settings, ft-L, for a full-on/full-off contrast ratio of
the reductions in both the peak white and 14,150:1. However, on the small screen, the
absolute black readings will be directly propor- corresponding readings were 146.6 ft-L and 0.014
tional to the relative areas of the two screens. But ft-L, for a full-on/full-off contrast ratio of
their ratio—the projector’s measured full-on/ 10,471:1. Taking the latter as the more precise
full-off contrast ratio—should be the same peak contrast ratio (since it uses a black level
regardless of screen size. measurement well within the meter’s comfortable
The Minolta LS-100 light meter we use is accuracy range), together with the 14.15-ft-L
something of an industry standard. It’s rated peak white reading on the big screen, gives a big-
down to a minimum resolution of 0.001 screen black level of 0.0014 ft-L. This indicates
foot-lamberts, although clearly even a minor that the 0.001-ft-L black level reading on the
error at that level can have a big effect on the big-screen included a rounding-down error that
measured full-on/full-off contrast ratio since it’s made the result look slightly better than it actually
in the denominator of the calculation. When the was—although 0.0014 ft-L is still an excellent
black levels of projectors were invariably 0.003 result.—TJN
ft-L and above, we weren’t too concerned about Superb Décor
this. But when they sometimes extend to 0.001 Correction Cinema Signs, Movie Marquees, Popcorn
ft-L or below, it’s a concern. And even assuming Machines, Wall Sconces & More Décor
perfect meter accuracy, a reading of 0.001 ft-L In our January 2010 issue, we forgot to place a Top
could mean an actual value of slightly below or Pick ticket on one of our speaker reviews that Discount Prices plus Free Shipping
slightly above that number, since the meter earned the designation. It was the Paradigm Millenia
rounds off the result to the nearest three decimal 20 Hybrid Speaker System. We sincerely apologize Order online at
places. The difference between a black level of
0.0007 ft-L and 0.0014 ft-L can be significant. If
for the oversight.
CinemaShop.com
or call toll free
1-866-243-1001

om
FRONT PAGE
BY MARK FLEISCHMANN, AUDIO EDITOR
TOP STORY: DELIVERING INSTANT GRATIFICATION

Netflix and Blockbuster Internet@TV feature or by hitting
a button on the Blu-ray or HTIB
remote. Samsung BD players will
Shift to Streaming also be sold in Blockbuster stores.

In related Samsung news, the
company’s HDTVs will support
Amazon Video On Demand
N
etflix and Blockbuster through the Internet@TV feature.
are busy cutting deals The Amazon catalog
to ensure that their contains more than 50,000
video rental titles—although only 2,000
businesses will are in HD. Pricing averages
remain healthy as consumers shift around $3.99 for hot titles,
from discs to video streaming and but there are also 99-cent
on-demand delivery. specials and even some free
Ironically, the Blu-ray player is material. Eligible models
one of the most promising include Samsung’s LCD
vehicles for streaming. That’s why and plasma HDTVs in
Best Buy’s house-brand BD Series 650 and up, and
players now support Netflix. LED-backlit LCDs in Series
There are two key distinctions 7 and up. These also
between the Insignia NS- support Blockbuster.
WBRDVD advanced Blu-ray The next step in
player ($200) and the Insignia streaming’s
NS-BRDVD3 connected Blu-ray evolution would
player ($150). The advanced be access rights
model has Wi-Fi connectivity, across many
while the connected one depends platforms. Pay
on Ethernet for its broadband one price, and you
connection. Also, the advanced could access the
player is the only one that decodes title via the Web, cable on
the past year. To activate Netflix, demand, or any portable device.
you’ll need to load a special Disney’s Keychest will probably
Blu-ray Disc into the console. become the first such scheme to
The disc itself is free, but you’ll reach fruition. A competing
have to pay a minimum of $8.99 approach—the Digital Entertain-
per month for a Netflix member- ment Content Ecosystem
ship. (DECE)—is being developed by
Nintendo’s Wii may also hop Instead, you can just rent Sony Pictures, several other
onto the Netflix bandwagon. individual titles for $3.99 (for the studios, Comcast, and Intel.
Other Netflix vehicles include hot new stuff ) or $2.99 (catalog). Video streaming seems like it’s
Samsung Blu-ray players, If you happen to be visiting your about to win new users on a
DTS-HD Master Audio TiVo DVRs, Roku digital local brick-and-mortar Block- grand scale. But what would
at full resolution. (The video players, and TV buster, you can buy a TiVo there. happen to that trend if Internet
connected player decodes models by LG, Sony, Eligible models are the TiVo service providers suddenly
and outputs DTS-HD and VIZIO. You can Series2, Series3, HD, and HD XL. decided to charge more to users of
Master Audio as lower- also stream Netflix on An array of Samsung products high-bandwidth video services?
resolution DTS core.) Both PCs and Macs. also support Blockbuster That’s exactly what cable and
models are BD-Live compatible Meanwhile, Blockbuster— streaming, including several telecom ISPs are threatening to do
and ENERGY STAR certified. A which has already ceded its HDTVs, three Blu-ray players, if the federal government imposes
firmware upgrade may be needed former number-one status in disc and four compact systems with Net neutrality regulations. Since
to activate the Netflix feature. rentals to Netflix—is following integrated Blu-ray drives. Rental high-def programming at a high
Netflix is also finding its way Netflix into TiVo DVRs. Why pricing is the same as above, but data rate requires much more
into Sony’s PlayStation 3 gaming stream from Blockbuster On you can also buy movies priced bandwidth than typical standard-
console. This allows Sony to catch Demand instead of Netflix? Well, between $7.99 and $19.99 each. def YouTube fodder, rumors of
up with Microsoft, whose Xbox Blockbuster doesn’t charge a You can access rented or pur- Blu-ray’s demise may be
has offered Netflix streaming for monthly membership fee. chased titles via Samsung’s premature.

picture simulated To join our community, go to livinginhd.com
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AV NEWS
LG PROMISES This Just In ... Windows 7
40-INCH OLED is already Blu-ray compatible, but
what about Xbox? Here’s Steve
TV BY 2012 NBC Universal
might get swallowed up by
Ballmer’s cryptic response: “Well, I
don’t know if we need to put Blu-
While other manufacturers have scaled back Comcast. This would give the cable ray in there. You’ll be able to get
their plans—and promises—for next-generation operator a major motion picture Blu-ray drives as accessories”...
OLED flat-panel display technology, LG is going studio and dozens of TV and cable
full-steam ahead. At press time, a 15-inch networks... Rovi
model was due in late 2009, rising to 20-plus and its Connected Platform will
inches in 2010, 30-plus inches in 2011, and Blu-ray Player Pricing access video, music, and photos
40-plus inches in 2012. However, these sets has dropped a lot, but it needs stored on Windows 7 PCs. Rovi
will be pricey, so LG’s secondary goal is to to drop further, says a Retrevo is also popping up in Onkyo A/V
bring prices down. The company predicts study. The study points to a magic receivers and Samsung products...
that OLED will become more affordable than $150 point cited by 34 percent
conventional LCD by 2016. OLED stands for of respondents. Consumers need Heads Rolled
organic light-emitting diode and promises effective demos—nearly half of at the Motion Picture Association
better picture quality than current liquid those surveyed had never seen a of America (MPAA) as the studios
crystal displays (LCDs). movie on Blu-ray... uneasily eyed their downloadable
future. Three key staffers were
Wal-Mart
OLED CHARGES AHEAD is reducing its amount of retail
space for DVDs and Blu-ray Discs as
fired from antipiracy operations.
The new folks will avoid using
the term “antipiracy” in favor of
part of an effort to emphasize best- the new buzz phase, “content
selling products and de-emphasize protection”...
What’s in Pioneer’s Pro others. Redbox kiosks placed near
store entrances will take up some Verizon and AT&T,
Blu-ray Player? of the slack... via FiOS and U-verse, are the
most highly regarded content
The Pioneer BDP-V6000 pro interface to facilitate setup Most Slingbox Owners, providers in the nation, according
Blu-ray player ($999) is and playlist operation, power-on 70 percent of them, use the to J.D. Power and Associates.
the company’s first pro-level start, tray lock, front-panel key However, satellite
model. So what’s in it for you, the lock, and no manufacturer and cable operators
consumer-level user? It has an power-on logo. The product is are racking up
RS-232C control port, enhanced designed for use in universities, improved customer
search options, no region-code kiosks, museums, trade shows, satisfaction
limits, 30/25/24-fps playback, a and video walls. product strictly as a home rankings as well, thanks to reduced
networking device. However, the outages and shorter tech-support
point of Slingbox devices is to holding times...
access your home video feed from
a broadband connection anywhere New York Shoppers
in the world... are excited about the 24-hour
Best Buy opening in Union Square
Toshiba’s Cell TV (on the former site of a Circuit
will make its U.S. debut this year. City store). Best Buy promises a
The DVR-capable TV uses the same
TV BUYERS WANT SCREEN SIZE Cell microprocessor that animates
“vibrant atmosphere around the
clock” with “energized service day
AND PICTURE QUALITY the Sony PlayStation 3... or night”...
3-D Video Thiel Audio,
Despite drops in TV significance of lower prices is that is three to four years away, says
pricing, shoppers have they’re helping consumers get in the wake of Jim Thiel’s
Panasonic. Several manufacturers passing, will continue to apply
other things on their minds. In an more of what they want: a big, have shown 3-D products at trade
NPD Group survey of 3,000 sharp picture. his “advanced driver, crossover,
shows, but the lack of a standard— and cabinet designs to future
consumers, 77 percent cited and multiple standard-setting
screen size as a key consideration, products,” says president Kathy
bodies—make the short-term Gornik. “We are very fortunate
with about a quarter of them forecast partly cloudy...
seeking screens that were 50 that Jim carefully
inches and up. Another 71 documented
Hitachi all of his research
percent considered higher showed a Full
resolution to be important. and design
Parallax 3-D TV at a parameters”...
Prices are falling rapidly, recent Japanese trade
with the average price of show. The demo unit
50- to 52-inch sets down was only 10 inches,
from $1,941 to $1,409 in the but it operated
first nine months of 2009, without those
and the average price of annoying glasses...
40- to 42-inch sets down
from $1,150 to $838. The real

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What was the greatest concert of your life? Do you remember what it was like to hear some of the best
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JBL and the JBL logo are registered trademarks of Harman International Industries, Incorporated in the United States and other countries. www.jblsynthesis.com

BY Scott Wilkinson
Should I Go Blu? says it will add this capability in a firmware

WE WELCOME QUESTIONS AND COMMENTS. If there’s one thing I’ve learned in 20 years as a home theater journalist, it’s that
people have questions—lots of questions. This is no big surprise, since using the average home theater is far more complicated update in early 2010.) These AVRs have
than TV watching used to be, and it’s been getting more and more frustrating ever since VCRs started blinking “12:00.” To multichannel analog inputs and can accept
address this ongoing need, I’ll be answering readers’ how-to and technically oriented questions in this column. Questions PCM via HDMI, so you can get high-
regarding the magazine’s content will continue to be addressed in “HT Letters” and should still be sent to HTLetters@sorc.com. resolution audio from a Blu-ray player into
But if you have a how-to or technical home-theater question, please send it to me at scott.wilkinson@sorc.com.
the AVR in either of those ways. However, to
do this, you’ll need a player that has multi-
channel analog outs and/or can decode
Blu-ray Shy AVR. What can I do to get these features? DTS-HD Master Audio and Dolby TrueHD
I’d like your thoughts on Toshiba’s XDE Or do I have to buy a new receiver? to multichannel PCM. Most current Blu-ray
DVD players. I’m hesitant to fully adopt Kevin Bussey players can do this PCM conversion, but
Blu-ray; I’ve had a PS3 from the beginning not all of them offer multichannel analog
but no standalone player. I’m thinking of There’s no way to upgrade your current outputs.
replacing my worn-out upconverting receiver to add HDMI or, by extension, On the other hand, the AVR 707 lists for
DVD player with an XDE model, but advanced audio decoding, because it would nearly $4,800 and the AVR 705 for $4,500,
Toshiba is quick to point out that it doesn’t require that you change the hardware so even with $1,000 off, you’d still be
output or produce native HD content. configuration. A $1,000 credit toward a spending well over $3,000. There are plenty
Seeing how fiberoptic Internet speeds of new B&K receiver is generous, and the of great AVRs that cost a lot less than that
100 Mbps are within reach, should one current 7.1-channel AVR 707 and and provide all the advanced audio
really look at Blu-ray with all the trappings 5.1-channel AVR 705 do have HDMI, but decoders. On the third hand, if you really
that come with it? they don’t currently decode DTS-HD like your AVR’s sound, B&K’s current
Gregory Nils Johnson Master Audio or Dolby TrueHD. (B&K models probably sound similar, and if you
I don’t recommend Toshiba’s XDE DVD

players because the quality of their
upconversion is poor. This is especially odd
because the company’s SRT upconversion
THE WIDEST LINE OF ANAMORPHIC
technology in some of its LCD TVs is
outstanding. However, even that is no
match for real HD content.
WIDE-SCREEN LENSES
Why are you hesitant to adopt Blu-ray?
You have a PS3, so you can play Blu-ray
Discs no problem. Blu-ray’s picture quality
is way better than any upconverting DVD
player. Welcome Home,
As for online content delivery, I’m not a
big fan yet. From what I’ve seen, the picture
quality is not great due to high compression.
If you want the best picture quality you can
Cinemascope . ®
get from commercial media, Blu-ray is it.

[P.S., I’m jealous. 100 Mbps fiberoptic
isn’t within view, let alone within reach
where I live!—Ed.]
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Televisions Have ASK HOME THEATER
Evolved.
Has Your Furniture? don’t mind spending the extra dough, I see no Keystone Kops
reason not to go for it. I am building a dedicated home theater, and
I have completed most of the design work.
Too Bright! One of the last details is the projector
My retailer recommends obtaining at least position. I have a 100-inch 16:9 screen and a
40 foot-lamberts in a home theater setup to Panasonic PT-AE3000U projector.
get that pop in the picture. However, other I’ve read that it’s better to shift the image
sources say the cinema standard is 16 ft-L. optically rather than use keystone correction,
Projectors such as those from JVC, Sony, and so I’m considering having the projector
Optoma don’t have the light output to mounted lower from the ceiling. How
produce 40 ft-L even on a modest 100-inch important is it to reduce or eliminate
screen. You need an expensive projector with keystone versus image shifting? Should I
a 2,000-lumen output to achieve this goal. position the projector so that keystone is
What’s the optimal foot-lambert value to zero? Also, how important is the distance
shoot for? between the screen and the projector?
Raghu Pulluru Currently, the plan is within the recom-
mended range of 10 to 19 feet for a 100-inch
Designed with Intelligence With front projectors, 40 ft-L is ridiculous. screen.
The cinema standard is 16 ft-L, and that’s Charles Ballaro
what I strive for in a home theater as well. Of
course, this assumes a completely dark room, First, let me clear up any confusion about the
which is required for any front-projection function of keystone and image shifting.
system. Keystone is a setting found in most projec-
Even with flat panels, 40 ft-L is too bright, tors that compensates for non-perpendicular
at least in a dark room. THX recommends 30 placement. If the axis of the projector’s light
ft-L for LCDs and plasmas, again in a dark path isn’t perpendicular to the screen, the
room. If you have unavoidable room light, the image won’t be rectangular—one side will
panel can be brighter. be taller than the other and/or the top or
bottom will be wider than the other. Key-
Too Loud! stone correction compensates for this by
The sound level of TV commercials is digitally processing the image to form a
outrageous! My normal volume setting is 25, rectangle.
but when commercials come on, I have to By contrast, optical image shifting
Constructed with Integrity lower the level to 3 or 4 (or mute). (sometimes called lens shifting) simply moves
Are there any TVs or HTIB systems that the entire image up, down, right, or left to
automatically adjust the sound level to align it with the screen. This lets you place the
combat this problem? projector off center with respect to the screen
David Hicks and still align the image with the screen. In
this case, if the light path is perpendicular to
I know of three systems that do exactly what the screen, no keystone correction is required.
you want: Audyssey Dynamic Volume, Dolby You should avoid keystone correction at all
Volume, and SRS TruVolume. All are OEM costs. The digital processing it employs reduces
systems—that is, they are licensed to resolution and can introduce ugly artifacts.
manufacturers who integrate them into their You should mount the projector so that its
products. Many Denon, Integra, and Onkyo light path is perpendicular to the screen. Then
AVRs provide Audyssey Dynamic Volume. you can use lens shift to align the image with
You can find Dolby Volume in a growing the screen.
number of A/V receivers and surround As for the distance between the projector
processors, including the Harman/Kardon and the screen, which is called the throw
DIAMOND CASE AVR 7550HD, Arcam FMJ AVR600, and

AudioControl Concert AVR-1 receivers, as
well as Toshiba’s REGZA ZV650 series of LCD
distance, it’s better to place the projector as far
as possible from the screen. This allows the
light to pass through a smaller area in the
Home Theater Furniture HDTVs. SRS TruVolume is available in nearly center of the lens, which results in less
all Samsung and VIZIO TVs as well as VIZIO potential for chromatic aberration.
Award winning fine furniture soundbars. I know of no HTIBs that provide
any of these features. D Is an Excellent Grade
designed exclusively for SRS is about to introduce an outboard I’m thinking about purchasing the Rotel
Plasma, DLP, and LCD TVs. volume leveler called MyVolume that connects
between a cable or satellite receiver and the
RSP-1570 surround processor, and I’ve
noticed that all the company’s latest
TV. Three versions are planned—HDMI, amplifiers (and the flagship RSX-1560 A/V
www.diamondcase.com analog, and SCART (a European connection).
All three can handle only two-channel audio.
receiver) use Class D technology. Is this a
move we’re likely to see from other
If multichannel audio arrives via HDMI, it manufacturers given how well the energy-
800-616-5354 passes through the device without processing.
A multichannel version of the algorithm is
efficiency story plays in our increasingly
green world? Does the technology sacrifice
finished, but it won’t be implemented in these any performance?
first products. Steve Skaff
Experts in Home Theater Furniture 22 FEBRUARY 2010 hometheatermag.com

655 N. Shepard St., Anaheim, CA 92806
ww
I suspect we will indeed see more Class D
amps exactly because they generally are far
from many devices, although I have a
10-meter Ultralink HDMI cable that seems to Check Out
Definitive’s
more energy efficient than other technologies. work fine with most of my equipment. And
For those who aren’t familiar with this type your cable works with the AT&T box, so it’s
of amplifier, it’s quite different than tradit- capable of conveying HDMI over that
Brand New
ional power amps, which strive to increase the distance.
amplitude of the analog input signal without One solution is an HDMI booster or
changing the shape of the waveform. A Class extender from companies like Gefen, Key
Website
D amp converts the input signal into a train Digital, and DVIGear, but they generally cost
of very high-frequency pulses of constant more than $100—sometimes a lot more. Most
amplitude but varying width, a process called of these products use Cat-5 or fiberoptic cable
pulse-width modulation (PWM). The vary- for very long runs. Another option is the
ing pulse width represents the input signal’s PureLink HDC Fiber Optic HDMI Cable
waveform. (PWM isn’t the only modulation System, which uses fiberoptic cable to send www.DefinitiveTech.com/ht
technique that Class D amps use, but it would HDMI up to 100 feet; the 33-foot length is
be impractical to explain the others here.) $550.
The pulses can then by their on-off nature be [Still another option is an HDMI cable
efficiently amplified, filtered to recover the with a built-in amplifier, which introduces no
original wave shape, and an analog signal is additional HDMI handshakes. In my theater,
then output at a higher power than the input I use the amplified Silver Serpent Reference
signal. from BetterCables.com with great results. It’s
This process can be very efficient—typically available in runs from 26 to 49 feet, with a
in the 90-percent range—whereas conven- price range of $150 to $220.—Ed.]
tional power amps are normally less than
50-percent efficient, dissipating most of their Digital All the Way
power as heat. Thus, Class D amps can be I own a Panasonic PT-AE3000U projector,
built much smaller and lighter, and they run and I just upgraded my A/V receiver to a
much cooler than conventional amps. This is Pioneer Elite SC-05 for DTS-HD Master
why the amps in many if not most modern Audio, Dolby TrueHD, and PCM decoding.
subwoofers are now class D. I prefer to have the receiver do the decoding
Some people say that Class D amps or have my Panasonic DMP-BD55 Blu-ray
sacrifice sound quality, which is true if they’re
not designed or implemented well. But recent
player decode to PCM and send it via HDMI
to the SC-05. In my tests, the sound quality
Everything you always
advancements have overcome this prob-
lem. For example, the Pioneer Elite SC AVRs
is certainly better this way than it is using the
7.1-channel analog outs on the DMP-BD55
wanted from a speaker
use Bang & Olufsen’s ICEpower Class D
technology, and they sound great to me
to the 7.1-channel ins on my older receiver. I
assume that’s because the analog inputs
website and more:
and many other reviewers. Of course, it all bypass any speaker, EQ, or processing
depends on how the amp is designed and settings.
built. Manufacturers have less experience
with Class D than other technologies, so it’s
I’ve heard that running video signals
through the receiver can degrade the video – Find a Dealer.
certainly possible to find Class D amps that quality. If I use the SC-05’s HDMI switching
sound like crap. capability, will I notice any video degrada-
tion? If I want optimal sound quality, I don’t – Read the Reviews.
In the Long Run see any way around using the SC-05 as an
I have a 25-foot HDMI cable that runs from
my Onkyo TX-SR576 A/V receiver to an
HDMI switch because I would only get lossy
Dolby Digital or DTS if I ran the HDMI – Check the Specs.
LCD TV. However, it only delivers audio and signal directly to the projector and used the
no video to the TV. The manufacturer told
me that the receiver’s HDMI output is
player’s coaxial digital output to the SC-05
for audio. – Ogle Gorgeous
limited to 15 feet. I know there’s no problem
with the HDMI cable because it works when
Richard W. Zeddun
Pictures.
I connect the output from my AT&T The analog inputs of most receivers are, as
U-verse box directly to the TV.
Is it possible to boost the HDMI out-
you state, simple bypass inputs, which
eliminates bass management, equalization, – Get Expert Advice.
put from the Onkyo receiver? If not, how etc. Many Blu-ray players do offer bass
do I find information about the output
on other A/V receivers in order to find a
management for their analog outputs, but
it’s usually less flexible than you’ll get from – Share Your Feelings.
model that delivers a signal that can reach your A/V receiver.
25 feet?
Jim Fanucchi
Some receivers do, in fact, degrade the
HDMI video that passes through them, but – Have Fun.
the SC-05 isn’t one of them, so no worries
Unfortunately, I don’t know of a way to there. You are correct that the only way to
determine whether a particular AVR will hear the advanced codecs in all their glory via
drive an HDMI cable of a given length. HDMI is to send them as bitstreams or
Twenty-five feet is generally considered too decoded PCM from the player to the receiver.
long for an HDMI connection to work reliably That’s certainly how I’d go in your case.
hometheatermag.com 23

www.fantamag.c
.com
om
LOUDSPEAKERS BUYER’S GUIDE
Loudspeakers
Don’t Underinvest in Your Surround System BY Mark Fleischmann
• Revel Ultima2 Salon2

Speaker System
• Definitive Technology Mythos
STS SuperTower Speaker System
• Infinity Classia C336 Speaker System
H
ome theater has transformed altogether and rely on built-in TV speakers. rather hear them in full-bodied surround
loudspeakers in nearly the same Yet audio is half of home theater. Without than through TV speakers. You may
way it transformed TV. As a good speaker system and amplification, even be a surround buff and not know it.
screens have gotten bigger, the you lose much of what filmmakers intended The question is what kind of speakers you
stereo soundstage has expanded you to hear, like surround effects and bass need.
into a surround soundfield. Wall-mounted extension. You can pretty much kiss your
HDTVs can now mate with in-wall, on-wall, relationship with music goodbye too. Floorstanding Speakers
or soundbar speakers. Even the higher Why aren’t more people breaking down The largest speakers typically fit into
performance of HDTV finds an analog in the doors of A/V specialty retailers? Many of surround systems as a vestige of the old
lossless surround for movies and music. them still think of speakers as bulky, décor- stereo pair. Floorstanders, also called towers,
Despite these advances, loudspeakers unfriendly, expensive objects. They may may have little low-frequency extension
remain unpopular with some people. They not know that the market is swarming with or a lot. Some even incorporate powered
have practically become home theater deal speaker packages that are svelte, attractive, subwoofers. However, it’s crucial to note that
breakers. Consumers who are captivated by and reasonably priced. People know that you don’t need floorstanders to put together
1080p plasmas and LCDs routinely under- today’s TVs are different. But they’re not so a great surround system. If the primordial
invest in surround sound. Some people sure about speakers. memory of floor-hogging speakers has put
will only connect a pair of speakers, while If you’d rather watch movies on a 60-inch you off surround, dismiss that old stereotype
others dispense with outboard audio systems plasma than on a 2-inch iPod screen, you’d from your mind. There are plenty of compact

for good blending, while still optimizing

LOUDSPEAKERS ENTRY LEVEL placement for low-bass smoothness and
extension. This can be challenging. Sat/
sub sets range widely in price and per-
DCM Cinema2 Speaker JBL ES20 Speaker System, formance. Consumers often confuse them
System, $500 $1,746 as reviewed with the low-end speakers that come with
DCM proves that a The JBL ES20 system budget in-a-box systems, but the best sat/
good ear mat- delivers a refined top sub sets can be great performers. Whether
ters more than end that is nearly you wall-mount them or place them on
fancy materials when impossible to find skinny stands, they are one of the best ways
you’re designing a budget speaker set. These elsewhere in this price range. How much of to add a stealthy surround system to a flat-
speakers have a pleasant and versatile mid- that is attributable to the super-tweeter may panel HDTV.
range with modest bass and high-frequency remain one of life’s mysteries. This is an excel-
extension. lent way to get a starter system started. Center Speakers
Reviewed November 2007 Reviewed September 2008 Horizontal dedicated centers are a throwback
HSU Research HB-1 JBL Control NOW AW
to the days when bulky TVs ruled the roost.
Speaker System, $1,124 Speaker System, Their persistence in the market is rooted
as reviewed $2,034 as reviewed in the popular misconception that only a
Manufacturers who This is an inspired horizontal speaker can serve in the center
know what they’re response to mar- position. The people who design and market
doing can achieve keting imperatives them know better. Dedicated centers usually
greater transparency for a go-anywhere have a left-to-right woofer-tweeter-woofer
by using pricier materials and more elabo- speaker. It has an uncanny way of knitting driver array that’s prone to horizontal lobing.
rately constructed enclosures. But the HB-1’s the soundfield into a seamless whole without Lobing is the result of closely spaced drivers’
sheer clarity, and the well-organized manner any speaker calling attention to itself. These propensity to sum and cancel each other,
in which it communicates, makes nearly all speakers will fulfill their destiny in a variety of which causes uneven response from seat to
similarly priced—and quite a few higher- multizone audio applications.
priced—products look like underachievers.
seat around the room. Better center speakers
Reviewed February 2009
Reviewed March 2007 mitigate the problem with a vertically stacked
Replaced with HB-1 Mk 2 Speaker System, $1,124 Paradigm midrange and tweeter or different crossover
Special Edition points for the individual woofers. When a
SE 1 Speaker woofer-tweeter-woofer speaker operates
PSB Alpha B1 Speaker System,
System, $1,336 as vertically, what had been undesirable lobing
$2,344 as
reviewed reviewed
can be seen as a possibly desirable limiting
The Alpha B1 offers The Paradigm SE 1 and SE SUB don’t just of vertical dispersion, which can reduce
greater detail than sound like far more expensive products—they ceiling and floor reflections. The best center
the older Alpha also look like ‘em. The Special Edition belongs speakers duplicate the sonic characteristics of
monitor. But it still retains the original’s gener- on anyone’s short list of affordable, high- your front left and right speakers. An exact
ous and musically adept soundstage. It’s a performance speakers. duplicate, placed with the same orientation,
classic champagne-performance, beer-budget Reviewed February 2010 works especially well.
speaker system.
Reviewed February 2007 Paradigm Reference Dipole/Bipole Surround Speakers
Studio 20 v.4 Dipole/bipole surround speakers involve
Mordaunt-Short Alumni Speaker System,
Speaker System, $1,470 $2,495 as reviewed one or more drivers that are mounted on
as reviewed Paradigm’s opposite sides of the enclosure. The speakers
Mordaunt-Short fourth-gener- place the listener in a diffuse field, which
puts its 40 years of ation revamp prevents surround effects from calling
longevity to good of its reference attention to themselves. In dipole designs,
use in this modestly speaker uses better materials and deploys front output and rear output are out of phase
priced sat/sub set. them more creatively than in the past. This sys- with each other, while they’re in phase in
This company knows tem is recommended for the discerning listener bipole operation. Some switchable models
what music lovers want, and it delivers with with a limited budget. can operate as dipole, bipole, or monopole
these beautiful, well-made, and terrific-sound- Reviewed March 2007 (meaningful output from a single direction
ing speakers. Replaced with Reference Studio 20 v.5 Speaker System, $2,499 only).
Reviewed March 2008
Soundbar Speakers
This rapidly emerging product category
speaker systems that provide excellent including center and surround. My reference provides a one-speaker stereo or surround
performance. system uses five identically matched sound solution (or two, with external sub).
monitors with limited but significant bass Well, maybe it’s more of a faux-surround
Monitor Speakers response and (sometimes) a sub. solution. Implementations range from low
This recording studio term is, somewhat end to bleeding edge. Most include some
arbitrarily, our official name for stand-mount Satellite/Subwoofer Sets kind of surround simulation or processing,
speakers. They’re also known as bookshelf Even smaller than monitors, compact which is typically of limited effectiveness.
speakers, although a shelf is an acoustically satellites partly or wholly depend on their This might be the right surround solution for
undesirable place for any ambitious subwoofers for bass response. As more of a bedroom system or summer cabin—but
juggernaut of song. the upper bass range is assigned to the sub, for your main system, you can get better
Again, low-frequency response varies. it becomes more localizable. The sub should performance from a well-matched speaker
Monitor speakers can serve in any position, sit as close to the center speaker as possible package and A/V receiver.

LOUDSPEAKERS MIDRANGE
Focal Dôme
Speaker Definitive Technology Dynaudio Focus
System, Mythos STS SuperTower 110 Speaker
$2,599 as Speaker System, $4,355 System, $4,750
reviewed as reviewed as reviewed
The Dôme These towers are Dynaudio
sound is well made, cunningly delivers one of
strong, with top-to-bottom consistency that’s engineered, and the strongest
rare in a sat/sub set. These speakers make the elegant. When you compact
case for their category so convincingly that you combine them with systems in the Focus 110. If you have a large
may just decide that your system doesn’t need the Mythos Nine, they are excellent storytellers, music library, you’ll be surprised what trea-
bigger ones after all. especially with the parts of a story that require sures these speakers will unearth.
Reviewed January 2010 credible reproduction of the human voice. Reviewed September 2007
Reviewed March 2009
Infinity Classia C336

Speaker System,
$4,494 as
reviewed
The well-
Boston Acoustics Reflection RS 260 Speaker System,
balanced perfor-
$2,900 as reviewed Canton Ergo 620 Speaker System,
mance of these $5,550 as reviewed
The RS system’s custom-designed woofers and great-looking
tweeter produce a polite top end with a fully With the Ergo 620 system Canton gets the
and well-made speakers will provide standout niceties right, like the look and feel, the qual-
fleshed-out midrange. With the VPS 1000 sub performance in all cinematic and musical
dispersing its low frequencies, it can sound like ity of parts and workmanship, and the sheer
applications. Infinity also deserves special dedication it takes to produce products of this
there are two subs in the room. At this price, commendation for its equalized R.A.B.O.S. sub,
you couldn’t get better value for your money. quality—a dedication that is apparent in every
which will mitigate the bass irregularities that detail. We loved ‘em.
Reviewed February 2010 plague most rooms. Reviewed January 2010
Atlantic Reviewed April 2009
Technology
System 4400 PSB G-Design
Speaker Speaker System,
System, $4,696 as reviewed
$3,350 as reviewed The G-Design
Atlantic Technology’s System 4400 lends itself series delivers
to superlatives. The price/performance ratio finesse and
couldn’t be more favorable: This package is a impact that
stellar performer as well as a pretty unbeat- completely engulfs the room and elevates Sonus faber Toy/REL T1 Speaker System, $6,044 as
able value. You could have a lot of fun with your listening experience. It’s no wonder PSB reviewed
these speakers. You might even be moved. wins so many awards. The Sonus faber Toy speakers and REL T1 sub-
Reviewed December 2009 Reviewed October 2007 woofer make up this relatively small, attrac-
tive, unobtrusive-looking, and well-balanced
Boston Acoustics VS PSB Imagine T system. It delivers nuance and delicacy with
240 Speaker Speaker
System, $4,749 musical sources and head- and gut-throbbing
System, $3,700
as reviewed as reviewed punishment with effects-heavy movies. It’s
With this system, This PSB sys- a highly recommended system that proved
Boston Acoustics tem is sweet difficult to return.
proves its repu- and clean Reviewed May 2009
tation as one of the world’s best speaker mak- with music, and it’s capable of surprisingly
forceful impact and wide dynamic range with Usher Be-718
ers for a new generation. The sheer originality Speaker System,
that went into shaping this product makes us film. Plus, it includes a subwoofer that is far $6,988 as
a little dizzy. You’ll want to hear what these more impressive than its price would suggest. reviewed
speakers can do. The Imagines satisfied our audiophile itch and The Usher Be-
Reviewed January 2009 provided plenty of home theater thrills. 718 earns its
Reviewed May 2009 high-end price
Acoustic Energy point with its beauty, performance, and unerr-
Radiance 1
ing competence. This is a brilliant product that
Speaker System,
$4,200 we warmly and enthusiastically recommend.
With the Reviewed May 2008
Radiance line,
Acoustic Energy lives up to its 20-year reputa-
tion for making fabulous loudspeakers. If you
find your current speakers harsh, but you don’t
want to give up extended frequency response,
you may love the Radiance 1.
Reviewed September 2009

In-Wall Speakers On-Wall Speakers Subwoofers

In-wall speakers don’t need to be an acoustic Many speakers have keyhole mounts or The “point one” in a 5.1- or 7.1-channel array
compromise. Better ones include a back box threaded inserts, and some manufacturers is a dedicated bass speaker. Nearly all subs
or enclosure that prevents the wall cavity design speakers expressly for on-wall use. come with internal amplification. You should
from turning into a resonating chamber. A They range in size, have shallow enclosures, note that amp specs given as “continuous”
few include features like flat-panel dia- and sound best when resting against the or RMS are less likely to be inflated than
phragms or pivoting tweeters. Placement wall. Wall interaction (even when it’s those given as “peak.” A few models have
is crucial, so leave the installation to a deliberate) is problematic. You may prefer user-adjustable equalization that’s designed
professional custom installer with a thorough in-wall or other speaker types over on-wall to overcome bass bloat. For more even,
knowledge of acoustics. designs. powerful bass, you can use more than one
sub.
Build Quality
LOUDSPEAKERS HIGH END Most manufacturers make speaker
enclosures beyond a certain size out of MDF.
Atlantic Technology 8200e Paradigm Whether it’s covered with vinyl or veneer is
Speaker System, $7,530 Reference more a question of appearance than sound.
as reviewed Signature S8 Don’t be ashamed about wanting attractive
The 8200e communi- Speaker System,
$15,195 as fit and finish. Along with size, it might be
cates weight and scale
reviewed a deal-making or -breaking distinction.
at hushed, late-night
volume levels. That The Reference Smaller speakers are often made from plastic,
sort of sonic dexterity is Signature S8 which has its own inherent characteristics to
what we always want system delivers try to manage.
but don’t always get. dynamics with aplomb, and the seamless imaging To prevent sound waves from enlivening
This time, we have the best of both for an MSRP from speaker to speaker is a testament to its de- resonances in the enclosures, good designers
of less than $8,000 for the complete 5.1-chan- sign. The Signature series sounds effortless at any use a variety of design techniques, including
nel speaker system. playback level and provides breathtaking imaging internal bracing, thicker materials, or
Reviewed July 2007 and incredible dynamics. multiple layers of MDF and other materials.
Reviewed January 2009 Designers may also ditch the rectangular
Thiel SCS4 Speaker solid for a curved surface, which helps
System, $8,350 as Pioneer S-2EX
reviewed Speaker System, prevent internal standing waves from
$17,500 as developing.
The SCS4 produces
reviewed
spacious soundstag- Most speakers use two or more drivers
Pioneer ranks
ing with supurb with an internal crossover. A two-way
among the
depth, width, and speaker includes a tweeter and a woofer,
top of speaker
height independent while a three-way adds a midrange driver
manufacturers
of the speakers and an extra crossover. Driver diaphragms
with its EX speakers. It earns its stripes with
themselves. The Thiels sound so natural, it’s as may be made from a variety of materials,
smoothness, spatial definition, and an ease of
if the speakers aren’t there at all. each with its own merits. Drivers may use
listening that is both comforting and addictive.
Reviewed April 2008 domes (most tweeters), cones (woofers), or
Reviewed February 2007
flat diaphragms.
Sonics Amerigo
Speaker System,
Monitor Audio Tweeters are often recessed into
Platinum PL300 waveguides that affect dispersion. A shallow
$10,095 as
Speaker System,
reviewed $25,650 as
waveguide allows wide dispersion; a deep
If music is an reviewed one reduces side-wall and ceiling interaction.
important part We’d never Horned speakers often reduce dispersion
of your home recommend that anyone buy speakers sound even further and are usually very efficient—
theater viewing and/or listening experience, unheard. But we do recommend a serious they’ll potentially enable your system to play
this is an easy-to-recommend system. Proceed audition of the Platinums if you’re shopping for louder.
with caution, however. Once you hear a truly the best. Even if you’re only able to audition the All other things being equal, larger
high-performance system like the Sonics PL300s alone in a two-channel setup and like woofers produce lower bass. However, size is
Amerigo, you might not want to settle for what you hear as much as we did, you’ll be in not the sole determinant of bass extension.
anything less. heaven with the full surround package. Cabinet volume plays a role. So does the
Reviewed February 2010 Reviewed October 2009 surround, which holds the outer edges of the
PSB Synchrony One
driver, as well as the magnet, which propels
Revel Ultima2
Speaker System, Salon2 Speaker it, not to mention the designer’s intention.
$10,700 as System, $45,993 Ports may enhance bass response at a certain
reviewed as reviewed frequency: make sure they’re never blocked
These speakers The Revel by placement (although you may plug them
sound warm Ultima2’s to reduce bass at that frequency).
but not muddy, sound is warm, If you want a sub-less system, scan our
and clear but extended, and vibrant. It reveals the complexity measurement charts for rolloff curves.
not brittle or harsh. The Synchrony One is of the human voice as perfectly as the mechani- Room acoustics and placement can strongly
yet another excellent speaker system from a cal gyrations of a grand piano. Whether listening
company and designer that really knows what
influence bass response. If possible, assess
to vinyl in stereo, or watching the latest action
it’s doing. these things before you buy. Read speaker
movie on Blu-ray, the experience is always
Reviewed December 2007 rewarding.
manuals, often available online, to find
Reviewed July 2009 how far from the wall you should place the
product.

IN-WALL/ON-WALL & SOUNDBAR SPEAKERS

IN-WALL/ON-WALL SPEAKERS Pioneer Elite EX Series S-IW691L Definitive Technology
In-Wall Speaker System, Mythos SSA-50
Atlantic Technology IWCB-626 $10,197 as reviewed Soundbar, $1,099
In-Wall Speakers, $875/each The Pioneer Elite EX S- This is one of the
The Atlantic Technology IWCB- IW691L speaker achieves best-sounding
626 ranks high on our in-wall list uncommon results. single-cabinet
of favorites. It reproduces stereo You can cram all of the systems we’ve
and multichannel music with a available technology heard to date. It sounds just as good when
sound quality that’s more com- into a speaker, but the real test is listening in you watch action-packed Hollywood block-
parable to a freestanding model real-world conditions. In this case, the Pioneer busters as it does with more intimate two-
than a typical in-wall speaker. in-wall speakers aced the exam. channel music. If you can’t deal with a full
Reviewed September 2007 Reviewed June 2009 speaker setup, this is the soundbar for you.
Reviewed August 2008
Sonance VP89 In-Wall Speakers, SOUNDBAR SPEAKERS
$2,850/pair Denon DHT-FS3
Sonance’s Visual Performance Soundbar, $1,199
VIZIO VSB210WS High
series in-walls are a good Definition Sound Bar When you con-
choice for a multiroom audio Speaker System, $350 sider the whole
system or as a complement to If you want to spend package of price,
a flat-screen display. We loved $350 to improve over aesthetics, setup,
their crisp, clean, detailed built-in TV speakers and features, the
sound with both music and and you don’t want DHT-FS3 strikes a
movies. The included clamps and tabs make to buy an A/V receiver, this soundbar and sub nice balance among all of the elements that
them a breeze to install. combo gets a lot of mileage out of that modest the general consumer will appreciate.
Reviewed September 2008 investment. It may be the ideal solution for a Reviewed April 2008
bedroom—or a bunch of bedrooms.
Paradigm Millennia Reviewed July 2009 Polk SurroundBar
Speaker System, 360 DVD Theater
$4,444 as reviewed ZVOX Z-Base 550 Soundbar, $1,200
This speaker is Single-Cabinet It’s safe to
at its best right Surround System, say that Polk
$400 Audio’s Sur-
where it counts,
All in all, we roundBar 360 DVD Theater is the most original
in the musically
were impressed by this system. If you’re tired and effective approach to one-speaker bar
sensitive midrange, and the sub takes up
of your TV speakers and want the simplest systems we’ve experienced. It boldly goes
the slack in the bass department. These are
possible solution with the best sound we’ve where no soundbar speaker has gone before.
among the few wall-huggers that sound not
heard under those circumstances, this is your Reviewed January 2009
just good but great.
ticket.
Reviewed November 2007
Reviewed April 2009 Phase
Paradigm Millenia 20 Technology
Hybrid Speaker System, ZVOX 425 Teatro PC-3.0
$5,281 as reviewed Soundbar, $600 Speaker
The Hybrids sound If you’re look- System, $2,400
as reviewed
great and are a slick ing for some-
thing simple It impressed
visual match for
and automatic us that the Teatro can produce a front soundstage
the latest ultra-thin
to hang on as refined, intelligible, and just plain great-sound-
HDTV. We would be
the wall with a flat-panel TV, or you have to ing as any other bar out there. It even competes
hard-pressed to rec-
recommend a system to a relative or friend effectively with high-quality conventional speaker
ommend a better-looking, better-sounding,
who will call you for help whenever he or she packages in that respect. This is one bar a guy
and more affordable speaker system to match
can’t figure out how to operate the system, could like walking into.
an ultra-thin HDTV.
this one should be on your short list. Reviewed May 2009
Reviewed January 2010
Reviewed July 2008
Specs odd number, it’s equivalent to 1 watt into Impedance affects how a speaker inter-
We measure and chart frequency response. an idealized 8-ohm speaker. In an average acts with the amplifier it is connected
Peaks and notches indicate the natural room with speakers rated at 86 dB or higher, to. A lower number means the amp will
response of the drivers, effects of cabinet most A/V receivers can produce a satisfying have a tougher load to drive. Although
diffraction, crossover-related anomalies, and volume level. When you specify in-room manufacturers typically give a single
other quirks. A tolerance of +/–1 decibel is efficiency, room reflections and boundary number for nominal impedance, it varies
remarkably tight, while a tolerance of +/–6 gain boost the speaker’s output, which according to frequency. The listed nominal
dB is less so. increases the rating by 2 or 3 dB for the impedance is, for the most part, a rough
We also measure sensitivity, which same speaker. If you have a big room, you guide. An impedance of 6 to 8 ohms should
indicates how many decibels of sound don’t necessarily need bigger speakers. be compatible with almost any receiver. An
pressure a speaker musters in free air with Instead, you need speakers that are impedance rating of 4 ohms or lower calls
a 2.38-volt signal from 500 hertz to 2 optimized for a balance of sensitivity and for an appropriately rated receiver or power
kilohertz, measured from a distance of 1 output capability, and often more potent amp, especially if you run the speakers full
meter. While 2.38 volts may sound like an amplifiers, as well. range.

Accessories and Connectivity do re-route the back-surround (sixth and Listen for spatial character. The best
If you don’t mind placing your compact seventh) channels, if unused, to biamplify speakers—even in just a stereo pair—can
speakers a few feet out from the wall, you the front left and right speakers. Speakers produce a convincing left-to-right sound-
should invest in stands. Even a cheap that have dual terminals usually come with stage, with front-to-back depth as well.
particleboard stand serves the crucial detachable bridges, so you’re not obligated Surround sound adds depth, which turns
function of keeping the tweeters at ear to use this feature. the soundstage into a soundfield. The
level. You can fill some stands with sand The amount of vital current-carrying soundfield should feel wide and deep
to make them more acoustically inert. material (e.g., copper or silver) and con- and extend beyond the outer limits of the
Spikes or cones help couple the stand to struction quality can vary widely among speakers. If panning sounds uneven, left
the floor. This option helps level the speaker cables. Make sure anything you buy to right or front to back, the speakers are
speaker and gives it a stable, less resonant is at least 16-gauge or lower (lower means not well matched.
foundation, but it does little to stop thicker) for short runs. I recommend using The wider the dynamics, the better. When
transmitting bass frequencies to your 12-gauge or lower for long runs. a good amp drives good speakers, the sound
downstairs neighbors. doesn’t compress or break up at powerful
Manufacturers usually use binding posts Listening peak moments. Great speakers work equally
as the speaker terminals. Carefully inspect You need only two crucial qualifications well at low-level resolution. They make a
the construction quality of speakers with for listening. One is your physical ability to whisper audible and generate a palpable
spring-loaded wire clips since these signal- hear. And the other is your perception of soundfield, even at low volumes. A great
stranglers break easily. Although binding what you hear. Never leave home without pianist once observed that the best pianos
posts vary in construction, most accept them. Having established that, be confident create a convincing pianissimo. The same is
bare wire tips, hook-like spade lugs, banana in your listening ability. Human hearing true of speakers.
plugs, or pin connectors. Bare wire is the varies. Not only do individuals hear Part of listening involves feeling, a
most direct connection. The only draw- differently, but training and experience process that involves both conscious and
back is that exposed copper corrodes over influence how we perceive what we hear. subconscious thought. Trust your instincts.
time. You can always restrip it, but gold Really, you are the sole authority on what They may be a step or two ahead of what
connectors resist corrosion. satisfies you. you’re consciously pondering. Watch out
A speaker may have an extra pair of The most common listening mistake is to for fatigue and boredom. Either one can be
binding posts, which enable biwiring or ignore the midrange in favor of splashy highs a serious warning sign.
biamplification. Biwiring gives the low and and powerful lows. Then you’ll end up with a More so than many other products, you
mid/high sections each a direct path to the sizzle-and-boom system. The most important must extensively audition speakers before
same amp channel, resulting in improved stuff lies in the middle, where your hearing you commit. You should either bring a lot
damping and other subtle improvements. acuity is concentrated. Is the midrange peaky of familiar material to the listening room
You can achieve more robust dynamics with or recessed? Do voices sound natural, or do or be certain that you’re getting a money-
biamping, in which a separate amp channel they sound nasal, congested, shrill, tubby, back guarantee. Believe in your hearing,
serves each driver. This puts you in rack-full- or veiled? Does dialogue sound consistently and the rest will follow.
of-amps territory. However, some receivers intelligible?
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Speakers: Where Do
I Put Them?
Getting the Most Out of Your Sound BY Darryl Wilkinson
• Paradigm SUB 25
Subwoofer
• B&W CM9
Speaker System • Klipsch P-27S Surround
• Revel Ultima Studio2
Floorstander
S everal years ago, I set up my current home theater room. While it wasn’t scheduled to be equipped with
multitiered stadium seating, faux Art Deco design, or a popcorn machine, I did have the luxury of setting
it up strictly for movie and music listening. It didn’t need to be compromised to serve any other purpose.
Even before I started to set up my projector, I began by finding the best place for the speakers. But there was
one important limitation: The speakers had to be far enough apart that I could place my 78-inch-wide projec-
tion screen between them. Not at all coincidentally, the choice of screen size was partially influenced by the
spacing that good two-channel music listening requires.
Of course, not all of you will a couple of feet away from the subject, which can be found at often good starting places to
have this luxury. But the place- front wall and a similar (but not UltimateAV.com. Without going determine speaker and listener
ment of the speakers and the identical) distance from the side into the depth of detail that placement. Position the speakers
placement of the listener affects walls. (This does not apply to Herschelmann presented, here are away from your walls at a distance
the sound you’ll hear. While in-wall and on-wall speakers, a few suggestions that are inspired that’s a multiple of thirds or fifths
necessity may require that you set which I won’t address here.) by his articles: of the room’s dimension in that
up the speakers close to walls, A few years back, home theater direction. For example, if a room
they will nearly always sound designer Russ Herschelmann General Placement Tips is 20 feet long and 15 feet wide,
better if you position them at least wrote several columns on this • The rules of thirds and fifths are locate the left and right front

speakers 4 feet (one fifth) from that the distance between the two aren’t designed to be used in a performance everywhere, but
the wall behind them and 3 feet speakers is equal to or preferably a bookshelf at all. Instead, they your family and friends will thank
out (one fifth) from the left and little less than the distance from work best when you place them you anyway.
right side walls. Then, locate the each speaker to the listener. For upright on good (extra-cost)
main listening seat 4 feet from the instance, if your speakers are 7 stands and place them a couple of • If there’s a deep, big-screen
wall behind the listener (12 feet feet apart, a distance of 8 to 9 feet feet or more away from any TV between the left and right
from the plane of the front from each speaker to the listener nearby walls, including the wall front speakers, try to move the
speakers) or 8 feet from the wall is excellent. You should avoid set- behind them. speakers out far enough so that
(8 feet from the front speakers). ting the speakers farther apart their front baffles are further
than the distance from each • Set up the speakers so that forward than the plane of the TV
• Try displacing the center speaker to the listening position. their drivers are aligned vertically. screen. This shouldn’t be difficult
speaker just a bit from the center This will provide the smoothest if you follow the recommenda-
of the room dimension. That is, • I recommend that you place off-axis response. Horizontal tions above in regards to keeping
instead of locating it 7.5 feet from the speakers at least 7 feet apart center speakers are an exception, the speakers away from the walls.
each side wall of a 15-foot-wide for any listening position that will but this arrangement can com- If you keep the speakers as far
room, locate it 7 feet from one be 10 to 12 feet from the screen promise the performance. The away as possible from a TV, this
wall and 8 feet from the other. Yes, of a one-piece television and no horizontal driver configuration will minimize acoustic reflections
this will slightly disturb the setup’s more than 10 feet apart. For a in most center speakers is driven from the screen.
symmetry, but it could result in front-projection setup, you should by aesthetic and marketing con-
smoother response from the position them no more than a siderations, not the best sonic • If you’re using a CRT TV,
center speaker. foot or so to the left and right performance. make sure your front speakers are
sides of the screen. magnetically shielded. For a
• If at all possible, avoid locat- • Many audiophiles like to set modern digital television, such
ing the main listening seats up • Many people sit too far from up their two-channel systems shielding is irrelevant.
against a wall. Because of a their TVs and speakers. For a with the left and right speakers
well-known room effect (stand- 7-to-9-foot speaker spacing, I aimed straight ahead. Some (but Surround Speakers
ing waves), low frequencies are recommend that you sit at least 8 not all) two-channel setups sound • Make sure you put your sur-
emphasized near a wall. This to 12 feet from the speakers. If better this way. This is fine for a rounds along the side or rear of
listening position will seriously you sit too close, the sound from single listener, but it can be a your room. In particular, if you
compromise any attempt at each of the speakers’ drivers may disaster for several people have a small HTIB system, don’t
smooth, well-balanced bass. not gel properly into a coherent watching a movie. If you’re seated be tempted to forget the sur-
whole. If you sit too far away, in front of the left speaker, it will rounds. The ambience and sense
Front Speakers you’ll hear too much of the fire right at you. On the other of space that properly positioned
• Sure, you will have a center- room. If you’re really unlucky, hand, you’ll be so far off axis of surrounds can provide can be
channel speaker, but don’t use this you’ll hear an amorphous blob the right speaker that you’ll rarely even more impressive in an
as an excuse to put the left and of sound rather than a well- be aware of it. For a more uni- otherwise modest speaker setup
right speakers 15 feet apart. To defined soundstage. formly distributed soundstage, try than in a state-of-the-art system.
provide the best combination of to aim the left and right speakers
stereo spread, imaging precision, • Compact speakers are often directly at a centrally located lis- • Place dipole surrounds
and coherence with the picture, a referred to as bookshelf models, tening seat, or even at a point in directly to the sides of the main
good rule of thumb is to position but that designation is misleading. space a couple of feet in front of listening seats. For other types of
the left and right front speakers so Most serious bookshelf speakers it. You won’t achieve perfect surrounds, 110 to 120 degrees
back from the front is recom-
mended as the best location for a
5.1-channel system. But don’t be
bound by convention. If your
room is fairly narrow, you may
find that side or near-side mount-
ing makes the surrounds too
prominent. Try moving them
further back.
Subwoofers
• I could fill an entire book with
advice on subwoofer placement.
Suffice it to say, you can’t just
plunk a subwoofer down
anywhere and expect to get the
best from it. Experiment. Try
different locations and live with
each of them for a while. Listen
for smooth, uniform response and
good low-frequency extension
without boom or one-note bass.
Some rooms will resist a good
result more than others, but after
a time, you should be able to
arrive at a satisfactory setup in
nearly any room.

Configuring
Speakers
Optimizing your sound, one step at a time.
BY Thomas J. Norton
G
etting all the pieces for that new system into your room is just the first
step to home theater bliss. You’ll need to set up the A/V receiver’s
inputs, position the speakers, and configure the AVR’s speaker adjust-
ments for balanced sound before you get to movie time. I’ll frequently refer to
your AVR, but the steps will be identical for a separates system with a surround
processor and power amp.
Configuring the system isn’t as complicated as many owner’s manuals make
it seem. Most AVRs guide you through the operation through their onscreen
setup menus by breaking the process down into organized, manageable steps.
The process is basically the same for all systems: connect and set up the
sources, connect and position the speakers, and set the A/V receiver’s speaker
configuration controls. A growing number of A/V receivers also add auto-
mated setup and sophisticated room equalization to their list of features.
Source Setup in the menu, or you may find that sources to the connected input location (for a 5.1-channel setup)
In some A/V receivers, source when you select the input, you get when you set up the receiver (as is generally 110 degrees from the
setup is intuitive. You connect audio but no video—or vice versa. in the above example, Blu-ray to center speaker (to the left and
your DVD player to the DVD If you want to listen to the new HDMI), and you’re good to go. right and just slightly behind the
input, your TV to the TV input, high-resolution lossless audio But with older sources, such as an main listening area). However, in
your satellite box to the SAT soundtracks that are found on old cable box that lacks an HDMI some rooms, you may need to
input, and so on. However, some most Blu-ray Discs—Dolby output, you’ll have to use separate position them further to the rear.
receivers may not label their TrueHD, DTS-HD Master Audio, audio and video connections. You should locate the
inputs as DVD, SAT, TV, AUX, and multichannel PCM—you Some audiophiles argue that a subwoofer in the position that
etc., but rather AUX 1, AUX 2, must use either multichannel two-channel CD coaxial (not produces the deepest, tightest,
Digital 1, Digital 2, Component 1, analog connections from the optical) digital link sounds better most well-defined bass possible. If
Component 2, HDMI, etc. These player to the receiver (six separate than HDMI, but that’s a contro- you haven’t determined this
receivers will ask you to designate analog leads) or an HDMI link. versial discussion for another location yet—and most newbies
which source you have connected The old optical and coaxial digital time. have not—the process can involve
to each of these inputs. For inputs can only carry two-channel a lot of trial and error. For your
example, you might connect your (stereo) PCM digital or multi- Speaker Setup first try, choose a promising
satellite receiver to Component 1 channel as old school (lossy I’ll assume that you’ve properly location; a common recommen-
and your Blu-ray player to HDMI. compressed) Dolby Digital and positioned your speakers. (See dation is between the center and
In most cases, the receiver will DTS. Darryl Wilkinson’s “Speakers: right front speaker. If this doesn’t
then let you rename these inputs Some Blu-ray players offer Where Do I Put Them?” feature work as well as you’d like, move
so that its front-panel window will multichannel analog audio on page 30.) That means the left the sub around the room (with
read Blu-ray and SAT instead of outputs. But HDMI is the way and right front speakers flank the appropriate readjustment of the
HDMI and Component 1. to go if you want the best screen symmetrically and are far level, distance, and other setup
For analog video sources high-resolution audio and video, enough apart to produce good controls in your AVR each time)
(composite, S-video, and not to mention the easiest separation but close enough until you find the best spot.
component), you’ll not only find connection. HDMI can carry together that there’s a center Selecting the optimum location
video jacks but also a choice of both audio and video from the image and no hole in the middle for the subwoofer is an art. Books
audio inputs, either analog or source to the receiver on a single when you listen to two-channel have been written about it (well,
digital (optical or coaxial). Make lead. You simply connect an stereo. The surrounds will be many thousands of words at
sure that you assign the audio and HDMI cable between each source positioned behind the listener. least). Many of you will be
video to the same input selection and the receiver, assign the The recommended surround perfectly happy with the first

location you try. The location is menus. Selecting large allows the generally recom- make odd choices for the
usually influenced by practical speaker to operate full range. mend the analog size of the individual
room considerations, not to Small redirects the speaker’s bass version—it’s only speakers in the system. An
mention the demands of your below the crossover frequency. If slightly cheaper but auto system might classify
in-house interior decorator! you have a subwoofer, the bass for easier to use. Hint: your L/R speakers,
Others will fuss for weeks for that the speakers designated as small is Set the meter’s capable of flat response
last ounce of bass magic. That’s up redirected to the subwoofer. If response to slow only down to perhaps 60
to you. not, it’s redirected to the speakers operation and Hz, as large. But it has
that you’ve designated as C-weighting. no way to know that
Speaker Configuration large—most often these are the Most A/V receivers these speakers will
Once the speakers are in position, left and right front speakers. Some now offer some form overload easily with a
you’ll need to set up the system to receivers complicate this by of automated, onboard high-level, 30-Hz
account for a number of factors, offering the option to redirect setup and equaliza- RadioShack Analog Display
signal. It might do the
including the distance of each bass to both the subwoofer and tion, together with Sound Pressure Level Meter same with the center
speaker from the listener, how the large speakers. We don’t a microphone. The channel or the
much bass you want each speaker recommend this option, since it effectiveness of this feature var- surrounds. While the auto setup
to carry, how you want to redirect often leads to muddled, over- ies from receiver to receiver, function can be a blessing, it’s no
the bass, and what each channel’s blown bass. particularly in the low frequencies miracle. A little intelligent
playback level is. Most (but not all) A/V where room compensation is oversight is needed. If you want to
For this discussion, we ass- receivers offer a range of crossover most needed. Some receivers use drive all of your main speakers as
ume that you’ll perform these frequencies. When in doubt, 80 their own proprietary algorithms, small, just go into the menus after
adjustments in your AVR. Many hertz—the frequency that THX while others use third-party tech- the auto calibration is finished
disc players, both DVD and often uses—is always a good place nologies. Of the latter, the best and change the settings as you see
Blu-ray, also offer setup for these to start. It works well with most known and most widely used is fit. The same applies if you want
parameters. Most often, these speakers. In fact, just because Audyssey MultEQ. the surround levels a little higher
only affect a player’s analog audio some of your speakers are full There’s no guarantee that you’ll or if you want the subwoofer level
outputs. If you must use a range, with very good bass like the results of auto equaliza- a little lower. All of the receivers
multichannel analog connection response, doesn’t necessarily tion, but if your receiver has this we know of let you adjust
from player to receiver, configur- mean that you must designate feature, you’ll at least want to try it the individual channel
ing the player may be the only them as large, or even that this out. The actual setup will vary levels even after an
way to dial in the settings for that will be the best choice if you have from receiver to receiver, but the automated calibration.
source. Most receivers’ multichan- a subwoofer. You can select small procedure is (usually) clearly
nel analog inputs offer little more for those bass-capable speakers as described in the owner’s manual There’s More?
than level adjustments. But for all well and let the subwoofer handle and easily defeatable if you don’t There’s a wide range of
other inputs, the receiver’s setup is all the deep bass—a setup that care for the result. additional features on
by far the best way to go. In fact, many of us prefer. Even speakers Many receivers also offer many receivers. Just a few
most of you are unlikely to use the that offer more than sufficient manual equalization controls. But of these are the ability to
multichannel analog inputs at all. bass for music can be overloaded unless you know what you’re choose different
Most subwoofers have their with the bass from action sound- doing and have the right test tools, crossover frequen-
own internal crossover networks tracks played back at high levels. setting equalization by ear, cies for each
to roll off the bass to the sub particularly in a multichannel channel, various
above a selected frequency. Distance, Levels, and system, is a recipe for sonic forms of
However, since you’ll use the Equalization garbage. The auto system will dynamic
receiver’s setup menus for this, The distance adjustments simply almost always do a better job. volume and
you should set the subwoofer to tell the receiver how far away the dynamic
Audyssey Set-Up Mic
bypass its own crossover. Some main seating position is from each Automatic Audio equalization,
subs might also have a separate, speaker. This ensures that the Calibration cross-converting all video sources
unfiltered input for this purpose. sound from each speaker arrives Some form of automatic audio to a single HDMI or component
If the sub doesn’t let you bypass its at the listening position at the calibration is now almost output, built-in video processing,
own crossover network, you same time. Measure the distance universal in A/V receivers. All you different setups for multichannel
should set it to the highest from your favorite seat to each need to do is set up the included and two-channel operation,
possible frequency so that it speaker and enter these values microphone at the main listening different ways of treating the LFE
doesn’t interfere with the receiver’s into the menu. seat, engage the auto setup feature, channel (the .1 channel in a
crossover. All AVRs provide a test signal and go make yourself a sandwich. 5.1- or 7.1-channel system), and
Many receivers use the that circulates from channel to The receiver generates a set of test multiple zones of operation.
designations “large” and “small” channel, along with controls to tones that determine all of the These features vary signifi-
for each speaker in their setup match the levels of each channel. important speaker calibration cantly from one design to another,
You can either level-match settings: size, delays, levels, and, but they are rarely crucial to the
by ear or with a sound sometimes equalization as well. In basic setup. They sometimes
pressure level (SPL) meter. receivers that combine auto clutter up the setup menus, but
Setup by ear is a quick and equalization with auto calibration, you can usually ignore them until
dirty option that can work you can generally defeat the you become familiar with your
reasonably well, but an SPL equalization after setup, if you A/V receiver’s basic operation.
meter is far more accurate. prefer, while leaving the other When you’re ready, feel free to
There are a number of calibration settings intact. The experiment with one or more of
sources for these devices. only thing left for you to do is these advanced features, knowing
RadioShack offers both make the popcorn. that you can always defeat them
analog and digital SPL Well, almost the only thing. later and go back to your first,
meters for under $50. We These automatic systems often trusted setup.

Pushing 3,000 watts of continuous power (7,500 watts Dynamic Peak)
Bass
SUB 25 unleashes room-pounding bass accurate to a gruelling 9 Hz! In
an average listening room, it can reproduce an incredible 125 dB without
audible distortion. And there's the rub … the 'average' listening room.
Even when the world's finest subwoofer is perfectly positioned, room
dimensions, dead spots, archways, even furniture can turn the room into
an additional instrument playing alongside musicians or movie scores
How deep is your love? with unwanted coloration and resonance. Bass sounds boomy with poor
definition. You have the perfect sub, in a less than perfect room.
You can pad the walls, trap the corners, remove the furniture, or you can
let Paradigm's optional Perfect Bass Kit (PBK™) tackle the problem.
Based on research conducted by the National Research Council, PBK™
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that response through scientific calculation!
© Paradigm Electronics Inc.

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Paradigm's Perfect Bass Kit™
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BRINGING THEATER INSPIRATION INTO YOUR HOME
PALISADES PARADISE pg.36

Technology serving design.

INSTALL
Palisades Paradise
TECHNOLOGY SERVING DESIGN.
www.
ww
www.storemags.com
w.st
w. stor
storem
or emag
emags.
ag s.co
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www.
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fa ntam
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.com
DESIGN
BY Kim Wilson
PHOTOS Mark Schafer and Marc Stewart
omeowners love the convenience that technology provides, but
H many prefer to keep its presence at a minimum. Such was the

case for this beautiful Southern California home in the upscale
Pacific Palisades area. “This project had a good-sized budget of $100,000
to provide wholehouse distribution of audio, video, phone, and data,” said
Mark Schafer, president of Los Angeles–based Custom LA. “Still, we
encountered a few challenges, such as the family room, where the client
wanted a completely invisible home theater in a wide-open space.”
The client’s request for a home theater that would be out of sight when
not in use required a special lift and cabinet in the family room. Custom LA
worked closely with the cabinetmaker, Design Support, Inc., to create a
contemporary piece of furniture that could house a large Samsung 63-inch
flat-panel HDTV, Artison Portrait LCR loudspeakers, a Sunfire True Sub Super
Junior 8-inch powered subwoofer, Marantz five-disc CD changer, and a
Samsung Blu-ray player. The team installed additional surround speakers in
the ceiling. The result is decidedly retro. It hearkens back to the days of
console TVs, where all the componentry was in a single decorative cabinet.
The master bedroom also has a cabinet at the foot of the bed, which is
designed to conceal a 40-inch LCD HDTV on a lift. A two-zone Marantz SR-
COVERT OPERATION
8002 A/V receiver with HD switching feeds both the master bedroom and There’s more to this
the main theater in the family room. The Marantz receiver, along with an room than meets the
eye. The non-traditional
Apple TV, a dedicated DIRECTV H21 HD receiver (for XM Radio), and a Para-
family room features
sound Ztuner (for AM/FM) are located in the main equipment rack located a custom cabinet that
in the garage. The rest of the rooms have dedicated DIRECTV receivers and holds a Samsung
63-inch flat panel,
distributed audio via a Sonance C4630 SE home audio system. The guest
Artison loudspeakers,
room has its own small system, which includes an LG 32-inch TV/DVD and a Marantz five-disc CD
a DIRECTV receiver, which is connected to its own auto switching amp. changer, and more.
Home Theater Design February 2010 / www.hometheaterdesignmag.com 37
www.
ww
www.storemags.com
w.st
stor
storem
or emag
emags.com & www.fantamag.com
ag
INSTALL
DESIGN
An RTI system controls all of the equipment. The family room was While the home is technically a remodel, 70 percent of the house was
outfitted with a T4 universal controller that has a 6.4-inch screen and was reconstructed under the supervision of contractor Bill Morris and designed
programmed to operate both the local and wholehouse systems. by Steven Reiman Designs. The whole project took close to a year and a
Individual T2-C handheld universal controllers (for local control) are located half to complete. From the beginning, it was a conscious design decision to
in the master bedroom, the offices, the sitting room, and the gym. Two have a fully integrated wholehouse A/V system, plus a dedicated home
RK3 in-wall universal controllers (with 3.5-inch screens) were installed in theater. In spite of all the systems that are throughout the house, very little
the bar and kitchen. All of the remotes are attached to a single RTI XP-8 is actually visible at first glance.
remote control processor installed in the main rack, along with the “We were extremely lucky to work with people that had a great sense
Sonance six-zone wholehouse audio system and a Vantage lighting of design and shared our attention to detail,” concluded Schafer. “Our
system. systems are always designed with ease of use as a top priority, and we’re
only satisfied when the customer loves it. The ability to install a system
like this is a privilege.”
CONTACT Custom LA, Inc., (323) 876-3130, customla.com
SLIP AWAY KIM WILSON, HTD EDITOR

When not in use, Home Theater Design is dedicated to helping you
the flat panel in the navigate the specialty A/V waters, including working
bedroom (right) hides with custom installers, retailers, designers, builders,
and more. We go beyond the dedicated theater, and
in its own lift cabinet. show you how to integrate the newest technology
Even out in the open, into your entire home.
the streamlined
display on the kitchen READERS, WE NEED YOUR HELP!
counter (above) blends Are you a do-it-yourselfer or custom installer with a
great theater to share with our readers? We’d love to hear from you. Please send
organically into its sur-
your stories and photos to kim.wilson@sorc.com.
roundings.
38 Home Theater Design February 2010 / www.hometheaterdesignmag.com

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VISIT THE “HOW WE TEST”
link on our Website for a detailed
explanation of our testing regimen
and a list of our reference gear.
HomeTheaterMag.com
OUR GEAR... HIGH END P42-48

• Home Theater’s test bench uses state-of-the-art
instruments, and our testing regimen is the most
rigorous in the industry. Our strict methodology
ensures that the gear we review can meet the highest
Sony BDP-CX7000ES Blu-ray Disc
MegaChanger Dream machine? P42
standards of performance, a must for a component to
earn recognition as a Top Pick winner.
•• Audio Precision System Two 2532 Dual Domain

Fluke 189 multimeter
Sonics Amerigo Speaker System
German brew, U.S. bottle. P46
•• Leader LT-446 HDTV test generator
Leader LV5700A waveform monitor MIDRANGE P50-60
•• LG OS-9020A oscilloscope
LinearX loudspeaker measurement system
•• Minolta LS-100 luminance meter
Photo Research PR-650 SpectraScan colorimeter
B&W CM9 Speaker System
Well centered. P50
•• Staco variable transformer 3PN2210B (22-amp)
TecLab TWS-1510 test benches VIZIO VF551XVT LCD HDTV
LED for the masses. P54
RATINGS
REFERENCE
EXCELLENT
Boston Acoustics Reflection RS 260

GOOD
POOR
FAIR
HT’s product ratings are specific to the

product category and the price range of the Speaker System
component under review. Each component’s
PERFORMANCE
FEATURES ratings are specific only to its price range: Between VS and CS. P58
ERGONOMICS Entry Level, Midrange, or High End. For
guidance, each product’s price range is
VALUE
BUILD QUALITY designated in the Preview, on this page,
and at the top of its review.
ENTRY LEVEL P62-70
Paradigm Special Edition SE 1 Speaker
System Seeing Red in a new way. P62

Slick but affordable. P66
62
42 54
om
HIGH END
BY David Vaughn
Sony BDP-CX7000ES Blu-ray Disc MegaChanger

•
PRICE: $1,900 AT A GLANCE: Solid build quality Admirable Blu-ray and DVD playback •
Middling HD video processing Average load times •
Dream Machine?
S
ony’s foray into the U.S. chassis has the standard front- disc information and then access-
electronics market panel display, but the majority of es the Gracenote database for disc SONY BDP-CX7000ES BLU-RAY
DISC MEGACHANGER
began more than 50 the height is there to house the information. The finishing touch PERFORMANCE
years ago when co- carousel for the discs. Each of the on the front panel is a retractable FEATURES
founder Akio Morita 400 slots is numbered. Slot 1 is door that hides all 400 discs. ERGONOMICS
came to New York to sell a $30 reserved for rentals, and a conven- The rear panel includes one VALUE
miniature transistor radio. At the ient Rental Slot button on the HDMI 1.3a output with support
time, he attracted the interest of front panel queues up the for 48-bit Deep Color and x.v. (not included) for BD-Live fea-
Bulova, a watchmaker with a vast appropriate slot. Color (not currently supported by tures. I’m surprised a player in
retail network. Bulova offered to Other buttons on the front either DVD or Blu-ray). It also in- this price class doesn’t have the
buy 100,000 units under one panel include the usual suspects cludes an Ethernet port (required onboard memory that’s required
condition—Sony would have to (Play, Eject, etc.), plus it has a for Profile 2.0 players), a compo- for BD-Live, something that many
original equipment manufacture knob to select discs or search for a nent output, 7.1-channel analog lower-cost players include.
(O.E.M.) the radios, and they chapter/track/scene while in outputs, and more, including a The player internally decodes
would be branded and marketed Direct Search mode. It also has a recessed USB port to add the Dolby TrueHD and DTS-HD
under Bulova’s name. Amazingly, Disc Load button, which reads the required 1 gigabyte of memory Master Audio and outputs them
Morita went against his board of
directors’ advice and turned down
the deal. His 50-year goal was to
make the Sony name as popular
as Bulova’s. Through the strength
of his vision, Sony is now one of
the most recognized brands in the
world.
Within Sony’s brand is the
Elevated Standard (ES) line, the
premium end of the company’s
portfolio of products. Over the
years, the ES line of equipment
has included outstanding DVD
players, AVRs, and early in 2009,
two Blu-ray Disc players. Late in
the third quarter, Sony filled a
hole in the Blu-ray market by
releasing its second multidisc
changer, the $1,900 BDP-
CX7000ES MegaChanger. (The
first, Sony’s $3,500 HES-V1000
Home Entertainment server is no
longer available.)
Look at the Size of That Thing

To say the BDP-CX7000ES is the
biggest Blu-ray player I’ve ever
seen would be an understatement.
This baby is massive at nearly 10
inches tall. Granted, in order to
store 400 of your favorite Blu-ray
Discs, DVDs, or CDs, you’ll need
something larger than your typ-
ical player. While it’s large, it cer-
tainly isn’t ugly. The top of the

SONY BDP-CX7000ES BLU-RAY DISC MEGACHANGER
(not tested), and permission for
Internet access. Finally, it has a
Quick Start Mode, which puts the
Features
player in a suspend mode versus a SONY BDP-CX7000ES BLU-RAY DISC
complete power off. While this MEGACHANGER
uses more electricity, it speeds up BD-LIVE: Yes (storage not included)
the start time by 50 percent (25 BONUSVIEW: Yes
•
seconds versus 50). FIRMWARE VERSION: 15.1.006
Additional setup options are AUDIO DECODING:
available under Settings on the DOLBY: TrueHD, Digital Plus
DTS: DTS-HD Master Audio
XMB for both video and audio. HDMI VIDEO RESOLUTIONS:
The easy setup covers most of the 1080p/24, 1080p, 1080i, 720p, 480p, 480i
basics, but the video section offers COMPATIBLE PLAYBACK FORMATS:
additional options. It can force BD-Video, DVD, DVD-R/-RW, CD, CD-R/-RW,
1080p/24 output, set the HDMI JPEG, MP3 (Up to 320 kbps)
DIMENSIONS (W X H X D, INCHES):
color space, or turn off the Super
17 x 9.5 x 21.9
Bit Mapping feature (defaults to WEIGHT (POUNDS): 31.3
On). Unfortunately, there isn’t a PRICE: $1,900
• The Sony is one of the tallest BD Source Direct option for the video
players around, at about 10 inches. output as there is on other Blu-ray
players. This feature is a must if Once the player is loaded,
you use an external video proces- managing your library is very
over HDMI as PCM or analog User Interface and Setup sor so the player can output the intuitive. There are various search
from the 7.1-channel output. For Setup and navigation through the native resolution on the disc to options, and music and movie/
newer AVRs and surround menus is a breeze. Sony incorpo- have any video processing take video discs are separated under
processors with onboard rates the Xross Media Bar (XMB) place in the external scaler. Audio different headings in the XMB.
decoding, the player can send raw user interface that the PS3 and settings include speaker settings if You can scroll through them by
bitstreams from its HDMI 1.3a PlayStation Portable (PSP) made you’re using the analog outputs slot number, name, or release year.
output. However, you lose popular. The XMB includes four (Size, Distance, Level), BD Audio There’s also a Group Content
secondary audio with PiP as well icons (Settings, Photo, Music, and settings (internal or external mode, which organizes discs by
as the clicks and beeps in Blu-ray Video) with subheadings under decoding), and settings for the category (Title, Genre, Cast, and
Disc menus. each. A nice upgrade is the in- digital audio outputs (optical/ Director). When you sort your
clusion of thumbnails with cover coaxial). discs by one of these groups, the
art for inserted discs. However, Next up is disc loading, which Sony lays them out alphabetically,
they are so small that they’re is time consuming. If you load a and it’s lightning-fast to scroll
barely legible on my 76.5-inch- single disc, it takes the player through and locate the appropri-
wide screen. about 45 seconds to access Grace- ate disc. If you’re in the mood for
The included non-backlit note’s online database to down- a Western or comedy, you can
remote isn’t that great, and it’s load the box art and title infor- sort by genre and discover how
nearly impossible to use in a dark mation (based upon the metadata many films are classified that
room. The buttons are of various stored on the disc). I loaded 100 way in your collection. When
sizes, but the layout has one fatal discs of various media (20 CDs, I searched by Director, I found
flaw—one of the largest buttons 30 DVDs, 50 Blu-ray Discs), and 10 movies directed by Clint
on the remote is the Home key, the download took just over an Eastwood—each and every one
which is located directly below hour. While the database correctly damn entertaining too!
Enter. With one press of this key, identified every CD and DVD, it In the past, Sony has included
the player exits the movie and didn’t find various Blu-rays, such daisy-chaining capabilities for
brings you back to the XMB. On as Warner’s Willy Wonka and the connecting multiple changers,
more than one occasion, my Chocolate Factory and Spears & which would be a great conve-
thumb grazed it, which caused me Munsil High Definition Bench- nience if you have a massive
to utter an expletive or two while I mark: Blu-ray Edition. Addition- collection. Regrettably, this feature
waited for the movie to restart. ally, Star Trek VIII: First Contact hasn’t ported its way onto the
With the glacial loading of and Pirates of the Caribbean: The MegaChanger.
BD-Java-intensive discs, I wish Curse of the Black Pearl weren’t Two potential downsides to
there was an additional step that labeled in English, although the this changer are the lack of media
asked whether you really want to cover art was correct. You can streaming capabilities and Wi-
exit the movie. manually edit each disc to correct Fi. Wi-Fi and streaming from
When I first started the player, I any errors, but with the phone- Amazon, Netflix, YouTube,
was greeted with an Easy Setup style keyboard, it isn’t very user- Pandora, or from a home server
option, which sets the player’s friendly. An input for a USB key- have begun to surface in relative-
language, connection type board would be a nice upgrade. ly inexpensive players from
(HDMI for my testing), resolu- Overall, though, I was impressed several manufacturers, includ-
tion, aspect ratio, HDMI control with the database’s accuracy. ing Sony.
Photos by Cordero Studios
VIDEO LUMA CHROMA

3:2 HD 2:2 HD MA HD 3:2 SD 2:2 SD MA SD SCALING
CLIPPING RESOLUTION RESOLUTION
FAIL FAIL PASS PASS FAIL PASS PASS PASS PASS VERY GOOD

HIGH END SONY BDP-CX7000ES BLU-RAY DISC MEGACHANGER
Firmware updates are available for good measure, I spent the
over the Ethernet port, which you majority of my evaluation time
can configure to search manually with both features disabled.
or automatically upon startup. In
the time I’ve had the player, there Living With the Beast
hasn’t been an update, so I can’t One of the biggest complaints
determine how well it works or about Blu-ray players is their user
how long an update takes. experience and disc compatibility.
I lived with the MegaChanger for
Connections OUTPUTS: VIDEO: HDMI 1.3a (1), component
video (1), S-video (1), composite video (1) AUDIO: Optical digital (1),
Video Performance more than a month, and it played coaxial digital (1), 7.1 analog (1), stereo analog (1) ADDITIONAL:
The MegaChanger let me run everything I threw at it. While it’s Ethernet (1), USB (1), IR Input (1), RS-232 (1)
through my battery of test discs no speed demon, it’s not a sloth
without leaving the comfort of my either. Java-intensive discs are
couch. First up in my tests was slow—as they are with most soundstage, window-rattling bass, $5,000 and go up dramatically
1080i deinterlacing, and the players—but only the occasional and plenty of shipboard ambient from there, this MegaChanger
results weren’t great. While it disc seemed to trip up the player. sounds. is a bargain. And those other
passed the motion adaptive tests For example, disc one of Lost: The Animated Blu-ray titles look products can’t store Blu-ray Disc
(important for Complete Fifth Season just as impressive; Pixar’s Up and content on their hard drives—you
AVCHD material), it took 86 seconds to Monsters, Inc. delivered flawless have to put discs into the tray one
failed both 3:2 and 2:2 load, versus 50 in an picture quality. Vibrant colors at a time just like a standard
tests. Granted, there OPPO BDP-83. I don’t leapt off the screen, whether it was player. Granted, these other
aren’t a lot of 1080i know how much of the rainbow of balloons whisking systems bring different capabili-
discs on the market— this time was related Carl and Russell off to South ties to the table, but none offer the
in fact, in the U.S., to the carousel America or the impressive detail convenience of storing and
they’re mostly relegated spinning around to in Sulley’s fur. You’d be hard- managing your Blu-ray collection.
to concert discs. find the appropriate pressed to find anything that Living with the BDP-
However, for a player slot, so it’s nearly looks better. CX7000ES the past month has
in this price class, high impossible to The BD-Live performance given me a new perspective on the
expectations for video determine the exact works fine—once you spring convenience of a disc changer.
processing are a given. starting point. for a USB flash drive. The usual Although I can personally live
It does pass both above Non-Java titles loaded assortment of goodies down- without it, I enjoyed having a
white and below black, in just under a minute, loaded without any hassles. I’ve good portion of my library
and it resolves the full which is satisfactory. been very disappointed with accessible from one player, and I
luma and chroma Once you’re at the BD-Live up to this point, but can see people getting hooked on
detail from 1080p main menu, naviga- some new features are making the experience.
content. tion is speedy, and the their way onto the market. These If you don’t care about the
On standard- remote commands include Fox’s BD-Live Lookup storage and are willing to leave the
definition material, react instantly. and Sony’s MovieIQ, which access comfort of your couch to change
the player failed 2:2 Toward the end of IMDb for information as well as discs, better video processing is
content but passed my evaluation period, community screenings that will available in other players. But if
both 3:2 source and J.J. Abrams’ reboot of allow large numbers of people to you’re looking at this Mega-
edge-adaptive tests Star Trek arrived in the watch a movie at the same time Changer, that’s probably not you.
with ease. The opening mail, and I couldn’t and chat online during the movie. The BDP-CX7000ES offers
sequence of Star Trek: wait to take it for a Maybe this will help keep these Blu-ray performance at 1080p/24
Insurrection (DVD) spin. The Gracenote people out of the local Cineplex. that’s on par with the best we’ve
was jaggie free, as was server didn’t have this seen and very solid DVD
the coliseum flyover in title in its database, but Wrap Up upconversion, which makes it
Gladiator. The Sony’s I had the disc two Sony is currently the only attractive if you’re looking for
scaling performance weeks before street manufacturer of Blu-ray Disc large-capacity storage and
(480i to 1080p) is very date, so I’m not changers on the market, so if management and don’t want to
good; it nearly equals surprised. I compared you’re in need of one, your spend media server money.
the best Blu-ray players the Sony’s 1080p/24 options are limited to the ES
on the market. Its layer video output with my model or the lower-priced Sony • (877) 865-SONY •
change on DVDs is reference OPPO BDP-CX960 ($800). Compared sonystyle.com
Sony’s non-backlit
also very fast. The remote isn’t one of BDP-83, and I couldn’t with many current video server Dealer Locator Code SNY
player offers a variety the best. Its poor detect any difference products, many of which start at
of video enhancements, placement of the Home in picture or sound
and Enter keys can be
including an HD very frustrating. quality. Both were
Reality Enhancer, excellent. The picture is
which applies some artificial very natural and revealing. Every
sharpening to the picture, as well facial pore was visible, and the
as Super Bit Mapping, which intricate weave in the Starfleet
upconverts the standard 8-bit uniforms was clearly visible.
video signals from Blu-ray and Decoding the audio in the player
DVD to 14-bit. The first revealed no shortcomings with
enhancement adds some ringing the action-oriented Dolby
to sharp edges, and the second TrueHD 5.1 soundtrack. It
didn’t seem to do any harm. Still, features an active surround

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HIGH END
BY Michael Fremer
Sonics Amerigo Speaker System

PRICE: $10,095 AT A GLANCE: Bodacious, well-controlled bass Clean, effervescent high frequen- •
•
cies Room-filling, three-dimensional spaciousness even in two-channel mode
German Brew, U.S. Bottle

M
any home if you visit the Website of his The Sonics Amerigo
SONICS AMERIGO SPEAKER SYSTEM
theater longtime American distribu- The Amerigo was originally PERFORMANCE
enthusiasts may tor Immedia (immediasound. designed as a near full-range VALUE
be unfamiliar com). speaker for use in two-channel BUILD QUALITY
with the name, As the dollar slid relative to the systems. The reasonably compact,
but among audiophiles during Euro and domestic prices soared, three-way bass-reflex design the boxy side compared with
the 1990s, veteran German audio Gerhard and Allen Perkins, owner appears to be equally attractive some more elegantly turned
designer Joachim Gerhard of partner company Spiral in a surround sound system, designs. My review samples were
achieved near-legend status Groove, decided to move world- assuming you don’t place the finished in satiny book-matched
throughout the world for his wide production to America. The rear-ported speaker against a Zebra-wood. (Other veneer
extensive and remarkably varied drivers are made in Scandinavia, wall. options are also available.)
line of high-performance loud- the crossovers in Germany, and The handsome floorstander
speakers marketed under the the plugs in Australia. The is slightly more than 3 feet tall.
Audio Physic brand. Chinese-manufactured cabinets It’s made of birch plywood that
Gerhard was equally adept at are assembled in the U.S. This Sonics claims is more expensive
designing compact, two-way saves shipping costs—at least for and better sounding than MDF.
speakers and narrow-baffled, American dealers and buyers— It features a gently angled front
conventional, coned three- and reduces exchange-rate baffle that contains the midrange
way speakers that incorporated disadvantages. However, it driver and tweeter, which is said
side-firing woofers. He also remained to be seen if the high to give it a “degree of time align-
designed more exotic products, quality and workmanship of the ment.” An integral matte black
including one that used the European cabinetry could be stand mirrors the cabinet’s
unusual flat, star-shaped, “bend- maintained. shape. And metal posts do away
ing motion” Manger driver. with the usual baffle holes, which
Regardless of their design Do You Need “Audiophile gives the speaker a neat look,
concept, Gerhard’s speakers Quality” Loudspeakers in a whether or not you choose to use
excelled at creating an enormous, Home Theater? the grilles that attach to them.
free-floating, three-dimensional During the days of compressed The cabinet is superbly
soundstage that seemed to exist audio, you didn’t necessarily need finished, with softly radiused
independently of the physical expensive speakers designed for corners. It also features other
enclosures that produced the high-performance audio use. elegant design details that are
sound. A pair of relatively small Unless you were setting up a intended to produce a furniture-
Audio Physic Virgo IIs I once home theater that would also grade aesthetic. However, with its
owned had an almost supernatu- serve as a serious music-listening wide front baffles and mostly
ral ability to simply disappear, venue, you wouldn’t need parallel surfaces, this speaker is on
leaving a room-sized, three- speakers that were capable of
dimensional picture populated by ultra-high resolution, timbral
reach-out-and-touch-you solid accuracy, pinpoint imaging, and
images. One visitor exclaimed microdynamic excellence. Once
that it was “like looking at a the compressed audio glaze is
Viewmaster.” (Younger readers: applied to the picture, who cares?
Google “Viewmaster.”) These days, we have uncom-
Unfortunately, a serious illness pressed high-resolution audio
forced Gerhard to the designing formats on Blu-ray, both movies
sidelines, and he eventually sold and music discs like the192-
•
his company. A few years ago, kHz/24-bit Neil Young Archives

he returned to designing and Vol. 1. These can rival the sound
• The Sonics cabinets are
made of birch plywood and
marketing loudspeakers through quality of vinyl, so the more feature an elegant furniture-
his new company, Sonics by accurate the loudspeaker, the quality finish.
Joachim Gerhard. Again, the better. Glaze, hardness, and crispy
designs are varied in shape, edges are no longer sonic
size, and technology, as you’ll see soundtrack givens.

convince you of their worth until
Features you experience such a system.
SPEAKER: AMERIGO A-CENTER ANIMA The Lexicon RV-8 is a fine-
TYPE: Three-way Two-way, center Two-way, monitor sounding A/V receiver, yet driven
TWEETER (SIZE IN INCHES, TYPE): 0.75, aluminum/magnesium dome 0.75, aluminum/magnesium dome 0.75, aluminum/magnesium dome by it, the Amerigo system merely
MIDRANGE (SIZE IN INCHES, TYPE): 4.5, ceramic coated metal cone 4.5, ceramic metal cone 4.5, ceramic metal cone hinted at what was possible.
WOOFER (SIZE IN INCHES, TYPE): 7, ceramic coated metal cone None None
NOMINAL IMPEDANCE (OHMS): 7 4 8
When I replaced it with an Integra
AVAILABLE FINISHES: Macassar Ebony, Zebrawood, Bird’s-Eye Maple, Black DHC-9.9 surround processor and
DIMENSIONS (W X H X D, INCHES): 12 x 40 x 14 19 x 7 x 10 10 x 16 x 10.5 a Parasound A51 five-channel
WEIGHT (POUNDS): 53 26.5 16.5 amplifier, the system revealed its
PRICE: $5,500/pair $1,995 $2,600/pair true potential. Compared with
some of Gerhard’s more Euro-
centric designs, the Amerigo
If the review sample is typical The modestly sized A-Center Amerigos to be scandalously produces fuller, more robust, and
of what the company will is a classic midrange/tweeter/ priced. Even in Home Theater, a more generous low frequencies,
manufacture in America, the midrange (MTM) arrangement. magazine dedicated to high perhaps sacrificing a touch of
cabinet quality will be at least as It uses the same tweeter as the performance, they are expensive. bass-attack detail in the successful
good as what Gerhard’s previous Amerigo, flanked by a pair of But from an audiophile perspec- quest for greater richness. The
company got from the Danish 4.5-inch ceramic-coated metal- tive, they are bargain priced for Lexicon left a slightly hollow,
Hornslet factory, which is about cone midrange drivers fitted with how they look, how they’re built metallic aftertaste and produced
as good as speaker cabinetry gets. bullet-shaped phase plugs in a and finished, and especially for less than the full weight, par-
Of course, if you hide your rear-ported cabinet. The compact how they sound—at least when ticularly in the lower midrange.
speakers behind a scrim or use Anima surround features a single driven by high-quality separates. You can’t skimp on amplifier
them in a darkened, dedicated woofer and the same tweeter If you’ve never heard a truly quality and expect to get all that
home theater environment, some mounted vertically on a gently high-performance loudspeaker this system can provide.
of your money will be wasted. sloping baffle, also in a rear- system, nothing I say will Bass response was beefy,
The driver compliment consists ported cabinet. prodigious, exceedingly tuneful
of a custom-built 7-inch long- Sonics didn’t supply a sub- (pitch perfect), and well con-
throw SEAS woofer. It features a woofer. At review time, the trolled. In my room, with room-
ceramic-coated light metal cone A400W that’s currently in gain taken into account, the
and magnesium basket in a development wasn’t ready. A Amerigos extended down into
rear-ported cabinet. It also has a Sonics spokesperson was con- what sounded like the truly deep
4.5-inch midrange driver that’s fident that I wouldn’t need a sub bass region, with a visceral impact
similar in construction to the given the Amerigo’s prodigious that made me jump during the
woofer. There’s also a 0.75-inch bass output. That claim surprised sound effects intended to elicit
aluminum-magnesium dome, me given the listed low-frequency that response.
ferrofluid-cooled, ring-radiator spec of –6 dB at 35 hertz. Aside from some organ pedals
tweeter that features an unusually and perhaps a Sensurround
large textile surround that’s said to High-Performance Sound for earthquake, I didn’t feel I missed
improve both damping and Sure much of anything in terms of
output. Both the midrange and We currently live in a plastic extension and explosiveness. This
the tweeter are enclosed within a speaker world, where more than a is partly because when there’s not
subcabinet inside the main unit. few hundred dollars for anything supposed to be any bass, you
The tweeter’s offset placement that produces sound is expensive won’t hear any. The speaker
allows tweeter out or tweeter in in the opinions of the computer doesn’t let you know it’s coming
flexibility. Tweeter out delivers a geeks who have taken over the until it’s there and it disappears
•
wider soundstage, while tweeter mainstream media’s consumer just as quickly. When you hear a
in is useful if you need to place electronics journalism. If it speaker that responds in the low
the speakers close to sidewalls. attaches to a computer, they’re frequencies and delivers palpable
Efficiency is moderate at a qualified to review it, whether or dynamic range without a hint of
claimed 87 decibels, but with a not they know anything about compression in the subterranean
nominal impedance of 7 ohms, images, video, or sound. region—and can do so with ease
the Amerigo should be a relatively At $5,500 per pair, the compu-
easy load to drive. geeks would consider the
•
• The Amerigo floor-

stander produced beefy,
tuneful bass response
• The A-Center features two 4.5-inch without the addition of
ceramic-coated metal-cone midrange a subwoofer.
drivers for seamless performance.

HIGH END SONICS AMERIGO SPEAKER SYSTEM
sibilant voice on the sidelines). If as Gerhard. (Older car audio
HT Labs and +/–15-degree horizontal and

vertical responses) measures
the center has any flaws reproduc-
ing the human voice (aside from
enthusiasts: Kelly designed ADS’s
PowerPlate speakers, among other
Measures +0.93/–4.23 decibels from 200

hertz to 10 kilohertz. The –3-dB
off-axis suckouts that might be
measurable but weren’t audible in
classics.)
I watched a variety of demo
point is at 42 Hz, and the –6-dB the context of my listening room), material, including the thought-
point is at 34 Hz. Impedance it was a slight reticence in the ful, touching, and dialogue-driven
reaches a minimum of 6.34 ohms at midrange area. This produced a Accidental Tourist. (This was at
L/R Sensitivity: 97 Hz and a phase angle of slightly astringent, less than my wife’s insistence because it
Visit our Website
88 dB from 500 Hz to 2 kHz for a detailed –55.99 degrees at 30 Hz. generous expression of vocal stars a Cardigan Welsh Corgi,
explanation of our The A-Center’s listening- textures and individual timbre. and we have two. One of them
testing regimen,
Center Sensitivity: plus a list of our window response measures But that’s just an attempt to find dutifully watched the movie
reference gear.
93 dB from 500 Hz to 2 kHz +1.23/–1.16 dB from 200 Hz something not to like about this with us and barked at the dog
to 10 kHz. An average of axial high-performance system. In any whenever it was on screen.) I
Surround Sensitivity: on the and +/–15-degree horizontal case, despite Dolby TrueHD and also demoed the atmospheric
88 dB from 500 Hz to 2 kHz web responses measures DTS-HD Master Audio, mixers and uplifting (despite the down
+1.14/–2.18 dB from 200 Hz to tend to process voices in order to ending) The Diving Bell and the
T
his graph shows the 10 kHz. The –3-dB point is at 70 Hz, improve intelligibility. Butterfly, as well as Criterion’s
quasi-anechoic (employing and the –6-dB point is at 58 Hz. Speaking of football, I had superb Blu-ray edition of The
close-miking of all woofers) Impedance reaches a minimum of my sister over to watch a Giants Complete Monterey Pop Festival
frequency response of the 3.85 ohms at 4.0 kHz and a phase game on my big Stewart Cabaret featuring the Eddie Kramer
Amerigo L/R (purple trace), A-Center angle of –40.71 degrees at 111 Hz. projection screen lit by a JVC remix. There’s no doubt about one
center channel (green trace), and The Anima’s listening-window DLA-HD750 projector. Even thing: If you watch a lot of music
Anima surround (red trace). All passive response measures +2.25/–5.99 dB though she was sitting just 3 videos, a system like the Amerigo
loudspeakers were measured with from 200 Hz to 10 kHz. The –3-dB feet from one of the Anima will bring you a level of musical
grilles at a distance of 1 meter with a point is at 72 Hz, and the –6-dB surrounds, the crowd surround pleasure you might not have
2.83-volt input and scaled for display point is at 60 Hz. Impedance audio blended perfectly with the thought possible—particularly if
purposes. reaches a minimum of 4.26 ohms at front channels. It produced a you’ve never experienced true
The Amerigo’s listening-window 3.4 kHz and a phase angle of –41.71 sonic image that made her point high-performance audio. Even
response (a five-point average of axial degrees at 111 Hz.—MJP at the living-room window 15 feet on the talky movies, the system’s
away and ask, “What is that noise transparency, low-level resolution,
SONICS AMERIGO SPEAKER SYSTEM out there?” When I explained that and microdynamic sophistication
it was produced by the phantom added to a truly immersive
sideline stands resulting from the experience.
seamless front/surround blend,
this awed her almost as much as Conclusion
the picture did. Yes, $10,000 is a significant chunk
If you set this system up of change to drop on a surround
properly, you’ll rarely be able sound system that requires the
to localize the sound’s point finest electronics to draw out its
of emanation. Instead, you’ll expe- full potential. But if music is an
rience the vast, three-dimensional important part of your home
sound bubble that home theater theater viewing and/or listening
writers like to talk about. experience, this is an easy-to-rec-
But in this case, the ommend system. Many
sound bubble will be on will feel that they simply
C
steroids. The depth must have that
presentation extends .1/LFE channel, so feel
well beyond the typical free to add your favorite
front-wall boundaries subwoofer. However,
even when you crank it up—you’ll You won’t hear a hint of mechani- that lesser speakers you should proceed
begin to understand what the calness as one driver transitions to produce. And the level with caution. Once
extra cash and good design get the other. Instead, you’ll hear an of front/surround you hear a truly
you. Those ultra-long-throw enormous, spacious, and utterly coherence exceeds high-performance
foamy surround fart boxes just natural presentation, even in everything else I’ve system like the Sonics
can’t produce this level of low- two-channel mode. This is a heard, with the Amerigo, you might
frequency tonal and textural system that sounds equally open possible exception not want to settle for
sophistication, no matter what the and uncongested at very low of the mbl Radial- anything less.
specs say. Of course, if you only listening levels, which isn’t strahler 116 and an
plan to use the bottom octaves for surprising given its exceptional ambitious Aerial Sonics by Joachim
explosions and footfalls made by microdynamic performance. Acoustics system Gerhard/Immedia •
mechanical robots, it might not The center channel was equally I reviewed for (510) 559 2050 •
really matter. impressive. It avoided the slightest UltimateAVmag.com immediasound.com
Gerhard’s design delivers. hint of chestiness or congestion some years ago. Of Dealer Locator Code SNC
When you crank the system up, it on male voices and shrillness and course, Aerial’s
maintains its musical and spatial sibilance on female ones (except Michael Kelly is
composure. It masterfully handles for Sunday Night Football’s easily in the same
the midrange-tweeter transition. Andrea Kremer, who has a shrill, near-legend category

MIDRANGE
BY Thomas J. Norton
B&W CM9 Speaker System

•
PRICE: $7,250 AT A GLANCE: Clean highs, neutral mids Mid- and upper-bass prominent Small
but potent subwoofer
•
Well Centered
T
hese days, most major B&W’s CM9, the newest model choose less than maximum
B&W CM9 SPEAKER SYSTEM
speaker manufacturers in its CM line, continues many extension? You’d do this to PERFORMANCE
know how to produce a of the 683’s basic design elements, increase perceived maximum VALUE
good speaker. But only a including a similar midrange volume before reaching an BUILD QUALITY
few manage to hit all the and tweeter. It also adds superior unacceptable level of distortion, in
marks simultaneously: great fit and finish. The complete sur- most cases. When reproducing The full-range CM9 speakers
engineering, great sound, and fair round package is enhanced by a content with truly deep bass, with have a number of common
pricing. British speaker manufac- new, better-integrated center less bottom-end extension, less features. They all employ B&W’s
turer Bowers & Wilkins has long channel design than the 600 series driver excursion is needed for a woven Kevlar cones, which the
been a leader in that hunt. offers. given level, and the less you company has been using and
While the research, develop- demand of a speaker, the easier its continually refining since it first
ment, and design for B&W speak- Top Tech job. However, I bit the bullet and introduced them in the DM6 in
ers remains firmly entrenched in The speaker system here, which risked a little extra distortion 1976. The 6.5-inch woofers in the
Worthing, England, the company B&W dubs the CM9 Theatre, (playing loud enough wasn’t an CM9 employ composite paper
has now followed most speaker includes the CM9 floorstanders issue in my room). I did all of my and Kevlar cones. The cones in
manufacturers by moving much for the left and right front, the listening in the max extension the CM9, the midrange driver in
of its production to China. Only CM Centre 2, a pair of CM5s for setting. In addition, a two-posi- the CM Centre 2, and the woofer
the flagship 800 Series speakers the surrounds, and the ASW tion EQ switch contours the cone in the CM5 are all Kevlar.
are still manufactured in the U.K. 10CM subwoofer. response for either in-corner or If you’re familiar with B&W’s
While I have mixed feelings Beginning at the bass end, the out-of-corner placement. I used recent speakers, you’ll recognize
about the industry-wide stampede ASW 10CM sub’s 10-inch paper/ the ASW 10CM near the front the CM9’s 6-inch FST midrange
to Far East production, I can’t Kevlar-coned driver takes up wall and away from the room driver. It’s the direct descendant of
deny that it has significantly almost the entire front baffle of corners. the midrange that B&W first
increased the value quotient of the compact cabinet. A 500-watt Normally, B&W would recom- developed for its flagship 800
audio (and video) gear. In 2008, Class D amp provides the needed mend the new ASW 12CM sub Series speakers. It’s still used in
I reviewed a system that feat- horsepower, and at 42 pounds, the for this top-drawer CM system, that line and in a number of other
ured the B&W 683 floorstand- sub is relatively easy to schlep but that larger CM sub was releas- B&W models—all the way down
ing speakers for UltimateAVmag. around in order to find the ed too late in the review period to to the 683. Since midrange
com. Despite the fact that this optimum placement. be included here. B&W says that frequencies don’t require much
speaker is the top model in the It includes the usual subwoofer although the two speakers’ specs cone excursion, the FST cone has
company’s least expensive line inputs and controls: line- and are roughly the same, the slightly no surround. Instead, a ring of
of freestanding designs, and it speaker-level in, low-pass larger ASW 12CM is claimed to foam simply terminates it and
turned in a set of middling adjustment from 25 to 140 hertz, be capable of 2 to 3 dB more clean keeps it centered. The foam ring is
measurements, the 683’s sound low-pass filter defeat, and 0- output at low frequencies.
blew me away. I used them in and 180-degree phase settings. A
my reference system for months three-step Bass Extension control
after I’d completed that review. I sets the low-frequency limit (the
only moved them when a new rated –6-decibel point) to 18 Hz, • •
speaker system under review 23 Hz, or 28 Hz. Why would you
demanded the space.
• The rear of the • The ASW 10CM

tweeter is loaded into subwoofer has a
a tube to dampen the three-step bass
rear wave. extension control.

B&W CM9 SPEAKER SYSTEM
Features happened here? Balance. Just as a
rolled-off bottom end can make
SPEAKER: CM9 CM CENTRE 2 CM5 even a flat top end sound bright,
TYPE: Three-way, tower Three-way, center Two-way, surround an uptick in the bottom end,
TWEETER (SIZE IN INCHES, TYPE): 1, aluminum dome 1, aluminum dome 1, aluminum dome
MIDRANGE (SIZE IN INCHES, TYPE): 6, FST woven Kevlar 4, FST woven Kevlar N/A
particularly through the midbass
WOOFER (SIZE IN INCHES, TYPE): 6.5, paper/Kevlar (2) 6.5, paper/Kevlar (2) 6.5, woven Kevlar and upper bass, can make the top
NOMINAL IMPEDANCE (OHMS): 8 8 8 end sound recessed—even if it’s
RECOMMENDED AMP POWER (WATTS): 30–200 30–200 30–120 reasonably flat with respect to the
AVAILABLE FINISHES: Rosenut, Wengé, Gloss Black Rosenut, Wengé, Gloss Black Rosenut, Wengé, Gloss Black midrange.
DIMENSIONS 7.9 x 40.4 x 14.6 23.2 x 8.6 x 11.9 7.8 x 13.4 x 11.9
The CM9’s top end was now
(W X H X D, INCHES): (including grille and plinth) (including grille and terminals) (including grille and terminals)
WEIGHT (POUNDS): 58.5 41.1 19.6 clean and delicately detailed, and
PRICE: $3,000/pair $1,250 $1,500/pair the FST midrange was exception-
ally natural and uncolored. Imag-
said to match the mechanical While the optimum center- ever used. This is made possible ing was precise, but I’m fortunate
impedance of the cone better than channel speaker is always iden- by the drive units’ inherently since most speakers image well in
a conventional surround. The tical to the front left and right linear mechanical design. For my setup. It provided as much
intent is that the foam largely models, this isn’t always practical. example, the high-pass filter to depth as the program material
absorbs any bending waves that The next best approach employs a the tweeter is just a single required. The bass was also sur-
travel up the cone. This ostensibly vertically oriented midrange and high-quality capacitor. prisingly extended. On music, I
prevents the waves from reflecting tweeter that are flanked by one or only felt the need for a subwoofer
back down the cone where they more woofers. This usually, but A First Listen: Music on the most difficult material that
can produce distortion. not always, results in a more I began my evaluation, as I usually features an organ or synthesizer.
The new kid in town here is a uniform response as the listener do, with two-channel music and However, through the midbass,
smaller, 4-inch FST driver in the moves to the left or right and just the CM9s driven full range. the CM9 was a bit richer than life
CM Centre 2. This smaller away from the center axis. The speakers were located a for my taste.
midrange facilitates a domesti- The tweeter that minimum of 3 feet from any But when I added the B&W
cally acceptable center B&W uses in all of nearby walls. I listened for hours ASW 10CM subwoofer to the
speaker designed the the CM speakers is without fatigue. Still, I was less mix, with the main speakers now
way I like it—as a true another trickle- than satisfied in a couple of rolled off below 80 Hz, that sealed
three-way design. down descendant respects. First, while the top end the deal. The sound was now
of the 800 Series was by no means soft or obviously firmly in the “wow” range. While
designs. No, it rolled off, it lacked the open I still couldn’t completely eli-
doesn’t have the airiness that can help recorded minate a bit of excessive upper
diamond dome music come fully to life. Also, the bass (often as much the fault of
that graces several mid and upper bass region was the room as the speaker), and I
800 Series models too prominent. This resulted in a would have liked just a bit more
(you wish!), but the balance that was pleasing and easy air at the very top end, those
rear of its alumi- to listen to, but it didn’t tickle my criticisms became minor. In any
num dome is audiophile fancy nearly as much case, they may be unique to either
loaded into a tube as the less expensive B&W 683s my expectations or my room.
to better dampen did.
the rear wave and Further down the review road, Movies
keep it from I blocked the CM9s’ ports with If a speaker can do right by music,
reflecting back the foam plugs that B&W pro- it almost invariably does the
and reradiating vides. This somewhat reduced the business on movies too. Of
through the speakers’ extreme bottom-end course, this is provided that the
diaphragm. reach, and it tightened up the bass added pieces (subwoofer, center
•
The crossovers to the point where the high end channel, and surrounds) handle
in the CM models came back into perspective. The their jobs without mucking up the
are said to be the speaker no longer sounded too total sound. And it also assumes
simplest B&W has polite and forgiving. I still missed that the system has enough
that last bit of inherent grunt (a technical term
sparkle that for clean output capability) to
enhanced the handle many soundtracks’ high
683’s overall dynamic range demands.
balance, but I’d True, the ASW 10CM sub-
returned them woofer doesn’t go as low and loud
by that time, so as larger designs on challenging,
they weren’t bass-heavy passages. If you must
available for a rock a big room with powerful,
direct com- high-intensity bass, I’d recom-
parison. Never- mend a larger sub. It’s in refine-
theless, the ment and clarity that the B&W
CM9s sounded sub excels.
considerably I’m not suggesting that it isn’t
• The CM9 floorstander shares its more alive and convincing on high-demand
6.5-inch paper/Kevlar cone woofers real than material. The cannon fire on
with those in the CM Centre 2. before. What Master and Commander: The Far

MIDRANGE B&W CM9 SPEAKER SYSTEM
HT Labs Hz, and the –6-dB point is at 49 Hz.

Impedance reaches a minimum of
Connections
ASW 10CM SUBWOOFER ENCLOSURE TYPE: Sealed
Measures 3.41 ohms at 116 Hz and a phase
angle of –68.80 degrees at 66 Hz.
WOOFER (SIZE IN INCHES, TYPE): 10, paper/Kevlar cone
RATED POWER (WATTS): 500 CONNECTIONS: Speaker-
level in, line in, 12-volt trigger CROSSOVER BYPASS: In/
The CM Centre 2’s listening-
window response measures +1.64/ Out AVAILABLE FINISHES: Rosenut, Wengé, Gloss Black
B&W CM9 SPEAKER SYSTEM DIMENSIONS (W X H X D, INCHES): 12.8 x 12.8 x 14.3
–4.66 dB from 200 Hz to 10 kHz. An
WEIGHT (POUNDS): 42.3 PRICE: $1,500
L/R Sensitivity: Visit our Website
average of axial and
92.5 dB from 500 Hz to 2 kHz for a detailed +/–15-degree horizontal
explanation of our
testing regimen, responses measures The B&Ws provided me with overhyped, explosive sound
Center Sensitivity: plus a list of our +1.96/–4.85 dB from 200 Hz a consistent, enjoyable perfor- effects.
reference gear.
92 dB from 500 Hz to 2 kHz to 10 kHz. The –3-dB point is mance. They never disappointed None of these things describe
at 63 Hz, and the –6-dB point me, whether the source was this B&W system. The key word
Surround Sensitivity: on the is at 52 Hz. Impedance two-channel music, action-heavy for the CM9 Theatre is balance.
91.5 dB from 500 Hz to 2 kHz
web reaches a minimum of 3.44 films, or multichannel music from It’s not the highest-end system
ohms at 131 Hz and a phase video sources, such as Legends of B&W makes—otherwise why
T
his graph shows the angle of –68.36 degrees at 85 Hz. Jazz (LRS Media), Mozart’s The would there be the 800 Series? But
quasi-anechoic (employing The CM5’s listening-window Magic Flute (Opus Arte), or the it does offer a balance of strengths
close-miking of all woofers) response measures +1.07/–3.32 dB musical Company. But if they on both music and movies, at a
frequency response of the from 200 Hz to 10 kHz. The –3-dB have a special strength, it’s in how price that isn’t outrageous. And it’s
CM9 L/R (purple trace), ASW 10CM point is at 70 Hz, and the –6-dB they handle multichannel a pleasure to live with over the
subwoofer (blue trace), CM Centre 2 point is at 54 Hz. Impedance orchestral soundtrack scores. long haul.
center channel (green trace), and CM5 reaches a minimum of 4.39 ohms at Their inherent warmth and
surround (red trace). All passive 17.2 kHz and a phase angle of uniformity across the front Bowers and Wilkins •
loudspeakers were measured with –49.17 degrees at 98 Hz. soundstage, plus their well- (800) 370-3740 •
grilles at a distance of 1 meter with a The ASW 10CM’s close-miked matched timbral balance, never bowers-wilkins.com
2.83-volt input and scaled for display response with the Bass Extension failed to impress me on this type Dealer Locator Code B&W
purposes. and EQ switches set to position A, of material. I can tolerate wide
The CM9’s listening-window normalized to the level at 80 Hz, variations in how a speaker
response (a five-point average of axial indicates that the lower –3-dB point system handles a movie’s sound
and +/–15-degree horizontal and is at 20 Hz and the –6-dB point is at effects (not that I had to with the
vertical responses) measures 16 Hz. The upper –3-dB point is at B&Ws!). After all, how many of
+0.83/–5.12 decibels from 200 hertz 146 Hz with the Low-Pass Filter us really know what the shattering
to 10 kilohertz. The –3-dB point is at 60 switch set to Off.—MJP of a plate-glass window or an
exploding gasoline truck sounds
B&W CM9 SPEAKER SYSTEM like? But if a speaker system
doesn’t get the music right, it takes
me right out of the film. The
B&Ws got it right.
As good as the CM9 system
sounded without help, it benefited
even further in my room from
carefully applied DSP equaliza-
tion. I hasten to add that I made
all of the above observations—
music and movies—without EQ.
But when I applied the Audyssey
MultEQ system in my Integra
surround processor, the bass
tightened up. I was no longer
occasionally distracted by too
much warmth, the dynamics had
additional drive and impact, and
the top end had more detail and
Side of the World is definitely upper bass. (This clearly isn’t air—all without trading off any of
jump-worthy on the B&W sub, helped by the center’s woofers the system’s inherent strengths.
and the big sandstorm plane crash being positioned 17 inches off the
scene from Flight of the Phoenix floor, as required by the location Conclusions
(2004) will curl your eyelashes. of my projection screen). The CM Some home theater speaker
The CM Centre 2 also does its Centre 2 also has a rather laid- packages strive for maximum
work seamlessly. Dialogue is clear, back quality through the mid- output at the expense of
and it doesn’t degrade appreciably range. But these shortcomings naturalness. Others add a biting
at sensible off-axis listening were swamped by program edge to everything for excitement
positions. Midrange coloration is material variations. The sur- that’s not in the program material.
low. If the center can be said to rounds didn’t call attention to They produce boom instead of
have a character, it would again themselves unless the source bass, or they sacrifice natural
be a bit too much warmth in the demanded it. music reproduction on the altar of

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MIDRANGE
BY Scott Wilkinson
VIZIO VF551XVT LCD HDTV

PRICE: $2,200 AT A GLANCE: Superb video processing Improved menu operation and •
•
calibration controls So-so black level and shadow detail on real-world material
LED for the Masses

A
t the 2009 CES, contrast and deeper blacks than only rough estimates; most Another feature that VIZIO
VIZIO took the fluorescent backlights can manufacturers don’t reveal the touts is 240-hertz operation.
wraps off of its first manage. Most fluorescent number of LEDs and zones they However, in this case, the TV
LCD HDTV with backlights can change their use.) When you consider that flashes frames on the screen 120
LED backlighting brightness according to the there are more than 2 million times per second, and the
and local dimming, which con- overall brightness of the image, pixels in an LCD panel, it’s clear backlight pulses on and off in a
sumers have been eagerly waiting but this affects the entire screen. that the backlight can’t match the particular pattern to simulate a
for ever since. At $2,200, the Local dimming does have some resolution of the picture itself. As refresh rate of 240 Hz. In con-
VF551XVT is the least expensive drawbacks. Chief among them is a result, some types of images, junction with VIZIO’s frame-
55-inch local-dimming LCD the fact that there are only a such as white credits over a black interpolation algorithm, this is
available, which makes it mighty couple thousand LEDs grouped background, can exhibit halos designed to reduce the motion
attractive to cash-strapped TV into about 100 zones. (These are around the bright objects. blur that has plagued LCD
shoppers. How well does it fulfill
the promise of LED backlighting?
Read on to find out...
Features
When the VF551XVT was
unveiled at CES in January
2009, the soundbar below the
screen was bright red, which I
complained about at the time. In
the production version, it’s bright
silver, which isn’t any better. I
really wish VIZIO had gone with
black, which would be far less
distracting.
The most important feature is
LED backlighting with local
dimming. If you’re unfamiliar
with this feature, the backlight
behind the LCD imaging panel is
composed of many white LEDs
rather than fluorescent lights as in
conventional LCD TVs. (A few
such TVs use red, green, and blue
LEDs, but like most manufactur-
ers, VIZIO uses white ones.) The
LEDs are combined into groups
or zones, each of which can
Photos by Cordero Studios/Screen image courtesy of Universal
independently dim or brighten

behind different sections of the
image. In essence, the LEDs form
a very low-resolution version of
the high-resolution image in the
LCD panel.
For example, if the onscreen
image has a bright object on a
dark background, the LEDs
behind the object brighten while
the LEDs behind the dark areas
dim. This results in much greater

artifacts that might intrude. the company’s Zero Bright-Pixel
VIZIO VF551XVT LCD HDTV In addition, frame interpola- Defect Guarantee replaces the
PERFORMANCE
FEATURES tion gives the image a video-like entire TV if even one pixel sticks
ERGONOMICS look, which some viewers hate. on. VIZIO also offers free lifetime
VALUE I’m not one of them. Of course, I technical support by e-mail or
recognize it, but it doesn’t bother phone. Such dedication to
me nearly as much as blurry customer service is rare and
HDTVs since their introduction. objects in motion. For viewers laudable in today’s consumer
It also reduces the judder—a who find this intolerable, you can marketplace.
slight herky-jerky quality in any always disable it.
onscreen movement—that is A side-mounted USB port lets User Interface
often associated with film-based you attach a storage device and The universal remote is the
video sources. play many different types of same as the one VIZIO inclu-
Frame interpolation creates stored media files. Video-wise, the ded with several of its previous
new frames and inserts them VF551XVT can play H.264/AVC, models. It’s relatively large,
between the actual frames in a MPEG-4 ASP, MPEG-2, and with a nicely rubberized
video signal. It calculates where several forms of WMV, including underbelly. It can also control
•
moving objects should be in VC-1. The TV can support resolu- up to four devices including
those new frames to smooth tions up to 1920 by 1080 in all of the TV. The buttons are well
out the motion and sharpen the these formats except MPEG-4 separated but rather small and
image. However, this process ASP, which is limited to 1280 by mostly the same size and shape.
can introduce artifacts of its own. 720. The audio that accompanies The remote is backlit, and the
The VF551XVT provides two the video can be AAC, WMA-7/8, labels are on the buttons them-
controls—Smooth Motion and or AC3 (Dolby Digital), depend- selves, so you can identify them in
Real Cinema—that determine the ing on the video format. The the dark when the backlight is on.
amount and type of interpolation, VIZIO can also play MP3 audio However, a few buttons have
respectively. It lets you balance the files and display JPEG photos multiple functions, and the secon-
increased sharpness with any from the USB device. dary labels are on the body of the
Thankfully, the calibration remote with no illumination. • While the VF551XVT isn’t
controls include two sets of red, Unlike virtually all other TV ultra-thin at 5 inches deep, it
green, and blue parameters—one remotes, this one has dedicated does bring LED local dimming
for high brightness and one for input-selection buttons—sort of. to a new price point.
low brightness. Previous VIZIO Actually, each type of input has its
LCD HDTVs only offered one set own button. For example, the
of these controls, which made HDMI button cycles through the calibration. Below black and
calibration less accurate. There’s five HDMI inputs when you press above white were clearly visible
still no color management system it repeatedly. Still, this is far better from all sources, which made it
(CMS), which would let a trained than the usual single button that easy to set the Brightness and
technician alter the primary (red, cycles through all inputs or calls Contrast controls—especially
green, blue) and secondary up an onscreen list. since the menu disappears when
(yellow, magenta, cyan) colors to I don’t like the VIZIO’s menu you make these adjustments.
conform with the HD color system much. The first level only Interestingly, a full black field
specification. Fortunately, this has the major categories. You can’t didn’t look all that deep, even
wasn’t a big problem here, since see the parameters in the selected though the black level measured
the set’s color gamut was very category except the picture and quite low, and it was brighter in
close to correct out of the box (see audio preset modes, and then you the corners than in the center.
HT Labs Measures). can only see them when the When I looked at the Spears &
Two audio features from SRS category is highlighted. The basic Munsil High Definition Bench-
are intended to enhance this TV’s controls are in the second level, mark Blu-ray Edition test disc at
sound. TruSurround HD is said to but again, you can only see the 1080i, the deinterlacing content
create a simulated surround value that is highlighted. originally captured as progressive
experience, while TruVolume On the plus side, I’m happy to
tames the sometimes wildly report that when you adjust a
disparate volume levels between picture control, it drops to the Features
programs and commercials and bottom of the screen and the rest VIZIO VF551XVT LCD HDTV
even between channels. Another of the menu disappears. This way,
welcome audio feature is Lip Sync, you can see the image you’re TYPE: LCD
which lets you delay the audio so trying to tweak. This is a big SCREEN SIZE (DIAGONAL, INCHES): 55
it synchronizes with the video. improvement over previous NATIVE RESOLUTION: 1920 by 1080
HD TUNER(S): OTA, QAM
Adjustable Lip Sync compensa- models that kept the menu on the
BACKLIGHT: LED
tion is widespread in A/V screen during adjustments. RATED HALF LIFE: 40,000 hours
receivers, but it’s rare for an WALL MOUNT OR STAND INCLUDED?: Stand
HDTV’s onboard sound. Setup and Testing DIMENSIONS (W X H X D, INCHES):
One of the nicest features of all Setting the VF551XVT’s basic 51.5 x 33.9 x 5 (without stand);
VIZIO HDTVs is the company’s picture controls was no problem. 51.5 x 35.9 x 13.5 (with stand)
WEIGHT (POUNDS):
free one-year, in-home warranty. The Movie mode proved to be the 78.0 (without stand); 90.3 (with stand)
In addition, for all LCD HDTVs closest to accurate, although the PRICE: $2,200
that measure 30 inches and larger, TV still required a full gray-scale

MIDRANGE
background’s black level
HT Labs appeared slightly pasty.

The Before Calibration gray-scale
appeared higher than a
full black field. Also, as the
Measures measurements were taken in the

Movie mode with the color
text faded out, the black
level suddenly dropped
temperature set to Normal (there is and then jumped back up
no Warm setting) and all automatic when the next label
functions disabled. As the color-
tracking chart shows, the gray scale
Connections
INPUTS: VIDEO: HDMI 1.3 (5),
appeared.
In some intermittent
was biased toward green. component video (2), S-video cases, the white text
As mentioned in the main text, the (1), composite video (2), PC disappeared entirely as the
VGA (D-sub) (1) AUDIO: Stereo
VF551XVT has two sets of RGB analog (3) ADDITIONAL: RF screen went to black, then
controls instead of one set as in (1), USB (1) OUTPUTS: AUDIO: it reappeared. I suspect
previous models. Calibrating the low Stereo analog (1), optical this could be due to the
end of the brightness range was fairly digital (1) LED backlight getting
easy, although I got different results if incorrect info about which
a control was on the screen. This zones to turn off. But I
meant I had to enter the menu, make don’t know for sure, and I
an adjustment, and exit the menu composed of 1-pixel alternating didn’t see this on any of
VIZIO VF551XVT LCD HDTV before taking each measurement. black and white lines was full of the real-world material I watched.
The high end was more macroblocking artifacts when
problematic, particularly at 60 IRE and Smooth Motion (frame interpola- Real-World Performance
0.002 26.5 100 IRE. Getting one of these tion) was enabled. As usual, I started my
brightness levels correct made the I saw some ringing real-world tests with
FULL-ON/FULL-OFF other one worse, so I opted for a (white halos) around chapter 8 of Mission:
CONTRAST RATIO: 13,250:1 compromise somewhere in the the rigging of the Impossible III on
middle. The end result wasn’t as flat sailing ship at the Blu-ray at 1080i. I
For the picture settings used in this as I would like, but it was certainly previously determined saw almost no moiré
review, go to HomeTheaterMag.com. much better than the Before Sharpness setting, so I in the pan across the
All the measurements here were Calibration measurements. reduced it to 1, even staircase—in fact, it
taken through an HDMI input with the Displaying a full black field did not though there was still was the best I’ve seen
set adjusted for the most accurate cause the LEDs to drop to 0, but they a bit of ringing. (A this shot look in a
picture in a darkened room.
Visit our Website
seemed to do just that in some Sharpness setting of 0 very long time.
for a detailed cases between movie scenes softened the image Shadow detail in the
A
explanation of our
s you can see testing regimen, and while waiting for a disc to noticeably.) Mixed film catacombs wasn’t that
in the CIE chart plus a list of our load. I measured a black level and video text crawls great, and the black
reference gear.
above, the VIZIO of 0.002 foot-lamberts using a looked fine. The film level seemed fairly
VF551XVT’s color full black field, which is content looked slightly high. For example,
gamut was close to perfect. on the excellent. However, as I jerky, but there were the letterbox bars
This is a very good thing, since
web mentioned in the main text, no jaggies or artifacts were clearly visible in
the set doesn’t provide a color this didn’t seem to translate to in pans across images a darkened room.
management system. Even so, colors deep blacks on real-world material for with fine detail. Detail was excellent,
in real-world material often looked a some reason.—SW To test frame and color was very
bit muted or dull, and fleshtones interpolation, I always good, except that the
turn to an unpublished fleshtones looked
BEFORE CALIBRATION AFTER CALIBRATION Blu-ray test disc called slightly pasty.
FPD Benchmark. The Next, I cued up
VIZIO’s Smooth Stargate: Continuum
Motion function on Blu-ray at 1080p.
certainly sharpened The black of space in
motion detail, but as the opening shot
with many frame- wasn’t particularly
interpolating LCDs, it deep, and there were
caused some smudging far fewer stars visible
artifacts in a moving than on most
Color-tracking charts were generated in Datacolor ColorFacts. resolution pattern. All plasmas. Granted,
the other tests are clips The buttons on VIZIO’s this isn’t just a
universal remote are well
of real-world material, spaced but mostly of the problem with the
LUMA CHROMA and they looked fine. same size and shape. The VIZIO—every LCD
Smooth Motion clearly unit is fortunately backlit. I’ve seen obscures many
3:2 HD 2:2 HD MA HD VIDEO CLIPPING SCALING
RESOLUTION RESOLUTION
gives the image a of the stars in this shot.

PASS PASS PASS PASS PASS PASS GOOD
video-like look, but I saw little I did see some halos around the
difference between its settings. white letters that appear over the
but stored as interlaced looked was otherwise very stable. With On FPD Benchmark, a static star field.
superb. This was especially true of material that was originally white label on a black background Color was good overall, but
3:2 film-based material. The 2:2 captured or created as interlaced, preceded each section and fleshtones were still on the pasty
video material exhibited occa- jaggies on the rotating bar were individual test, and I saw some side. Shadow detail also wasn’t
sional moments of moiré, but it nearly invisible. But the circle problems here. For one thing, the great as the Achilles steams across

the Atlantic and in the Russian Switching to DVD, I looked at and the calibration controls are previous VIZIO LCD HDTVs. If
Stargate facility. Detail was Star Wars: Episode VI and more complete than in previous money’s tight but you want a big
excellent in facial textures on the found that the letterbox bars models. LCD with LED local dimming
and the Achilles captain’s web weren’t as black as I’d like. Even though I measured an and you can live with the VIZIO’s
nubby sweater. Heck, they weren’t even as excellent black level with a limitations, the VF551XVT
The opening sequence of details, For additional
plus a list of
black as the shots of space! full-screen black field, the blacks certainly deserves your consider-
Cars on Blu-ray was very the settings used Shadow detail in Darth in real-world images don’t appear ation.
for this review, see
revealing of the VIZIO’s the online version. Vader’s shuttle cockpit was all that deep, and shadow detail is
LED backlight. In this surprisingly good, but it marginal in most cases. Colors are VIZIO • (888) 849-4623 •
sequence, the screen is completely wasn’t in Jabba the Hutt’s dim lair. pretty good overall, but they’re vizio.com
black except for momentary Detail was good, but the colors slightly muted, and fleshtones are Dealer Locator Code VIZ
bursts of imagery, and the LED looked a bit dull. There were no a bit pasty.
backlight immediately dropped to frame-interpolation artifacts as As I was reviewing the VIZIO,
near 0 during the blackouts and Vader’s shuttle first approaches Tom Norton was
just as quickly jumped to the the Death Star. reviewing the
appropriate illumination for the Moulin Rouge on DVD yielded Samsung
picture bursts. Only after the last similar results. Shadow detail in UN55B8500, a
blackout, when Lightning Christian’s apartment wasn’t great, 55-inch LED-
McQueen’s truck door starts to but detail was very good. The backlit LCD with
slowly open, did I see the black colors were muted, which helped local dimming,
level obviously jump. tame this movie’s riotous palette. which I watched
Also, this is the first movie for a while at his
where I saw a difference in Conclusion house. The
the Smooth Motion (frame- All in all, the VF551XVT is a Samsung
interpolation) settings. When I mixed bag. On the plus side, it looked quite a bit
set it to High, it looked best in provides some of the best video better than the
a pan across a big sign in the processing I’ve ever seen. Its VIZIO—deeper
Screen image courtesy of Universal

middle of the racetrack, but it also frame interpolation also works blacks, better
caused some smudging in the very well—at least if, like me, you color—but it costs
array of bright blue lights behind don’t object to the video-like more than twice
McQueen as he’s being profiled in appearance it imparts. Likewise, as much. And I
a picture inset. There was no detail is generally superb. The have to say that
smudging in the Medium setting, menu system now disappears the VF551XVT
so that’s where I left it. when you adjust a picture control, looks a lot better than
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MIDRANGE
BY Mark Fleischmann
Boston Acoustics Reflection RS 260 Speaker System

PRICE: $2,900 AT A GLANCE: Gloss finish and rounded edges enrich rectangular appearance •
•
Custom-designed woofers and tweeter A polite top end with fully fleshed-out midrange
Between VS and CS
I
n this brutal economy, it $400/each; and the RS 230, with loves
and they come with white gloves
BOSTON ACOUSTICS REFLECTION
takes more than a good one 3.5-inch woofer, $250/each. so your fingerprints won’t mar the RS 260 SPEAKER SYSTEM
resume to keep you afloat. The floorstander and center with shiny surfaces. In the back is a PERFORMANCE
Boston Acoustics has a quadruple 4-inch woofers slot-shaped port whose main VALUE
legendary audiophile presumably would complement function, as with all ports, is to BUILD QUALITY
pedigree that dates from its birth each other well, as would the two contribute to the bass response.
in 1979 as an independent brand. 3.5-inch models, although Boston However, as a probably uninten- the monitor and the sub benefit
In this environment, it probably says the entire series is timbre- tional side benefit, its shape and from Deep Channel Design
matters more that Boston is part matched. In any case, this review location make it a convenient (DCD), which improves the
of the D&M Holdings family, takes on a fully matched set of the carrying handle. I could pick up woofers’ excursion. In other
along with Snell Acoustics, 6.5-inch RS 260 plus the RPS 1000 two speakers at once without the words, they can move back and
McIntosh, Denon, Marantz, and subwoofer ($900). This is a slightest awkwardness. forth further.
Escient. This positioning has favorite configuration of mine Like many manufacturers, The Extended Wide Bandwidth
already borne fruit with pairings because it ensures seamless Boston Acoustics likes to turn (EWB) tweeter is made of
of Denon A/V receivers and panning from side to side and product features into fancy proper impregnated woven fiber, which is
Boston speaker packages, front to back. nouns. In some cases, this pride is shaped to increase the high-
including the distinctive Unlike the VS Series, the RS justified by a concentration on frequency extension. Its dimpled
bell-shaped VS Series speakers, doesn’t go in for unusual cabinet fundamentals. For instance, rather central diaphragm termination
which I showered with well- shapes. The RS 260 has the than buy off-the-shelf parts, the and rear-chamber venting allow
deserved superlatives when I proportions and size of a classic company designed the RS drivers for a laundry list of desirable
reviewed them last year. You really monitor. (That’s our term— and had them manufactured at a attributes. I can summarize most
can’t go wrong with a set of VS Boston uses the old-fashioned licensed Asian factory. The woofer of these attributes by saying the
speakers and one of Denon’s “bookshelf.”) Rounded edges give is Fiber Ceramic Copolymer tweeter behaves well under stress.
upper-end A/V receivers. it a deluxe appearance, an effect Material (FCCM), a composite of In practice, I heard an unusual
When Boston Acoustics started that the lustrous Gloss Black fiber and ceramic materials and desirable smoothness that
operating under the aegis of finish heightens. The speakers are impregnated in a proprietary was about as far from a ringy
D&M, it didn’t emphasize its packed in soft drawstring bags, copolymer. The woofers in both metal driver as you can get.
audiophile roots at first. Its
re-emergence as an audiophile
brand came with the VS Series.
Now Boston is building on that
experience with the new
Reflection Series. It’s a bit more
affordable than the VS, but it’s still
a step up from the Classic Series. •
The largest VS monitor sells for
$700, while the largest RS monitor
is $400, and the largest CS
monitor is $129. So the RS series
occupies the middle ground.
Boston Rolls Its Own

The Reflection Series includes,
from top to bottom: the RS 334, a
floorstander with quadruple
4-inch woofers, $700/each; the RS
244C, a center speaker also with
quadruple 4-inch woofers, $500; • For this review, Mark used
the RS 260, reviewed here, a his favorite configuration of five
two-way design with a 6.5-inch indentically matched speakers
woofer, $400/each; the RS 223 for a seamless soundfield.
LCR, with dual 3.5-inch woofers,

BOSTON ACOUSTICS REFLECTION RS 260 SPEAKER SYSTEM
and Bellari VP530 tubed phono interesting bits were the swirling
Features preamp. melanges of sound that depict the
SPEAKER: RS 260 young assassin’s high adrenaline
TYPE: Two-way, monitor Knowing, Shooting, Singing level, which gives him preternatu-
TWEETER (SIZE IN INCHES, TYPE): 1, impregnated woven fiber dome Knowing, in DTS-HD Master ral powers to fire bullets around
WOOFER (SIZE IN INCHES, TYPE): 6.5, FCCM cone Audio, stars Nicolas Cage as a people and objects.
NOMINAL IMPEDANCE (OHMS): 8
RECOMMENDED AMP POWER (WATTS): 10–200
scientist following the trail of a Soul Men was my lone Dolby
AVAILABLE FINISHES: Gloss Black Lacquer psychic child who has foreknowl- TrueHD selection. Samuel L.
DIMENSIONS (W X H X D, INCHES): 7.88 x 12.63 x 9.69 edge of a series of deadly catas- Jackson and the late Bernie Mac
WEIGHT (POUNDS): 18 trophes. I can’t describe them in team up as a pair of washed-up
PRICE: $400/each much detail without depriving the background singers who make a
story of its succession of violent classic road trip across the U.S. to
FCCM reappears in the RPS decibels to +4 dB and goosed the surprises. Suffice it to say the all- appear at the memorial celebra-
1000 subwoofer. It has a 10-inch sub’s volume dial from one-third channel surround mayhem breaks tion of an ex-colleague at New
driver in the front with two 8-inch of its range to more than half. out repeatedly to complement the York’s Apollo Theater. Unfortu-
passive radiators (one on each I know that will raise doubts. scary visuals. The speakers and nately, this soundtrack is dynam-
side). Driving them is a 500-watt Banish them. With adjustments, sub stood up well to the onslaught ically wishy-washy, even by the
(RMS) amp. Boston uses what it the sub was a monster. I spent a of high-volume effects, with modest standards of movie
calls Bass Trac technology to long Sunday rewatching the excellent discipline, avoidance of comedy. Thus, the interesting
dynamically match the amp’s bass second season of Mad Men on brightness, and avoidance of bass musical numbers failed to pop out
extension to the combined Blu-ray. Each episode begins with bloat. They made an excellent first of the mix. This underplayed the
characteristics of the amp and a DTS-HD Master Audio logo impression and achieved a high emotional high points promised
woofer. that’s accompanied by a ridicu- comfort level that never dimin- by the live-music-venue scenes
Despite all this firepower, and lously loud synthesized whoosh- ished in the remainder of the and the general quality of
the sub’s commendable discipline, and-tinkle that sweeps from the listening sessions. musicianship (which includes,
I found its bass output to be a little lowest frequencies to the highest. Wanted, also in DTS-HD behind the scenes, Stanley Clarke
reticent at first. My usual As such, it’s pretty good audio Master Audio, harrows charis- on bass and George Duke on
placement—near the front center demo material. It demonstrated matic James McAvoy (the keyboards). The speakers weren’t
speaker—may have been the sub’s ability to play loud and beleaguered doctor in The Last responsible for this shortcoming
inappropriate for this particular deep, and it showed off its King of Scotland) with one of the in the demo material. However,
sub. The manual recommends confident crossover to the most preposterous plots in movie the performances carried this
corner placement, which would speakers at 80 hertz. It scared the history. It involves a thousand- movie. Mac, in his final film
provide an inherent bass boost, pants off me every time. year-old gang of assassins whose appearance, was at his best, and
often at the expense of smooth- Setup was easy, thanks to the day jobs are to work the looms in the always-compelling Jackson
ness. However, to maintain a RS 260’s use of standard five-way a linen factory. Standard loud can actually sing. This was also
stable frame of reference, I keep binding posts (a double set for effects include all the ballistics the last film appearance of Isaac
all subs in the same place. biwiring or biamping, with plastic you’d expect in a gun-crazy Hayes, who is in a brief cameo
My usual default settings were hex nuts). assassin movie along with a toward the end.
wrong for this sub, and here I Associated gear included the standard car chase. Again, the
made some necessary conces- Rotel RSX-1550 A/V receiver, speakers stood up well to the blitz Ravishing Cello, L.A. Sheen,
sions. I raised the low-frequency Panasonic DMP-BD35 Blu-ray and required only modest volume Folkie Starkness
effects level in the surround player, Luxman PD-289 turntable, adjustments to balance the The movie sessions demonstrated
processor from the customary –4 Shure V97xE phono cartridge, dialogue and effects. The most the speakers’ handling of loud
•
• Boston’s RPS 1000 subwoofer

uses a 10-inch cone driver,
plus a pair of 8-inch passive
radiators.

MIDRANGE BOSTON ACOUSTICS REFLECTION RS 260 SPEAKER SYSTEM
HT Labs window response (a five-point

average of axial and +/–15-degree
Connections
RPS 1000 SUBWOOFER ENCLOSURE TYPE: Passive
Measures horizontal and vertical responses)
measures +1.86/–2.97 decibels
radiator WOOFER (SIZE IN INCHES, TYPE): 10, FCCM cone
PASSIVE RADIATOR (SIZE IN INCHES, TYPE): 8, FCCM
cone (2) RATED POWER (WATTS): 500 RMS, 1000 peak
from 200 hertz to 10 kilohertz. An
average of axial and +/–15-degree CONNECTIONS: Speaker-level in/out, line-level stereo
BOSTON ACOUSTICS REFLECTION RCA in, LFE RCA in CROSSOVER BYPASS: LFE AVAILABLE
RS 260 SPEAKER SYSTEM horizontal responses
Visit our Website FINISHES: Gloss Black Lacquer DIMENSIONS (W X H X D,
for a detailed measures +2.15/–2.58 dB INCHES): 13.25 x 13.63 x 16.81 WEIGHT (POUNDS): 48.4
explanation of our
Satellite Sensitivity: testing regimen, from 200 Hz to 10 kHz. The PRICE: $900
90.5 dB from 500 Hz to 2 kHz plus a list of our –3-dB point is at 66 Hz, and
reference gear.
the –6-dB point is at 55 Hz.
T
his graph shows the Impedance reaches a of vinyl I own. It documents the challenge for the speakers was to
quasi-anechoic on the minimum of 4.48 ohms at provocative master songwriter’s pull the reticent guitar out of the
(employing close-mik- web 174 Hz and a phase angle of move toward a mainstream rock mix. A more aggressive tweeter
ing of all woofers) –41.63 degrees at 98 Hz. sound, abetted by L.A.’s best might have done a better job of
frequency response of the RS The RPS 1000’s producers and session musicians. this, but I greatly preferred the RS
260 satellite (purple trace) close-miked response, It also features prominent backing 260’s overall rounded tonal
and RPS 1000 subwoofer normalized to the level at vocals by the Eagles on several balance. It merely told the truth
(blue trace). The passive 80 Hz, indicates that the songs. This album couldn’t have about this technically flawed but
loudspeaker was measured lower –3-dB point is at 41 been better played, orchestrated, musically rich album.
with its grille at a distance Hz and the –6-dB point is or recorded. And it translates I started this review by noting
of 1 meter with a 2.83-volt at 26 Hz. The upper –3-dB beautifully to DPLII. Initially, I that the higher-end VS Series has
input. point is at 119 Hz using the used the LP to tune the sub’s been used in packages with
The RS 260’s listening- LFE input.—MJP drum sound. I also goosed the Denon A/V receivers. Just before I
master volume to compensate for completed the review, I asked if
BOSTON ACOUSTICS REFLECTION RS 260 SPEAKER SYSTEM both the muted highs of the tubed the RS would be marketed the
phono preamp and the speakers’ same way. I couldn’t get a firm yes,
gentle top end. When the but D&M didn’t rule out the
adjustments were complete, I prospect. I’m guessing a lot of
enjoyed lush, golden, richly consumers would love to get
rewarding textures inhabiting a speakers of this caliber with a
soundfield that comfortably decent A/V receiver at an
dominated the room. Newman’s affordable price.
close-miked orchestral arrange- Boston Acoustics’ Reflection
ments were major beneficiaries, Series unerringly does just about
somehow nudged out of the everything right. The RS 260’s
recording studio where they were voicing satisfies the different but
undoubtedly recorded and into overlapping needs of action
some ideal concert hall of the movies and serious music. It’s also
imagination. Listening to this compatible with the midpriced
album through this combination A/V receivers that will probably
of components was pure pleasure. run it in most systems. This
Moonshine is one of the more speaker is made to be lived with.
elaborately arranged albums of The RPS 1000 sub is commend-
material. They displayed a polite stereo. This left the cello tightly Bert Jansch, the legendary ably free from one-note puffery.
top end that made loud effects bound to the speakers, while the acoustic guitarist who mixes The longer I listened to it, the
easier to take, yet the tweeter piano floated around them. It was traditional, blues, Middle Eastern, more I came to respect it. I
didn’t roll off enough to starve the impressive that the RS 260 was and other elements into a especially liked the way it
dialogue. This sense of the capable of this mixture of focus distinctive brew. I bought my dispersed bass in my room. It was
Reflection Series’ basic compe- and diffusion. It was even more impeccable white-label review- like having two subs in the room.
tence became a deeper respect for impressive that it worked in two copy LP for $3.49 decades ago. In general, the RS fills the gap
their musical character as the channels. I’ve never heard a more Some other critic’s lack of taste between the VS and the low-
audio-only demos got underway. fully fleshed-out cello sound— was my gain. The production by priced CS, leaning toward the
Chandos Records did a with emphasis on the warm, Jansch’s Pentangle colleague, former’s world-class performance.
beautiful job of recording Camille voluptuous sound of the bassist Danny Thompson, favored At this price, you couldn’t get
Saint-Saëns’ Cello Sonatas with instrument’s body, although the the voice over all other instru- better value for your money.
Christian Poltéra on cello and bowing was also fully audible. ments. This is an odd choice, since
Kathryn Stott on piano. However, Bravo to both Chandos and Jansch is best known as a guitarist, * Audio editor Mark Fleis-
the CD does throw a curveball by Boston. I moved around the sofa a and the album is graced by a flute chmann is also the author of
tightly focusing the cello while bit, but there was nothing beamy consort, fiddles, harp, and other the annually updated book
diffusing the piano. This makes about the presentation. When I niceties. It also has virtually no Practical Home Theater
the cello the emotional center of pulled off the magnetic grilles, I reverb, which gives the album a (quietriverpress.com).
attention, as it should be. But in noted that the tweeter wasn’t stark, airless feel characteristic of
the Dolby Pro Logic II Music mounted in any kind of wave- its 1973-era recording. Drums on Boston Acoustics •
mode, it also threw too much of guide. the opening track were strong (254) 523-0535 •
the piano into the surround Randy Newman’s Little enough to make me back off the bostonacoustics.com
channels, so I quickly cut back to Criminals is one of the best pieces sub volume. After that, the main Dealer Locator Code BST

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processing circuits. This new HDMI standard coming months!

ENTRY LEVEL
BY Mark Fleischmann
Paradigm Special Edition SE 1 Speaker System

PRICE: $2,344 AT A GLANCE: Between Studio and Monitor Series PBK-1 Perfect Bass Kit fine- •
•
tunes sub’s low-frequency response Five stand-mounts plus subwoofer
Seeing Red in a New Way

I
first became interested in Paradigm Reference family includes the SE 1, a two-way
PARADIGM SPECIAL EDITION SE 1
Paradigm speakers on the includes the flat-panel-friendly monitor ($329); the SE CENTER, SPEAKER SYSTEM
recommendation of a Millenia Series, the high-end a three-way horizontal center PERFORMANCE
working musician. He was a Studio Series, and the bleeding- ($549); the SE 3, a 2.5-way VALUE
trumpeter, and he owned a edge Signature Series. The plain floorstanding speaker; and the BUILD QUALITY
pair of Paradigm Titans. This was old Paradigm line includes the SE SUB. All are clad in Rosenut
20 years ago, but even today, the satellite- and slimline-oriented veneer or a Black Gloss finish. Beneath the SE 1’s magnetic
Titan is one of the best budget Cinema Series, the more conven- I was struck by the beauty of grille is a 1-inch tweeter made of
speakers in captivity. Like all tionally shaped budget champion the Rosenut—no matter how ferrofluid-cooled G-PAL or
Paradigm speakers, it’s gone Monitor Series, and the new house-proud you are, you’d be gold-anodized pure aluminum.
through one generation after Special Edition Series. My refer- pleased to have these speakers in Compared with conventional
another, acquiring better drivers ence speakers hail from the Studio your home. The rounded edges aluminum, G-PAL claims to have
and improved parts along the way. Series, but the subject of this made them seem not only pretty, improved rigidity and damping,
I completed the circle by donating review is the slightly less costly but somehow less prepossessing and this tweeter has a reduced
my pair of vintage Titans to Special Edition Series. This review than their 11-inch height and curvature radius for better
another musician, who loved system uses a set of five identical 6.5-inch width would suggest. dispersion. The 5.5-inch back-
them. SE 1 monitors with an SE SUB. There was a tactile component to ported woofer is made of
I’ve since stepped up to the Special Edition is an elite club my pleasure, too. I felt like I was satin-anodized pure aluminum
Studio Series, which in one form with only four members. It touching something refined. (S-PAL), which also claims
or another has been my reference
speaker system for almost a
decade. They provide an
unimpeachable foundation for
reviews of A/V receivers. When
people ask me to tout a speaker,
I don’t want to have a long and •
intricate conversation about
my ever-expanding frame of
reference. I just tell people what
I use: the Studio 20. On the rare
occasions when I hear back
from such people, they’re happy
campers.
Whenever Paradigm
announces a new speaker line,
I pay attention. I know it will
continue a long train of thought
that I share with the company.
I inspect it the way some people
search the faces of their infant
grandchildren for the nose or
cheekbones of other loved ones. • The SE SUB features the
The SE 1 is certainly a beauti- same striking Rosenut veneer
ful and well-behaved child. as the SE 1’s, with rounded
It didn’t make a mess of the edges for an aesthetically
place, and it spoke in a pleasing look.
pleasing and somehow familiar
voice.
Plain Old Paradigm

Paradigm breaks its model lines
into two distinct families. The

PARADIGM SPECIAL EDITION SE 1 SPEAKER SYSTEM
those settings right is also import- other snag was that my Manhat-
Features ant). Adjusting the volume on a tan listening room’s high level of
SPEAKER: SE 1 bloat-prone sub is like using an ambient noise threw off the
TYPE: Two-way, monitor ax; equalizing the sub is like using program. It repeatedly ordered
TWEETER (SIZE IN INCHES, TYPE): 1, G-PAL dome
a scalpel. me to raise the sub’s volume
WOOFER (SIZE IN INCHES, TYPE): 5.5, S-PAL cone
NOMINAL IMPEDANCE (OHMS): 8 The Perfect Bass Kit includes a control. I raised the sub volume
RECOMMENDED AMP POWER (WATTS): 15–120 microphone, a heavy-duty stand, from 50 percent to 75 percent,
AVAILABLE FINISHES: Rosenut, Black Gloss two long USB cables, and a then to 100 percent.
DIMENSIONS (W X H X D, INCHES): 6.5 x 11 x 8.5 software disc. Ignore the disc and After that, the process was over
WEIGHT (POUNDS): 12.9 download the latest software from quickly, and I had a sub that
PRICE: $329/each
paradigm.com/pbk; at press time, transcended my room’s usual
the newest version was 1.04. The standing wave. I could summarize
improved rigidity. It’s topped with solution for the problem of program runs in Windows XP, the result as less output; but it was
a gold-anodized phase plug, room-induced unevenness in bass Vista, 7 (in emulator mode), or higher-quality output, without the
which controls driver response. response. Mac (through Boot Camp usual overlay of bloat. This
(According to my company con- Nearly all rooms have an running XP). Set up the required me to run the sub at a
tact, Paradigm made these driver unfortunate tendency to either microphone on its stand, install higher level than I’d used before
choices late in the design cycle, bloat or understate bass—and the software, set the sub’s volume equalization. But it had enough
so you may see conflicting they often have both, in different control at the 50-percent mark, gain, running at 75 to 100 percent
information in printed or online areas. Bloating is the most then run one USB cable from the of its volume control’s range, with
literature—including the manual.) annoying symptom, and it’s most sub to your PC, and the other the surround processor’s LFE level
The terminals are plastic-nut, noticeable at the room’s resonant from your PC to the microphone. set between 0 and +4 decibels. I
gold-plated binding posts. frequency. Square rooms, and The program runs quickly; it usually tweaked it for each piece
The SE SUB is a simple 11-inch those whose dimensions are issues test tones from the sub, of demo material, since I’ve found
sealed cube that contains a multiples of one another, tend to measures them with the micro- that living with well balanced bass
10-inch down-firing plastic-coned have an exceptionally noticeable phone, shows the results as a is more challenging, in a good
woofer powered by 300 watts resonant frequency. The PBK-1 graph on your PC, and then way, than tuning my system to
RMS. Connectivity is minimal, measures this frequency hump makes the appropriate adjust- minimize bloat.
with just a pair of stereo line-level and corrects it with equalization. ments. It measures at least five, Associated gear included the
inputs. Far more potentially If it’s done right, the EQ should and up to ten listening positions. Rotel RSX-1550 A/V receiver,
revolutionary is the back panel’s even out bass response in a way When I first tried the program, Panasonic DMP-BD35 Blu-ray
mini-USB input, which functions that’s impossible with simple it aborted repeatedly. I upgraded player, Integra DPS-10.5 universal
with Paradigm’s PBK-1 Perfect sub-volume or crossover to the latest software, and that player, Luxman PD-289 turntable,
Bass Kit ($299). This is Paradigm’s adjustments (although getting solved the problem. The only Shure V97xE cartridge, and
Bellari VP530 tube
phono preamp. All
movies were on Blu-ray
Disc. None of the
music, I’m glad to add,
was on CD.
Barcelona Bound
Simply put, these
•
speakers mastered the

frequency spectrum,
from top to bottom.
This allowed the source
material to express
itself to the maximum
extent. In retrospect,
my notes indicate how
readily I forgot about
the speakers and
hungrily absorbed
information about
movies and music.
Vicky Cristina
Barcelona, in high-res-
olution PCM,
represents a break-
through for Woody
• Despite their small Allen. To the best of
stature, the SE 1 mon- my knowledge, it’s his
itors have a refined and first multichannel
regal appearance. soundtrack—as
long as you define
multichannel as

ENTRY LEVEL PARADIGM SPECIAL EDITION SE 1 SPEAKER SYSTEM
HT Labs response (a five-point average of

axial and +/–15-degree horizontal Connections
SE SUB SUBWOOFER ENCLOSURE TYPE: Sealed
Measures and vertical responses) measures
+2.34/–2.63 decibels from 200 WOOFER (SIZE IN INCHES, TYPE): 10, carbon-
aramid-fiber polypropylene cone RATED POWER
hertz to 10 kilohertz. An average of (WATTS): 300 RMS, 900 peak CONNECTIONS:
axial and +/–15-degree horizontal Line-level in, stereo RCA CROSSOVER BYPASS:
PARADIGM SE 1 SPEAKER
SYSTEM responses measures +2.52/–2.13 dB LFE AVAILABLE FINISHES: Rosenut, Black Gloss
Satellite Sensitivity: from 200 Hz to 10 kHz. The DIMENSIONS (W X H X D, INCHES): 11 x 11.44 x
Visit our Website
89.5 dB from 500 Hz to 2 kHz for a detailed –3-dB point is at 61 Hz, and 11 WEIGHT (POUNDS): 14.1 PRICE: $699
explanation of our
testing regimen, the –6-dB point is at 55 Hz.
T
his graph shows the plus a list of our Impedance reaches a
reference gear.
quasi-anechoic minimum of 4.17 ohms at high-volume excitement, but the for French television. The main
(employing close- 232 Hz and a phase angle of Dolby TrueHD soundtrack was audio content is provided in MLP
miking of all woofers) on the –55.52 degrees at 106 Hz. inhibited, the strings were hard, lossless 5.1 at 48 kilohertz and 24
frequency response of the SE 1
web The SE SUB’s close-miked explosions didn’t have much bits; MLP lossless 2.0 at 96/24;
satellite (purple trace) and SE SUB response, normalized to the level bass—and none of this was the DTS 5.1 at 48/24; and LPCM at
subwoofer (blue trace). The passive at 80 Hz, indicates that the lower fault of the speakers. As some- 48/24. I’ve sampled all of the
loudspeaker was measured with its –3-dB point is at 26 Hz and the times happens in my potluck content informally, but the main
grille at a distance of 1 meter with a –6-dB point is at 24 Hz. The upper demos, the source material wasn’t attraction was the original master-
2.83-volt input. –3-dB point is at 218 Hz using the worthy of the equipment. piece in lossless surround. The
The SE1’s listening-window LFE input.—MJP At no point during any of the mixing engineer was Steven
demos did the SE 1 prompt my Wilson, the prime mover in
PARADIGM SE 1 SPEAKER SYSTEM trigger finger to make a major Porcupine Tree and an impressive
master volume adjustment. I musician in his own right.
spent the first three minutes of As the title track demonstrated,
each movie getting the right level, Wilson has used the surround
then I left it alone. This was a rare medium in a fearless and probing
event in my reviewing career, and manner. The ascending lead-
it indicated the comfort level that guitar figure that opens “Red”
these speakers achieved. appeared only in the surrounds.
As the instrumental piece moved
Lossless Red into its first verse, the pile-driving
King Crimson’s Red, the 1974 rhythm-guitar part shifted to both
progressive rock landmark, has the center and the surrounds,
received a re-release that sets new generating an immersive
standards in both questing and triangular soundfield. Through-
quality. Inside the two-disc set are out the album, Wilson judiciously
both a ripping-friendly CD and a distributes elements in various
DVD-Audio disc that contains locations throughout the
the original five-track album, four soundfield. His choices aren’t
bonus tracks, and a four-track always predictable, but once I let
video that was originally filmed go of the idea that surrounds are
three-channel. The opening music comedy/adventure movie. The only for ambience, there was a
and a brief scene set aboard a story concerns three buddies rightness to all of his decisions.
plane filled the front three chan- who live the dream of a He gently unpeeled parts
nels. The remainder of the movie departed friend by searching that were formerly buried,
reverts to Allen’s longtime pre- for treasure in a Northwestern which offered fresh insights
ference of mono, even when two wilderness (actually shot in to this well-loved album. I
characters speak to each other on New Zealand). It starts out won’t throw out my Atlantic
opposite sides of the frame. The with a relatively narrow vinyl, but it may be
challenge for the Paradigms was range, but it steps up the shelf-bound for a long time.
to reproduce believable dialogue volume when the action Oh, yes—the speakers.
in this warm and unpredictable starts. The music popped They supported high-vol-
story of romantic entanglements from the soundtrack to good ume prog-metal listening
among three women and one effect and includes some of without breaking a sweat.
man. Mission accomplished. I felt my favorite songs, including Robert Fripp’s multitracked
as if I were listening to people, not Joey Ramone’s cover of Gibson Les Paul churned
speakers. Working in Britain and “What a Wonderful World” out an array of gorgeous
Europe has rejuvenated this quint- and “Ooh La La” by the Faces fuzztones. Bill Bruford’s
essential New York filmmaker, (with vocal by Ronnie Wood, chattering drum kit bene-
and I’m glad to note that his next not Rod Stewart). fited from the unpeeling
three projects will be filmed No Way Back is a 1996 process, and the high-
overseas. Woody, please try 5.1. Russell Crowe vehicle. He’s resolution medium did
Without a Paddle, in Dolby a tough cop whose young justice to the exquisite high
TrueHD, got my personal seal of son gets caught up in a frequencies of the bells he
approval for the appropriate web of kidnapping and used in quieter moments. At
choice of dynamic range in a murder. There’s plenty of the center of it all was John

Wetton, whose perpetually string section. It was well defined Rampal earned his pay by
creative and powerful bass lines but sweet, not acerbic, and I could injecting the familiar
traveled through the floor right more easily hear the violas and “Maple Leaf
into the soles of my feet. This isn’t the cellos layered in between the Rag,” in a
•
a sensation I would normally get, violins and basses. Lucid, elegant flute/
when a sub is turned down in sonorities hinted at hidden piano
level in an attempt to tame my emotional depths. This is how duet, with
room’s resonant bass bloat would Schubert must have intended this the kind of
starve the system of truly deep music to be heard. rumbato only a virtuoso can
low-frequency response. Bass Jean-Pierre Rampal Plays Scott muster.
lines emerged refreshingly well Joplin: I trust the title explains How does Paradigm
proportioned. However, listening itself. The flutist was joined by produce such well-
to them was a more cerebral drums, tuba, and a keyboardist rounded performance at
experience than I’d expected, even who switched between bland- $329 per speaker? It’s
with elevated volume settings in textured piano and funkier partly an earnest
both the sub and the surround harpsichord. With both the flute company policy to
processor. I wondered what and the harpsichord competing produce products that
Paradigm’s Perfect Bass Kit might for high-frequency space, I was perform well on and off
do for a 12- or 15-inch sub. glad to be listening to vinyl axis, and it’s partly a
Forgive the verbiage, but the new through a tubed phono preamp, trickle-down process that
Red is a major milestone in my which caressed the instruments enables modestly priced products
listening life. with a golden glow. Paradigm’s to use drivers developed for far • Paradigm’s PBK-1 kit can tame
both bloated and understated bass.
I moved on to PentaTone’s gold-anodized aluminum-domed more costly products. What the
multichannel SACD of Schubert’s tweeters made their contribution Perfect Bass Kit can do for your
Symphonies No. 4 (Tragic) and No. by balancing this tubey subjectiv- system is well worth the $329
5 by the Netherlands Chamber ity with tight imaging. As I asking price. But what surprised * Audio editor Mark Fleis-
Orchestra, led from the violin switched between stereo and the me was the beauty of the Rosenut chmann is also the author of
chair by Gordan Nikolic. Freshly Dolby Pro Logic II Music mode, veneer cabinetry. The SE 1 and SE the annually updated book
made DSD recordings always the main benefit of going from 2.1 SUB don’t just sound like far more Practical Home Theater
make me feel like a thin scrim of to 5.1 channels was that the expensive products—they also (quietriverpress.com).
noise has been lifted from the soundfield lifted slightly from the look like ’em. The Special Edition
signal. This one offered a speakers, whereas stereo was belongs on anyone’s short list of Paradigm • (905) 564-1994 •
remarkable sense of ease and always speaker-bound and affordable yet high-performing paradigm.com
relaxation at the top end of the therefore somehow earthbound. speakers. Dealer Locator Code PDM

ENTRY LEVEL
BY Mark Fleischmann

PRICE: $400 AT A GLANCE: Flagship of Sony’s standard receiver line Strong aesthetics and user •
•
interface, well-designed remote Compatible with Sony wireless speakers using optional card
Slick but Affordable

T
he process of getting this modest set of front-panel well-thought-out remote, and I
music into, and out of, controls will work OK if you keep used it with pleasure. SONY STR-DN1000 A/V RECEIVER
PERFORMANCE
an A/V receiver is the A/V receiver accessible in a On the back panel are four FEATURES
changing. An increasing high rack slot. Otherwise, you’ll HDMI inputs and one output. ERGONOMICS
number of receivers depend more on the remote When you add the component VALUE
come with Ethernet jacks to pull control. video jacks, you’ve got a grand
music out of a network-connected Fortunately, the remote is a total of seven HD-capable inputs stack of new SACDs gathered
PC. Against this background, good one. It has a ribbed pattern and enough outputs for two dust during this review. I had to
Sony—thinking for itself, as on the rounded bottom that displays. The absence of S-video is limit my audio demos to CDs,
always—has built a totally provides traction as well as a increasingly common in AVRs vinyl, and iPod.
different form of networking into modest tactile stimulus. It’s Sony’s that are in this price range. Sony Initially, I treated the
the STR-DN1000 A/V receiver. way of saying, “We’re special, and provides composite video STR-DN1000 as I would any
Instead of an Ethernet jack, so are you.” The buttons are well connection for legacy sources. For other A/V receiver. I set it up
Sony’s AVR can accept an differentiated by size, shape, color, video processing, Sony has manually, ignored the proprietary
optional transmitter card that and labeling. Special emphasis licensed Faroudja’s DCDi. auto-setup program, and put it
communicates with wireless goes to the 17 input-select The wireless transmitter card I through its paces with my
speakers. It can also simultane- buttons. They’re in light gray, used in this review—see reference speakers, saving the
ously accept optional adapters which makes them stand out. The below—is the EZW-T100 ($50). wireless-speaker experience for
that offer Bluetooth or Wi-Fi transport keys include an It’s not the only multiroom audio later. Manual setup was slightly
capability. Together, these oversized Play button and a small option. A DMPORT jack can complicated by the fact that the
triple-threat wireless options Pause button located right accept one of the following: test tones and channel adjust-
rethink the nature of audio beneath it. The volume and TDM-BT1 Bluetooth adapter ments are on different menus.
networking. Sony has effectively channel rockers are reasonably ($80), TDM-NC1 Wi-Fi client Sony clearly expects the consumer
made the A/V receiver—not the large. Backlighting appears only ($200), TDM-IP10 iPod dock to take advantage of the auto
PC, the router, or a separate on the four mode-shift buttons on ($60), or TDM-IP50 iPod/iPhone setup mode.
server—the central device in a the top, including the ones that dock ($100). Sirius satellite radio Associated equipment included
multiroom audio system. shift between amp and TV is supported. The only thing that five Paradigm Reference Studio 20
Why is this better than a functions. Some users might unnerved me was the absence of a v4 speakers run full range, a
computer-centric approach? prefer backlighting for all of the multichannel analog input. My Panasonic DMP-BD35 Blu-ray
For starters, you don’t need to keys. Otherwise, this is a pretty old universal disc player and a player, Luxman PD-289 turntable,
have a PC sucking up power 24
hours a day to access your library
of music files. In fact, under
Sony’s scheme, even the AVR
doesn’t have to be fully powered
up when routing music to the
wireless speakers.
Slick Dude
This is one slick-looking A/V
receiver. A shiny dark plastic
panel takes up most of the front. It
includes a small white fluorescent
display and a volume knob on the
right. Next to the volume knob is
a slender horizontal rocker switch
for input selection. It’s nearly
invisible, and I never used it. A
flip-down panel at the bottom
provides access to a few buttons
that select soundfield modes.
Although it’s on the small side,

SONY STR-DN1000 A/V RECEIVER
audible and effects under control.

That doesn’t mean the tonal Features
balance was particularly warm or
forgiving—it wasn’t. But the A/V SONY STR-DN1000 A/V RECEIVER
receiver’s tonal balance was such AUDIO DECODING:
that it let me run it at a low
•
DOLBY: TrueHD, Digital 5.1, EX, Pro Logic IIx
volume overall without missing DTS: DTS-HD Master Audio, DTS, ES, 96/24,
any dialogue. Neo:6
Obsessed, in Dolby TrueHD, OTHER: Three Cinema Studio modes, five
DSP modes, Portable Audio Enhancer,
is largely a vehicle for Beyoncé, Headphone 2CH (downmix), Headphone
who plays her part in this Fatal Direct (analog)
Attraction–like scenario with THX CERTIFICATION: No
• The slick-looking Sony is in aplomb—especially in the action- NUMBER OF AMP CHANNELS: 7
a class of its own, with a shiny packed finale. Until that point, the RATED POWER (WATTS PER CHANNEL):
100 into 8 ohms, two channels driven
Shure V97xE phono cartridge, dark plastic panel in front. plot mainly focuses on the hus-
SPECIFIED FREQUENCY RESPONSE:
and Bellari VP530 tubed phono band, well played by the charis- 10 Hz to 70 kHz, +0.5/–2 dB
preamp. All movie selections were channels. As it turned out, just matic Idris Elba, who is pursued VIDEO PROCESSING: Faroudja, up to 1080i
on Blu-ray Disc and had various a few minutes later, and the by an increasingly determined AUTO SETUP/ROOM EQ:
lossless soundtracks. whooshing vehicle was a heli- stalker. Well-recorded piano and Digital Cinema Auto Calibration (DCAC)
copter. Despite a fair amount of strings fret around the edges and DIMENSIONS (W X H X D, INCHES):
17 x 6.25 x 12.88
The Rock, Beyoncé, and a stuff blowing up, I was surprised take on more tragic overtones as WEIGHT (POUNDS): 19
Fine Romance at how little I needed to adjust the the story progresses. The Sony PRICE: $400
The receiver performed about volume to keep the dialogue handled these elements well. In an
average for a budget model. It had
modest bass, a midrange that did
well with vocals, and highs that
were well developed but slightly
grainy. It had no trouble running
my speakers, typically driving
them to movie-worthy levels
using well under half of the
volume control’s range.
•
Race to Witch Mountain, in • The STR-DN1000 has the
DTS-HD Master Audio, is a unique ability to work with
Disney vehicle that features Sony’s wireless speakers.
Dwayne “The Rock” Johnson as a
tough but warmhearted Vegas cab
driver who protects two alien SONY
3:2 HD 2:2 HD MA HD 3:2 SD 2:2 SD MA SD
VIDEO LUMA CHROMA
SCALING
children from some scary char- STR-DN1000 CLIPPING RESOLUTION RESOLUTION
acters. As a spaceship whooshed

DIGITAL N/A N/A N/A N/A N/A N/A PASS PASS PASS N/A
from the surround channels to
the front channels, I wondered ANALOG N/A N/A N/A N/A N/A N/A PASS FAIL FAIL FAIL
how long it would be before
something whooshed from the
front channels to the surround
VIDEO TEST BENCH The Sony STR-DN1000 does not Visit our Website
shows. The resolution tests were borderline as to the
perform any deinterlacing or upconversion on HDMI inputs. for a detailed resolution results themselves but failed because the burst
explanation of
It simply passes the input resolution through to the output. these video tests. test patterns were not stable; instead of being rock solid
Where it can upconvert—such as from its component input as they should be, they flickered. While the Video Clipping
to its HDMI outputs as in our analog tests—it upconverts to test earned a passing grade, the above-white test clipped
a maximum of 1080i. Therefore, the Digital and Analog on the sooner than it should and did not pass the full range of
HD and SD 3:2, 2:2, and MA deinterlacing tests are not
web white levels in the test pattern. And the Video Scaling result
applicable here, and neither is the Digital scaling test. The had the most severe moiré we’ve yet seen on this test.
Digital Video Clipping and Resolution tests shown here were all But there was another issue apart from the basic performance
performed with 1080p HDMI in and out, to check the passthrough of the Sony AVR’s cross-conversion feature. When I tried to pass a
quality of the digital video circuitry. 1080i signal through the component-to-HDMI route (component
The Analog SD Scaling test was performed with 480p 1080i into the receiver, HDMI 1080i out), the HDMI lock-on would
component in and 1080i HDMI out, and the Analog Video Clipping not hold. It would work for a couple of minutes, then the source
and Resolution tests with 1080i component in and 1080i HDMI would disappear and be replaced by a full white field, or a full
out. The 1080p display we used for the test (a Sony VPL-HW15 color field, or a full white field with vertical stripes! I could always
projector) passed all of our 1080i HDMI input tests (as fed directly re-establish the image by unplugging and replugging the HDMI
from the source, an OPPO BDP-83 Blu-ray player); the quality of connection from the receiver to the display, but it would continue
its 1080i-to-1080p deinterlacing was not a limiting factor in the to break lock every two minutes or so.
Photos by Cordero Studios
results. I can recommend the HDMI-to-HDMI switching in the STR-

The Sony receiver’s digital performance—within the design DN1000—it’s superb. But if our sample was typical, I would
limits described above—was excellent. Our tests showed that it not plan on using the AVR’s component-in-to-HDMI-out cross-
passed a 1080p source without visible compromise. conversion.—TJN
But its analog performance was another story, as the chart

ENTRY LEVEL SONY STR-DN1000 A/V RECEIVER
HT Labs
T
his graph shows that the
STR-DN1000’s left channel,
Measures from CD input to speaker

output with two channels
driving 8-ohm loads, reaches 0.1
SONY STR-DN1000 A/V RECEIVER percent distortion at 112.4 watts and
1 percent distortion at 127.9 watts.
Into 4 ohms, the amplifier
reaches 0.1 percent
distortion at 144.2 watts
and 1 percent distortion at
167.0 watts.
Connections INPUTS: VIDEO: HDMI 1.3 (4), component video
(3), composite video (4) AUDIO: Coaxial digital (1), optical digital (3), stereo
THD+N from the CD input analog (6), DMPORT (1) ADDITIONAL: Sirius (1), AM (1), FM (1) OUTPUTS:
to the speaker output was less than VIDEO: HDMI 1.3 (1), component video (1), composite video (2) AUDIO:
Five channels driven continuously into 0.010 percent at 1 kilohertz when Stereo analog (2), subwoofer (1)
8-ohm loads: driving 2.83 volts into an 8-ohm load.
0.1% distortion at 58.9 watts Crosstalk at 1 kHz driving 2.83 volts what the characters are receiver models lately
1% distortion at 69.3 watts into an 8-ohm load was –92.18 really feeling. The Sony as an all-purpose
Visit our Website
decibels left to right and handled everything surround rechanneling
Seven channels driven for a detailed –86.60 dB right to left. The gracefully. mode. In any case,
explanation of our
continuously into 8-ohm loads: testing regimen, signal-to-noise ratio with 2.83 when I needed
0.1% distortion at 55.3 plus a list of our
reference gear.
volts driving an 8-ohm load Dolby Pro Illogic stereo-to-surround
watts from 10 Hz to 24 kHz with “A” As movies gave way to transformation, I
1% distortion at 64.9 watts weighting was –107.74 dBrA. music, I made an concentrated on the
on the From the Dolby Digital interesting discovery. Neo:6 Music mode, as
Analog frequency response in
web input to the loudspeaker The STR-DN1000 opposed to Neural and
Analog Direct mode: output, the left channel measures apparently doesn’t the usual DSP junk
–0.06 dB at 10 Hz –0.07 dB at 20 hertz and –0.34 dB at include the Dolby Pro modes. When I’ve
–0.01 dB at 20 Hz 20 kHz. The center channel measures Logic II/IIx Music directly compared the
+0.04 dB at 20 kHz –0.07 dB at 20 Hz and –0.34 dB at 20 mode—only the Movie DPLII and DTS Neo:6
–2.57 dB at 50 kHz kHz, and the left surround channel mode. Since I typically Music modes in the
measures –0.07 dB at 20 Hz and –0.36 use both stereo and past, I’ve found that
Analog frequency response with dB at 20 kHz. From the Dolby Digital DPLII Music during DPLII better preserves
stereo signal processing: input to the line-level output, the LFE audio-only demos, this the feel of the original
–0.31 dB at 10 Hz channel is +0.00 dB at 20 Hz when came as a surprise. I’ve stereo mix, while
–0.10 dB at 20 Hz referenced to the level at 40 Hz and reviewed HTIB systems Neo:6 provides a
–0.66 dB at 20 kHz reaches the upper 3-dB down point at without DPLII, but this wetter effect, with
–58.70 dB at 50 kHz 105 Hz and the upper 6-dB down is the first time I’ve more reverb.
point at 111 Hz.—MJP done without its Music Nonetheless, I
mode in a mainstream haven’t used Neo:6 in a
SONY STR-DN1000 A/V RECEIVER A/V receiver from a long time, and I
major manufacturer. approached it with an
Was Sony trying to save open mind. It did well
a penny by not in the Camerata Köln’s
licensing the full DPLII CD of Bach’s Trio
suite? Or was this a Sonatas. This chamber
conscious attempt to group is dominated by
drive listeners to other two flutists and various
modes? stringed instruments.
Alternatives in this As many historically
product include DTS conscious groups do
Neo:6, present in both these days, they play
its Movie and Music with little or no
Sony’s AVR remote
modes, and what is is well thought out, vibrato, in an effort
identified as the with an intuitive layout, to leave behind the
Neural-THX mode, backlit mode-shift conventions of a
buttons, and 17 input-
although Neural was select buttons. Romantic-era per-
office-party scene, the bass line than Beyoncé have feelings and recently acquired by formance. This can
should have pounded a little emotions too. Emma Thompson DTS. At a recent trade show, I lead to thin-sounding recordings.
harder. However, I later discov- and Dustin Hoffman play this asked the DTS people how they However, in this CPO release, the
ered that the receiver’s dynamic autumnal romance at perfect plan to position Neo:6 versus engineers of Deutschlandfunk did
range control was set to Auto, pitch, neither low-key nor Neural. They said Neo:6 would be an excellent job of lacquering the
which I defeated. overwrought. However, the score for high-end applications, while soundstage with just the right
Last Chance Harvey, in Dolby is a bit more placid than the Neural would be for low-bit-rate amount of reverb. It worked well
TrueHD, may shock younger performances. Only when a bit of uses. Until now, Neural’s primary in stereo and even better in
viewers with its insistence that rockabilly breaks out along the use has been in XM satellite radio, Neo:6—the latter added reverb,
people who are considerably older Thames does the music hint at but it has spread to several A/V but not to excess.

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ENTRY LEVEL SONY STR-DN1000 A/V RECEIVER
Art Blakey’s Jazz it has an auxiliary input shipping damage. This can then the other. I carried them into
Messengers with to connect to the analog happen to any manufacturer’s an adjacent bedroom and
Thelonious Monk, on output of an external product. If you were put in the repeated the process. The speakers
vinyl, documents the device. It also has a small back of a truck in California and successfully communicated with
collaboration of two jazz backlit liquid crystal got bounced up and down a few the receiver through thick plaster
greats and focuses on display that unfortu- thousand times on the way to walls. Only when I carried them
Blakey’s band and Monk’s nately remains lit even New York, you wouldn’t be too one additional room farther
compositions. It was when the unit is in perky either. away—obstructed by steel girders,
recorded with little standby mode. With the second AVR sample plumbing, kitchen cabinets, and
reverb. Nonetheless, The smaller AIR- installed, the next hurdle was a more plaster—did the pairing
Neo:6 shoved a lot of the SA5R can be purchased quirky design limitation. The process fail.
bandleader’s drum kit as a single speaker STR-DN1000 will transmit signals Still, I was able to enjoy music
into the surround ($150) or as part of the from an external source com- that I streamed from the STR-
speakers, presumably ALT-SA34R package ponent to the wireless speakers DN1000 to my bedroom. This
because it was thickened ($350), which includes only if the source is plugged into came in handy at bedtime, when I
with out-of-phase sound. two speakers and a very the A/V receiver’s analog inputs always unwind to some kind of
DPLII probably would nice-looking full-size or into an external iPod dock gentle music as the industrial-
have done the same. The remote. The AIR-SA5R that’s connected to the receiver’s strength elephant tranquilizers
only alternative was measures 3.2 by 6.5 by proprietary DMPORT jack. As kick in. It was pretty cool that the
stereo. Spatially, it placed 2.5 inches and has a the manual explains, “The sound AVR continued to transmit even
the tenor sax in front, single 1.54-inch driver. It cannot be output if the compo- when it was in standby mode. The
Monk’s stimulating piano has a few tiny LEDs, but nents are connected to the coaxial, larger of the two wireless speak-
slightly behind, and no LCD, and a limited optical, or HDMI jacks on this ers, which had the sound quality
Blakey’s drums—despite number of controls. In receiver.” of a good table radio, also had a
their prominence in the lieu of a wall-wart cord, I didn’t learn this from the sleep function. When used with a
mix—further behind. A it has two prongs on the manual but from a reader review long play list or an FM stream, it
memorable trumpet solo back that plug right into on sonystyle.com. After two can shut itself off in increments of
by Bill Hardman con- a power outlet. As a hours on hold with tech support, up to 120 minutes.
jured a strong center thoughtful touch, there Boston-Dog was irked to discover The Sony STR-DN1000 has
Sony’s compatible
image even with just two ALT-SA34R wireless is a velcro patch above the analog-related limitation: some pluses that are absent in
speakers. speaker package the plug that keeps the “You cannot play audio from digi- competing budget receivers.
This Year’s Model is comes with an unit from falling from tal components, such as every- Although I haven’t said much
additional full-size
Elvis Costello’s second LP remote. the outlet under its own thing that anyone has in their about the PlayStation-derived
and his first with the weight. The built-in plug homes today.” However, he added, Xross Media Bar GUI, it made the
Attractions. What a difference limits placement, but you can “It streams FM stations very nice- A/V receiver a pleasure to use. But
a first-class band makes. Nick always connect it to an extension ly.” I wish all my technical prob- its greatest contribution may be
Lowe’s production achieves a big, cord, as I did. lems could be solved by readers. the idea that music is best
open sound. The powerful Both units (and the ALT- Once I understood this, the managed through an AVR, and
rhythm section always grabs me SA34R’s remote) have shiny front setup was fairly straightforward. not through a PC. With three
by the throat no matter what panels that echo the look of the First, I connected my Blu-ray wireless options to choose
equipment I use. The bass and A/V receiver. They have controls player to the AVR, using the from—the wireless speakers I
drums were strong enough to for power, volume, ID, and player’s previously never-used tried, and the Bluetooth and
punch through the AVR’s slightly channel. The ID toggle has three stereo analog outputs. Then, I Wi-Fi adapters I didn’t try—the
lightweight low-frequency presen- settings, so each wireless receiving connected my second-gen iPod AVR offers something for every
tation. Costello’s outrage at the device can communicate with that nano through the dock. I nav- multiroom audio listener.
manipulative mass media in many separate transmitters. The igated all the way to the bottom of
“Radio Radio” is evergreen and channel change is intended to the A/V receiver’s GUI to Settings, * Audio editor Mark Fleis-
transcends mere politics: “They avoid interference with other then all the way to the bottom of chmann is also the author of
say you’d better listen to the voice household appliances in the that submenu to S-AIR, and I the annually updated book
of reason, but they don’t give you 2.4-gigahertz band. Data trans- activated the pairing function. Practical Home Theater
any choice because they think that mission is 16-bit, 48 kHz, 11 I then ran to the wireless speak- (quietriverpress.com).
it’s treason.” Mbps. For some reason, the larger ers sitting on my desk—one of
speaker comes with a detachable each type—and stuck a paper clip Sony •
Adventure With Wireless receiver card that plugs into the into a small hole labeled Pairing. (877) 865-SONY • sonystyle.com
Speakers back. The smaller one has no This got one speaker to work, Dealer Locator Code SNY
The STR-DN1000 AVR can work detachable card, but it works
with either of two wireless speak- just fine without it
ers. The AIR-SA50R measures 10 (presumably the reception
inches wide by 5 high by 4 deep. capability is built in).
It sells for $250, but as with the Setup wasn’t quite
other products below, you may hassle free. My first review
find a better price at sonystyle. sample of the A/V receiver
com. It is a single unit with two worked well in its
2.54-inch internal drivers, touch- conventional AVR
sensitive controls on the front, functions, but it didn’t
and a wall-wart power supply. In transmit to the wireless
addition to its wireless capability, speakers, presumably due to

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FEBRUARY 2010
RATINGSS
SCOPE
Reference
Excellent
Good
Poor
Fair
PICTURE
SOUND
Reviews in High Definition EXTRAS

INTERACTIVITY
The image is gorgeous, with

great detail and clarity, and a very
fine layer of grain. The image
always looks natural and film-like,
with terrific depth. Fleshtones
look spot on, and there is an
abundance of intense, sensual
color. But unlike so many movies,
it looks like beautiful photogra-
phy, not a post-production
construct. Tarantino shoots on
film, and that’s what this looks
like. The sound isn’t far behind,
and it’s fairly aggressive, with
effective surround ambience and
lots of low-level, granular sounds,
especially when people are eating.
With Tarantino films, the eclectic
music choices are a big part of the
Universal
sound experience. Here, it’s a
mixed bag in the sense that some
Inglourious Basterds of the songs sound hideous,
which is probably on purpose.
The Basterdized History of WWII Other than that, the dialogue is

crystal clear, and the gunfire
supplies jump-inducing
dynamics.
I love going to the movies and saying, “Wow, I’ve never loves Tarantino the writer. And For someone who loves talking
seen anything like this!” Pulp Fiction was like that. It was guess what? So do I! And so does (and talking and talking) about
big, daring, violently imaginative, and completely fearless the extraordinary ensemble of movies, Tarantino’s relative
in breaking the rules. In spite of the small-ish scale of the fictional acting talent that brings Basterds snubbing of supplements on his
corner of World War II Quentin Tarantino has created in Inglourious roaring to life on the screen. Many own home video presentations
Basterds, it feels larger than life, bigger than the war itself. Before think- performances here are destined has always surprised me. Basterds
ing that’s disrespectful, realize that this for cinema legend, from Brad is loaded by that standard. In
movie isn’t really about WWII. It’s about Pitt’s Nazi-hating Lt. Aldo Raine addition to three deleted/alternate
Tarantino’s love of movies and “men on a (pronounce that as “gnattsy,” and scenes, there’s an outstanding
mission” war movies in particular. On one all is clear) to Mélanie Laurent’s 30-minute interview with
level, Basterds is an exploitative and brutal Shoshanna. (Tarantino’s camera Tarantino and Pitt, two boisterous
Jewish revenge fantasy. The Third Reich loves Shosanna more than any interviews with actor Rod Taylor,
gets what it had coming to it, and then character since Jackie Brown. It and a handful of other amusing
some, by baseball bat, fire, dynamite, and admired the hell out of and featurettes. Not only is the movie
machine guns (those last three all at the respected Beatrix Kiddo as a war- within the movie Nation’s Pride
same time!). But classifications aren’t that rior, but it caresses Shoshanna.) included, so is a phony making-of
simple with a war movie whose major set All of the European actors here featurette with its director, star
pieces are 15-minute dialogue expositions BLU-RAY eat up their screen time, but actor, and producer Joseph
built on some of the most intricate cat-and- STUDIO: Universal, 2009
ASPECT RATIO: 2.40:1
Christoph Waltz stands the tall- Goebbels. A Digital Copy is
mouse word games cinema’s ever seen. AUDIO FORMAT: DTS-HD Master est as the vicious and ruthlessly included, as well as Universal’s
Tarantino lights a fuse with his characters’ Audio 5.1 intelligent Col. Hans Landa of the iPhone app. Inglourious Basterds
words and makes it excruciating fun as it LENGTH: 153 mins. SS. Hans’ pipe is the one that says is glorious on Blu-ray, one of the
DIRECTOR: Quentin Tarantino
winds down to the inevitable powder keg STARRING: Brad Pitt, Mélanie
“bad motherf$@%*&#” on it for best releases of the year.
explosion. Sure, Tarantino the director Laurent, Christoph Waltz sure. ● Shane Buettner
PICTURE
SOUND QUOTE: “We ain’t in the prisoner-takin’ business, we in the
hometheatermag.com EXTRAS killin’-Nazi business. And cousin, business is a-boomin’.”
INTERACTIVITY

DreamWorks Paramount
TERMINATOR SALVATION
DIRECTOR’S CUT DISTRICT 9
OHHH, GOOOOOOD FOR YOU! THE VERY CURIOUS CASE OF
AND HOW WAS IT? WIKUS VAN DE MERWE
I D
’m sure we all remember Christian Bale’s infamous verbal tirade istrict 9 is fresh, exhilarating sci-fi, built on inventive ideas
against cinematographer Shane Hurlbut from the set of Termina- and not just special effects. It’s centered on familiar socio-
tor Salvation. That sound bite probably generated more publicity political issues but set in a near distant future, with the
than the movie itself. Ironically, that recording could practically relentless pace and action of a chase movie. In the first act
be an outtake from the film. Bale spends the entire movie in you think you’re in a Paul Verhoeven corporate satire, and
full-on screaming mode. Scene after scene, he barks out orders or then it’s like David Cronenberg shows up to throw in some interspecies
shouts at robots. It’s an annoying, one-note performance from an actor bio-transformation. The movie is shot documentary style, blending news-
who is capable of better. style multimedia footage with the principle action. The effect is riveting,
In this fourth Terminator picture, Bale takes over as the adult John and the movie never takes its foot off the gas pedal. Newcomer Sharlto
Connor, leader of the human resistance. Yet Connor’s not even the lead Copley gives one of the most organic performances I’ve seen under
in this entry. That would be Sam Worthington as Marcus Wright, a outlandish circumstances. There are swarms of CG creatures (“prawns”)
death row inmate who signs his body over to science, then wakes up 15 shot in daylight, which leaves nowhere to hide if the effects aren’t up to
years later to find that the world has ended. Salvation is the first snuff. No worry. The effects are convincing, multi-layered, and always
Terminator without any time travel. Almost the entire movie takes place in service of the narrative. Some suspension of disbelief is required, but
after Judgment Day, but before Arnold Schwarzenegger’s famous T-800 I went along more than willingly. This wild ride is worth taking.
model cyborg has been developed. The digital photography is stylized to look bright and flat like HDTV
For a big-budget sci-fi action flick, Salvation is proficient at what it broadcast material, but it’s still obviously high in resolution. Even the
needs to do. The film has plenty of explosions, expensive VFX, and nighttime photography is clean and noise free, which isn’t always the
robotic mayhem. The script is coherent, and it doesn’t insult its audi- case with digital. The blending of the 4k original digital photography
ence as badly as some of 2009’s other summer blockbusters. At the same with the CG is strikingly seamless. This isn’t meant to look pretty, but
time, it’s a rather generic and derivative post-apocalyptic adventure. this is a strong high-def presentation nevertheless.
There’s nothing particularly groundbreaking or innovative here. The DTS-HD Master Audio lossless audio track is exceptional in
The Blu-ray offers both the theatrical cut and a director’s cut on sep- every way. There’s aggressive activity in all channels throughout, with
arate discs. The difference comes down to only three minutes. The DC powerful, explosive bass and very wide dynamic swings. The dialogue is
has more violence, and actress Moon Bloodgood flashes some side- always in balance, which is a help with the characters’ accents, and the
boob. The 2.40:1 transfer captures the movie’s bleached colors and gritty spatial imaging is excellent all over the soundfield. This is special. It’s
textures extremely well. The image has excellent definition of details ripping good demo material from start to finish.
such as skin pores and hairs, especially District 9 is a fully loaded BD that, like its
during closeups. Meanwhile, the DTS-HD subject, is an immersive world of its own.
Master Audio 5.1 soundtrack digs deep, But it arrived too late on deadline to exper-
with thunderous bass and sharp mechanical ience but a few of its features. In addition to
sound effects. Disc one offers BD-Live a director’s commentary, there are several
access for community screenings and terrific making-of featurettes. There are 23
custom commentaries. In the Maximum minutes of deleted scenes that don’t play
Movie Mode (only on the theatrical cut), well by themselves, an interactive satellite
director McG steps in front of the picture to map and technology schematics, a BD-
walk viewers through the film’s production Live-powered Movie IQ onscreen trivia
via PiP video clips and pop-up trivia. feature, a Digital Copy, and lots more.
Beyond that, there are only two making-of BLU-RAY BLU-RAY District 9 is marketed primarily on
Warner Brothers, 2009 STUDIO: Sony, 2009
featurettes. The third disc is a Digital Copy. STUDIO:
ASPECT RATIO: 2.40:1 ASPECT RATIO: 1.85:1
producer Peter Jackson’s name, but I’ll be
Salvation falls at about the same level as AUDIO FORMAT: AUDIO FORMAT: looking for the next project attached to
Terminator 3. It’s not the disaster that it DTS-HD Master Audio 5.1 DTS-HD Master Audio 5.1 writer/director Neill Blomkamp. My bet is
could have been, but it’s also nowhere near LENGTH: Theatrical Cut: 114 mins.; LENGTH: 112 mins. that one will be marketed as “from the
as good as the first two movies in the series. Director’s Cut: 117 mins.
DIRECTOR: McG
DIRECTOR: Neill Blomkamp
STARRING: Sharlto Copley, Many
director of District 9.” Don’t miss District 9
That’s both a relief and a waste of potential. STARRING: Christian Bale, Sam Prawns on Blu-ray. ● Shane Buettner
● Joshua Zyber Worthington, Moon Bloodgood
PICTURE PICTURE
SOUND SOUND
EXTRAS EXTRAS
INTERACTIVITY INTERACTIVITY
& www.fantamag.com
CINEMA SCOPE
GOMORRAH ANGELS & DEMONS

Criterion Collection Sony Pictures
THE ANTI- A FUN-FILLED
GODFATHER NIGHT IN ROME
T T
his is a relentlessly nerve-racking movie about the Camorra, he one recurring thought that many people have when
an organized-crime gang in Naples, Italy, and the largest, most reading a Dan Brown novel is, “This would make a great
powerful gang in all of Europe. The film delves into its movie!” And they’re right. Unfortunately, no one has done
pervasive impact on local life and its far-flung reach into the that yet. The standard rule with adaptations is that the film
global economy. Based on journalist Roberto Saviano’s best- rarely measures up to the book it’s based on, and this is the
selling nonfiction novel (which exposed the gang’s tentacles so thor- case with Angels & Demons. Much like The Da Vinci Code, Angels &
oughly that the author has lived under constant police protection since Demons tries to cram too much information into too little film time.
the book came out in 2006), the film faithfully weaves in and out of five Even at two hours and 20 minutes, the film feels rushed.
of Saviano’s story lines. It develops characters, reveals their linkages, and The story is predicated upon the ancient grudge match of religion
pieces together a seamless mosaic of a system’s inescapable corruption. versus science between the Catholic church and a secret society called
Director Matteo Garrone shoots in the neutral style of Italian the Illuminati. The stage is set thusly: The Pope is dead, and the Vatican
neorealists (he has cited Roberto Rosselini’s post-war Paisà as a key is in conclave. Four Preferiti Cardinals have been abducted, and a
influence). This intensifies the film’s sense of dread—but also its highly powerful incendiary device of nuclear magnitude is hidden
humanity and its spots of gallows humor. There is none of the honor or somewhere in Vatican City.
grandeur of, say, the Godfather series and little of the glamour of The plot’s ticking-clock element helps to drive the narrative forward
Goodfellas. Still, as in The Sopranos, several of the characters emulate at a rapid pace, but it operates under the presumption that today’s
their cinematic counterparts, especially—in one of the saddest plot audiences will find lengthy exposition and back story boring. To
lines—two rowdy teenage boys who think they can be like Al Pacino in counter this problem, the camera is constantly moving, and important
Scarface and meet their doom in the process. plot points are hurriedly discussed while in transit to the next big set
Garrone deliberately shot the film in several different styles, to match piece. However, the filmmakers succeed admirably in re-creating the
its various rhythms. Some scenes are underlit, others overexposed. many interiors and exteriors of key places around Rome. When actual
Criterion’s Blu-ray transfer captures the contrasts with close fidelity. (I location shooting proved to be impossible, the Vatican, the Sistine
saw the film at New York’s IFC Center when it came out.) Throughout Chapel, various churches, and even St. Peter’s Square were all re-created
the film, facial details are stunning, and the colors are rich. Garrone is a via intricate sets and green-screen visual effects.
former painter, and he clearly has a keen sense of color-balancing and The HD picture is marvelous, with only minimal soft blur. The daylit
composition. The film’s characters all have wonderful, evocative faces. exteriors of Rome and the warmly lit interiors of the Vatican look sharp
The sound is excellent, covering the dynamic range from whispers to and detailed. The 5.1-channel DTS-HD Master Audio soundtrack is a
explosions, although there’s not much top-of-the-line mix that you’d expect from a
coming from the surround channels. film of this scope and magnitude.
The special features include an interview This three-disc edition contains two
with Garrone, most of the major actors, and versions of the film: the original theatrical
Saviano, who provides enlightening (if cut and a new extended version that runs a
sometimes overly elaborate) context. The whopping eight minutes longer. Extras
film was shot, as much as possible, in the include a series of short vignettes that cover
stories’ actual locations, and a making-of various aspects of the production and an
featurette confirms press stories that interactive section called “The Path of
Garrone occasionally relied on advice from Illumination.” It offers further insight into
actual gang members. Some of them were the production and historical background
happy to tell him where he was going right BLU-RAY BLU-RAY as you track Robert Langdon’s path through
STUDIO: Criterion Collection, 2008 STUDIO: Sony Pictures, 2009
and wrong in his depictions of their ASPECT RATIO: 2.35:1 ASPECT RATIO: 2.40:1
Rome. It also includes the cineChat and
tradecraft. A few even chose to play AUDIO FORMAT: DTS-HD Master AUDIO FORMAT: movieIQ features along with a bonus third
themselves in the movie. Audio 5.1, Dolby Surround (Italian DTS-HD Master Audio 5.1 disc that contains a Digital Copy of the film
You may be confused in the film’s first 15 with English subtitles) LENGTH: Theatrical Cut: 138 mins.; for download. ● Corey Gunnestad
LENGTH: 137 mins. Extended Cut: 146 mins.
minutes, but stick with it. This is gritty, DIRECTOR: Matteo Garrone DIRECTOR: Ron Howard
riveting storytelling. ● Fred Kaplan STARRING: Toni Servillo, Gianfelice STARRING: Tom Hanks, Ewan
Imparato McGregor, Stellan Skarsgard
PICTURE PICTURE
SOUND SOUND
hometheatermag.com EXTRAS EXTRAS

NIGHT AT THE MUSEUM
BATTLE OF THE SMITHSONIAN PUBLIC ENEMIES
20th Century Fox Universal
CARRY ON, DEAD AS
LARRY DILLINGER
O M
ur intrepid museum guard, Larry Daley, has moved on. ichael Mann’s Public Enemies is curiously dour and
While he’s now a rich and famous inventor and pitchman, uninvolving. Mann exhaustively researches his projects,
he misses those exciting Jurassic nights in New York’s and he’s a notorious slave to realism. I think this movie
Museum of Natural History. suffers for it. I’d prefer more romance and legend if this
Sadly, he learns that the museum is going high-tech and is the cold, academic truth of the events of John
is shipping all of its old exhibits to the Smithsonian Institution for deep Dillinger’s 13-month crime spree. Watching the supplements, my
storage. The magic Egyptian tablet from the first Night at the Museum impression is that Mann believed that the heavily researched personali-
has also made its way to Washington, where it’s not only bringing our ties and back story behind the scenes would become apparent to the
heroes back to life each night, but wreaking havoc on the Smithsonian’s audience by osmosis during viewing. But Public Enemies moves from
inhabitants as well. When Larry gets an emergency phone call from his scene to scene without making much of a point of any of it—or
miniature buddy Jedediah Smith (don’t ask), he hustles to Washington developing its characters fully in spite of the 140-minute run time. It’s
to help. exciting in bursts, but it’s also emotionally flat and monotone consider-
Hilarity ensues. Or at least chuckles ensue. I wasn’t rolling on the ing the wealth of talent involved on both sides of the camera.
floor laughing, but I did find this film more entertaining than the Some people thought Mann’s digital photography for 2007’s Miami
original. Yes, a few of the clearly improvised gags run on too long and Vice was too soft and grainy. No one will say that of Public Enemies. It’s
slow down the story. But there are some very clever bits involving startlingly sharp and loaded with pristine detail to the point that it looks
paintings, cupids, cell phones, a balloon dog, and more. A terrific cast is very much like what it is—digital video. It’s impressive, but it’s never
topped by Amy Adams as Amelia Earhart and Hank Azaria as film-like in any way. That’s an observation, not a criticism. In most
would-be Pharaoh Kahmunrah. respects, this is a video reference; only some nighttime scenes appear
This is a solid if unspectacular Blu-ray transfer. Black levels and noisy and soft.
contrast are good. The picture quality isn’t obviously soft, but there is a The sound design is a disaster. It sounds like a lot of location sound
lack of fine detail, such as in facial textures. However, what I see as other was used, apparently including lapel mics for some dialogue-driven
shortcomings were apparently creative choices made for the theatrical scenes. I had to crank the volume to try to understand the dialogue
release. Comparing the scenes in the film with the corresponding HD (which didn’t help). Then when the gunfire opened up, I had to jump
deleted scenes provides an eye-opening demonstration of the sort of for the remote to get the volume back down. While this is an awful,
manipulation possible in post-processing. The deleted scenes appear annoying experience, that’s on the filmmakers’ failed experimentation
closer to the source photography; to me, the colors in the final cut look with sound design, not the DTS-HD Master Audio track on this BD.
a bit pushed. Still, that was an artistic The melancholy score sounds fantastic, and
decision, like it or not, and it doesn’t detract some of the shootouts are spectacular.
from the picture quality. Universal continues to define what the
The DTS-HD Master Audio soundtrack Bonus View PiP should be with its
doesn’t have many of the aggressive action interactive U-Control. There’s a strong
cues that often earn high audio grades from commentary by Mann and a handful of
reviewers. There’s deep bass, but it’s spar- meaningful featurettes, including some
ingly used. The surround action is subtle. historical material that’s more interesting
But overall it’s superbly clean, with clear than the movie itself. The interviews with
dialogue and a beautifully recorded Alan Mann, Johnny Depp, and Christian Bale
Silvestri score that’s a major plus in the film. are, well, arresting. Other extras include a
This three-disc set includes a DVD of the BLU-RAY BLU-RAY second disc with a Digital Copy and iPhone
20th Century Fox, 2009 STUDIO: Universal, 2009
movie, a Digital Copy, and the HD Blu-ray STUDIO: ASPECT RATIO: 2.35:1 ASPECT RATIO: 2.40:1
and iPod touch access to bonus features.
with the movie and extra features. The AUDIO FORMAT: AUDIO FORMAT: While I didn’t care for the picture,
features are excellent, including two DTS-HD Master Audio 5.1 DTS-HD Master Audio 5.1 Universal’s attention to detail is a showcase
commentary tracks, deleted scenes, an LENGTH: 105 mins LENGTH: 140 mins. for everything that’s great about Blu-ray for
DIRECTOR: Shawn Levy DIRECTOR: Michael Mann
alternate ending, and making-of features STARRING: Ben Stiller, Amy Adams, STARRING: Johnny Depp, Christian
people who love movies. And because of
that include a day in the trenches with Hank Azaria, Christopher Guest, Bale, Marion Cotillard the talent here, and the terrific extras, I’d
director Shawn Levy. ● Thomas J. Norton Alain Chabat, and Robin Williams encourage at least a rental. ● Shane Buettner
PICTURE PICTURE
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CINEMA SCOPE
FUNNY PEOPLE UNRATED

TAKING WOODSTOCK COLLECTOR’S EDITION
Universal Universal
TURN ON, TUNE IN, PEOPLE ARE FUNNY,
DROP OUT, CASH IN. THIS MOVIE… NOT SO MUCH.
T T
he small-town farming community of Bethel, New York, is his movie is misleading from the get-go. When you look at
about to get some visitors… 500,000 of them. The Woodstock the slipcase, you see that it’s a Judd Apatow film called Funny
Music and Arts Festival is looking for a nice quiet place to put People starring Adam Sandler and Seth Rogen, so you
down stakes for a few days. For three days in 1969, a few naturally figure, nonstop laughs, right? Wrong. Funny People
hundred acres of open pasture became the center of the is not funny. It’s a behind-the-curtain look at comedians
universe, and the face of modern music was changed forever. going through their daily rigors, most of whom are shallow, vacuous
Elliot Tiber is the residing president of the Bethel Chamber of assholes. And therein lies the humor—supposedly.
Commerce. In an effort to revitalize the town’s economy and generate Sandler plays George Simmons, a prominent comedic actor who gets
tourist dollars for his parents’ run-down motel, he invites the Wood- a wake-up call when he’s diagnosed with a rare blood disease. Simmons
stock Music Festival to come and play. Once the word gets out, has isolated and alienated himself from practically everyone he knows
hundreds of thousands of hippies descend on his sleepy little town, and now lives alone in his Beverly Hills mansion. Staring his mortality
much to the consternation of the local townsfolk. in the face, he starts to re-evaluate his life choices.
The real charm of this film comes in the notable supporting Simmons opts to hit the standup circuit, but his routines are so
performances that are peppered throughout. British thespian Imelda acidic, it makes Lenny Bruce look like Florence Henderson. Rogen
Staunton plays Elliot’s brash New Yorker mom, who rants and raves and plays Ira, an aspiring standup comedian in need of guidance and a
storms through the scenery like Martin Scorsese’s mother after eight decent-paying gig. When Simmons offers him a job to write jokes and
cans of Red Bull. Liev Schreiber steals the movie in his opening scene be his personal assistant, he naturally jumps at the chance. At first, Ira
alone as a pistol-packing transvestite who applies for the job of head of can’t believe his luck, but the luster soon wears off as he becomes
security. It’s disappointing that we don’t get to see any of the festival disenchanted with the antics of his ribald employer.
itself depicted, but that isn’t what the film’s about. Sandler has done dramatic work before, but he’s almost unrecogniz-
Director Ang Lee employs the same split-screen imagery that he so able as an angry dying man who’s still trying to be funny. He plays the
drastically overused in that unholy debacle of his, Hulk. I wish I could role of the self-absorbed prick so well, you wonder how much of his
say that the effect isn’t quite as annoying as it was then, but it is. performance he channeled through personal experience.
Overall, it’s a decent and solid picture. I’ve often wondered if movies The picture is very sharp, but it still lacks the depth and clarity of the
could accurately re-create the hallucinogenic effects of an acid trip on best transfers. Only in certain nighttime scenes can any pixilated grain
film, and unless I drop a tab of the stuff myself, I may never know. But I be detected. The 5.1-channel DTS-HD Master Audio track performs
will say that Elliot’s acid trip looks especially psychedelic in HD. The 5.1 admirably for a film of dramatic scope.
DTS-HD Master Audio does an excellent Disc one contains two versions of the
job of showcasing Danny Elfman’s bluesy movie, the theatrical cut and an unrated cut
score, which fills in nicely for the absence of with only seven minutes of extra footage.
original music from the era. There’s also an audio commentary from
Extras include an audio commentary by Apatow, Sandler, and Rogen, gag reels,
Lee and writer/producer James Schamus, diaries, and Line-o-Rama. Disc two is
deleted scenes, and two production packed with deleted scenes, alternate
featurettes. The BD-Live application allows scenes, extended scenes, documentaries,
for exclusive online content, and My Scenes music segments, unedited standup routines,
enables easy access to your favorite scenes. fake sitcom episodes, fake movie clips,
Taking Woodstock is a tender coming-of- prank calls, and archival footage of Sandler
age story amid the frenzied climate of BLU-RAY BLU-RAY and Rogen early in their careers. For
STUDIO: Universal, 2009 STUDIO: Universal, 2009
music, drugs, and free love. I would like to ASPECT RATIO: 1.85:1 ASPECT RATIO: 1.85:1
interactivity, there’s the new Pocket Blu
see this movie again, but next time through AUDIO FORMAT: AUDIO FORMAT: DTS-HD Master iPhone application, U-Control feature, and
the lens of Oliver Stone. Now, that would be DTS-HD Master Audio 5.1 Audio 5.1 BD-Live.
far out, man. ● Corey Gunnestad LENGTH: 121 mins. LENGTH: Theatrical Cut: 146 mins.; Don’t come to this movie looking for
DIRECTOR: Ang Lee Unrated Cut: 153 mins.
STARRING: Demetri Martin, Liev DIRECTOR: Judd Apatow
belly laughs; you won’t find any. It’s also
Schreiber, Imelda Staunton STARRING: Adam Sandler, Seth hard to say what you’ll come away with at
Rogen, Eric Bana the end of it. ● Corey Gunnestad
PICTURE PICTURE
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CINEMA SCOPE
PARIS, TEXAS EXTRACT

Criterion Collection Miramax
NOT YOUR GRANDDAD’S NEVER MAKE LIFE-ALTERING
ROAD MOVIE DECISIONS ON HORSE TRANQUILIZERS.
P E
aris, Texas is a great film, as intriguing and unlikely as its xtract isn’t the closet classic that Mike Judge’s earlier film Office
title. It’s a road movie about recovering the past rather than Space was, but it’s a worthy comedy that deserved more run
discovering the future, a character study in which the than it got in its 2009 theatrical release. Extract works a lot in
character’s story isn’t unveiled until the end, in a 20-minute misdirection, at first setting up like a con-job flick and then
scene—a tense, gradually revelatory conversation between turning into something else entirely. Jason Bateman plays the
the protagonist (played by Harry Dean Stanton) and his estranged proprietor of a small factory that makes, guess what, extract for various
ex-wife (a blonde-dyed Nastassja Kinski)—that takes place in a shady foodstuff. He’s weighed down with responsibility, not getting any from
peepshow gallery in a dingy Texas town. The scene seems more like a his wife, and he wants to sell out to the big conglomerate and start over.
one-act play than the climax of any movie I can think of, yet it’s as As his head is turned by the new hottie at his factory, his druggy
breathtaking and cinematic as the vast Southwestern desert landscapes bartender buddy (a very funny turn by a barely recognizable Ben
along the way. Playwright Sam Shepard wrote the script, and film Affleck) accidentally hops him up on horse tranquilizers and gets him
dialogue has rarely been crisper or more convincing. German director to embark on a cheating scheme that’s so preposterous it could have
Wim Wenders, who had been trying to grasp and visualize America in been lifted from an episode of Three’s Company. That makes this movie
his previous few movies, finally hit a nerve here; this is his clear, daring sound sillier than it is. Aside from that absurd plot point this is an
masterpiece. Stanton, who had never played a lead role before this, is informed piece of comedy. Judge again smartly captures the characters
riveting from start to finish. Kinski is heartbreaking and plumbs deeper of the workplace and their habits. As someone in the supplements
territory than her character on paper might have suggested was notes, Judge’s knack is in creating characters just like people you actually
possible. The whole cast is tone-perfect, like a first-rate ensemble know, only funnier. Perhaps the most interesting difference between
company. this film and Office Space is that Extract squarely takes the side of
The Criterion Collection’s Blu-ray transfer is (as usual) gorgeous. It management. There’s a take-this-job-and-shove-it vibe, but instead
captures the full, wide range of Wenders’ visual marvels—the San of oppressed workers kissing off the unbearable boss, it’s the ever-
Fernando suburbs’ claustrophobia, the desert grandeur, the small-town responsible and reasonable Bateman who’s fed up with babysitting his
mystery and menace—in bold color, sharp focus, and palpable depth. doltish employees. Is this a new way of viewing the world from Judge,
The surround sound isn’t as enveloping as it might have been, especially or is he simply an equal-opportunity satirist? Maybe his next film will
in the scenes of wide, open spaces, but the dialogue is very clear, the tell us.
ambience (to the extent it exists) is crisp, and Ry Cooder’s background Perhaps this is an homage to movies from the ’70s, as suggested by
music (the liveliest twangy movie score since The Third Man) is of some of the country-funky music selections. The photography style is
audiophile quality. very flat and drab. Detail is fine, and it’s
Wenders supplies the audio commentary obviously HD, but the artistic choices here
track, and it’s everything that this sort of are purposely unflattering, and they lack
thing ought to be, full of fascinating details the extra dimensionality that separates the
about how the movie was written, cast, best HD. The DTS-HD Master Audio isn’t
scouted, scored, and shot—especially shot. much of a surround system workout, nor
He lays out a film-school’s worth of should it be. Dialogue is clear, and the
information about the lenses, lighting, and music choices are inspired and fun to listen
other techniques that he and his longtime to.
D.P., Robby Müller, employed to achieve The extras are spare, with five minutes of
various complex effects. extended/deleted scenes and a ten-minute
Paris, Texas won the Grand Prize at BLU-RAY BLU-RAY making-of featurette that proves why
Criterion Collection, 1984 STUDIO: Miramax, 2009
Cannes when it came out, but it bombed in STUDIO: ASPECT RATIO: 1.78:1 ASPECT RATIO: 1.78:1
self-serving producers should be banned
America, critically and at the box office. AUDIO FORMAT: AUDIO FORMAT: from such supplements. (The talent
Although it’s now widely hailed as a classic, DTS-HD Master Audio 5.1 DTS-HD Master Audio 5.1 interviews are good though, which saves
it is a risky film that may take a few LENGTH: 147 mins. LENGTH: 92 mins. this from being a complete waste.) Extract
DIRECTOR: Wim Wenders DIRECTOR: Mike Judge
viewings to absorb completely. With a STARRING: Harry Dean Stanton, STARRING: Jason Bateman, JK
deserves an audience; make sure to at least
Blu-ray that looks this good, that shouldn’t Nastassja Kinski, Dean Stockwell Simmons, Ben Affleck give this one a rental. ● Shane Buettner
be a burden. ● Fred Kaplan
PICTURE PICTURE
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CINEMA SCOPE
GONE WITH THE WIND LOCK, STOCK AND

70TH ANNIVERSARY EDITION SNATCH TWO SMOKING BARRELS
Warner Brothers Sony Pictures Universal
YOU SHOULD BE WATCHED, DOUBLE ENTENDRE? RITCHIE BEFORE
AND OFTEN. WHAT DOUBLE ENTENDRE? MADONNA
H A L
ow does one sum up a movie like Gone fter his breakthrough success with the ock, Stock and Two Smoking Barrels is a
with the Wind? The word “daunting” rollicking Lock, Stock and Two Smoking movie about schemers, lowlifes, thugs,
seems appropriate. Everything about the Barrels, Guy Ritchie followed up quickly mobsters, dimwits, and cheaters. In other
film exists on a scale almost beyond with another “lad” movie along the words, it’s one of the many quirky crime
belief—the epic sweep of its story, the enormous same lines. Snatch has a similar quirky sensibility, dramas made in the wake of Pulp Fiction. British
expense and magnitude of its production, its stylized visuals, and twisty convoluted plot. director Guy Ritchie (Madonna’s future ex-
staggering length, its extraordinary success, and its This time, the story involves a diamond heist husband) managed to break through the clutter
reputation as one of the greatest classics from and an illegal underground boxing circuit. Brad with this rough but wildly entertaining debut
Hollywood’s Golden Era. Pitt steals the show as a scheming Gypsy brawler feature.
The 70th Anniversary Edition Blu-ray is with an unintelligible accent. The plot continually The movie was shot very cheaply on 16mm
packaged in a deluxe boxed set. Disc two has more circles around and doubles back on itself in film. The stock is rough and grainy, with frequent
than eight hours of documentaries, featurettes, unpredictable and very entertaining ways. focus issues. Colors take on a yellowish pall
vintage footage, and even a 1980 TV movie The HD transfer looks filtered. The image has throughout. The transfer is nonetheless often very
starring Tony Curtis as producer David O. very little grain texture. Facial features sometimes sharp, sometimes too sharp. Black crush is
Selznick. As if that weren’t enough, disc three smear when in motion. This suggests that some occasionally a severe problem. Even so, by and
holds an additional six-hour documentary about Digital Noise Reduction was used. The DTS-HD large, the disc is an acceptable presentation for the
the heyday of MGM Studios. Master Audio soundtrack makes creative use of movie’s gritty aesthetic.
Warner has meticulously restored the directional effects. The bouncy score has nice The DTS-HD lossless track is likewise riddled
three-strip Technicolor photography from a new musical clarity. Dynamics are nothing special, but with problems. Dialogue recording levels and
8k scan. Dirt and age defects have been cleared the gunshots deliver a nice crack. fidelity are all over the map. Dynamic range is flat,
away. Detail and textures are better resolved than Most of the supplements are recycled from even during the big action sequences. On the
any previous video edition. The ornate sets and previous DVD editions. These include a commen- other hand, the surround channels come to
costumes are easier than ever to appreciate. Colors tary, making-of featurette, deleted scenes, surprising life.
are undoubtedly more accurate as well. For a film storyboards, photo gallery, trailers, and TV spots. The Blu-ray contains only the movie’s 108-
from 1939, the whole thing looks terrific. Hidden in the Languages menu is an option for minute theatrical cut, not the longer 120-minute
The audio reveals its age more than the video. “Pikey” subtitles specifically for Pitt’s character. version that was released on DVD in 2006. Despite
Hiss and pops have been removed, but the music New to the Blu-ray are Sony’s Movie IQ cast trivia this, the disc has only a few supplements from the
is brittle, and the interface, a feature Director’s Cut DVD.
bottom end is very that lets you edit video We’re left with a short
shallow. The Dolby clips, and access to the making-of featurette
TrueHD 5.1 remix is studio’s BD-Live and a very brief
tastefully done and portal. profanity reel. For the
mostly faithful to its In certain respects, high-def disc,
monaural origins. Snatch amounts to Universal has also
Surround use is very more of the same added D-Box
limited. from Ritchie, a enhancement and a
Even 70 years after director whose link to the studio’s
its release, Gone with attempts to stray generic BD-Live
BLU-RAY the Wind remains a BLU-RAY beyond the crime BLU-RAY portal. Neither is
STUDIO: Warner Brothers, 1939 STUDIO: Sony Pictures, 2000 STUDIO: Universal, 1998
movie that belongs in ASPECT RATIO: 1.85:1
movie genre have met ASPECT RATIO: 1.85:1
particularly exciting.
AUDIO FORMAT: the collection of every AUDIO FORMAT: with mixed success. AUDIO FORMAT: The Cockney slang
Dolby TrueHD 5.1, Dolby Digital 1.0 film lover. Frankly, DTS-HD Master Audio 5.1 On the other hand, DTS-HD Master Audio 5.1 dictionary from the
LENGTH: 233 mins. you should give a LENGTH: 103 mins. why complain when LENGTH: 108 mins. original DVD might
DIRECTOR: Victor Fleming DIRECTOR: Guy Ritchie DIRECTOR: Guy Ritchie
STARRING: Clark Gable, Vivien
damn. ● Joshua Zyber STARRING: Brad Pitt, Jason
the results are this STARRING: Jason Statham, Jason
have been more
Leigh, Hattie McDaniel Statham, Benicio Del Toro much fun? Flemyng, Vinnie Jones helpful. ● Joshua Zyber
● Joshua Zyber
PICTURE PICTURE PICTURE
SOUND SOUND SOUND
EXTRAS EXTRAS EXTRAS
INTERACTIVITY INTERACTIVITY INTERACTIVITY

Soul moving.
DISCOVER THE INCREDIBLE TRIBE SERIES. FOR MORE INFORMATION, VISIT www.totemacoustic.com
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CINEMA SCOPE
SAY ANYTHING FIGHT CLUB

LÉON: THE PROFESSIONAL 20TH ANNIVERSARY EDITION 10TH ANNIVERSARY EDITION
20th Century Fox 20th Century Fox
SOMEBODY’S COMING. TEENAGE LOVE AND I WANT YOU TO HIT ME
Sony Pictures
SOMEBODY SERIOUS. KICKBOXING IN SEATTLE AS HARD AS YOU CAN.
L W C
uc Besson’s Léon: The Professional is among hen one thinks of great screen omedy doesn’t come in a darker shade of
the best action flicks of the 1990s. Fans of romances, they typically think of black than Fight Club, David Fincher’s
aggressive and imaginatively choreo- Gone with the Wind, Casablanca, ultraviolent man fantasy based on Chuck
graphed action get all they could ask for Titanic, and The Empire Strikes Back. Palahniuk’s novel. How much of the
(and then some). But what’s unique and more But often overlooked is the poignant and decep- armchair philosophy is b.s., and how much is of
intriguing about this film is the emotional center tively simple love story behind Say Anything. genuine sociological import I don’t know. But I do
developed in the bizarre but affecting relationship Diane Court is a popular girl with a brain who know that this movie is filled with scathing dia-
between the ruthless but childlike hit man Léon seems impossibly out of reach to a guy like Lloyd logue and a ton of biting pop-culture witticisms.
(the great Jean Reno) and the preteen Mathilda Dobler. Lloyd throws caution to the wind and asks First rule of Fight Club: If your display can’t do
(Natalie Portman), who becomes his ward after Diane out. Despite her initial resistance, Diane is deep blacks, you can’t see Fight Club. When you
her family is murdered by corrupt policemen led won over by Lloyd’s charm, and they fall in love. can see it, there’s enough sharp, gritty textural
by an over-the-top and utterly diabolical Gary But as with all great love stories, trouble looms detail that you’ll want to clean under your nails
Oldman. large on the horizon. after watching. Ren Klyce’s sound design puts
This Blu-ray contains both the theatrical cut John Cusack and Ione Skye have excellent Fight Club in reference territory. The level of
and the longer extended cut. The theatrical cut is chemistry in creating the believable universe of activity and ambience in all channels, the use of
more exhilarating in that it moves at a torrid pace two people in the throes of young love. Veteran explosive dynamic range (it’s not just loud, it’s got
without losing anything essential in character actor John Mahoney plays Diane’s well-meaning incredible swing from quiet to loud), and the
development. The extended cut is a much richer but morally flawed father, and there are notable quality of the individual sound effects are beyond
portrait of the two main characters, which are the supporting performances from Lili Taylor, Joan convincing. It’s so organic, it doesn’t just sound
movie’s strength. But it’s also more complicated as Cusack, Eric Stoltz, and Jeremy Piven. real, it feels real (the fight sequences will make you
the sexual undertones of the theatrical cut This is one of Fox’s better catalog transfers. squirm in your plush theater seat). Astounding!
between Portman and Reno come to the forefront While it’s not as sharp and detailed as most recent The extras start with a gag splash screen for a
to an uncomfortable degree. films, this is still the best-looking Say Anything by Drew Barrymore movie, and they don’t let up.
The image quality is sensational, with deep, far. Music plays an important part in this film, and Exclusive to this 10th-anniversary Blu-ray are a
inky blacks, terrific contrast, and crisp detail. The the new DTS-HD Master Audio mix lets the many sound mix demo with Klyce, a “Flogging Fight
color palette has always been stylized and remains songs shine through. Club” featurette with an apparently drunk Mel
so, but this movie looks like it was made six Extras include a commentary with writer-direc- Gibson on a horse, and a PiP mode that indexes
months ago. The tor Cameron Crowe, a the commentaries and
soundtrack is equally 20-year retrospective extras by topic that’s
impressive, with documentary, and appropriately named
active surrounds, interview snippets “I Am Jack’s Search
wide dynamics, and from comedians and Index.” Hours of
pounding bass that actors about how family fun!
punctuates the music much they love Say Fight Club is
score and the action. Anything. appropriately
Whichever version Like John Hughes, pulverizing on
you watch, Léon: The Crowe effectively Blu-ray, which I say
Professional is an captures the angst of with genuine
BLU-RAY essential high-def BLU-RAY teenage relationships BLU-RAY affection. Now, go
STUDIO: Sony Pictures, 1994 STUDIO: 20th Century Fox, 1989 STUDIO: 20th Century Fox, 1999
release for those who ASPECT RATIO: 1.85:1
and the heartbreak of ASPECT RATIO: 2.40:1
blow up your Blu-ray
AUDIO FORMAT: have seen it and a AUDIO FORMAT: DTS-HD Master young love. It’s so AUDIO FORMAT: DTS-HD Master player and your TV,
DTS-HD Master Audio 5.1 marvelous opportu- Audio 5.1, Dolby Digital 2.0 believable, certain Audio 5.1, Dolby Digital 2.0 you decaying piece
LENGTH: Theatrical Cut: 109 mins.; nity for those who LENGTH: 100 mins. scenes will make you LENGTH: 139 mins. of organic matter!
Extended Cut: 133 mins. DIRECTOR: Cameron Crowe DIRECTOR: David Fincher
DIRECTOR: Luc Besson
haven’t. STARRING: John Cusack, Ione Skye,
cringe at how close to STARRING: Brad Pitt, Edward
● Shane Buettner
STARRING: Jean Reno, Gary ● Shane Buettner John Mahoney home they hit. Norton, Helena Bonham Carter
Oldman, Natalie Portman ● Corey Gunnestad
PICTURE PICTURE PICTURE
SOUND SOUND SOUND
EXTRAS EXTRAS EXTRAS
INTERACTIVITY INTERACTIVITY INTERACTIVITY

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HOME THEATER
NOT SURE
WHAT
TO BUY?
Check out this
exclusive listing SOURCE COMPONENTS • LG BD390 Blu-ray Player
of our reviewers’ ENTRY LEVEL JBL ES20 Speaker System, $1,746 as
recommended gear. Panasonic DMP-BD60 Blu-ray Player, $200 reviewed
Reviewed July 2009 Reviewed September 2008
HDTVS PROJECTORS
Sony PlayStation 3 Game Console/ JBL Control NOW AW Speaker System,
ENTRY LEVEL ENTRY LEVEL Blu-ray Player, $299 $2,124 as reviewed
Sony BRAVIA KDL-40V5100 LCD HDTV, Sanyo PLV-Z3000 LCD Projector, $2,795 Reviewed May 2008 Reviewed February 2009
$1,100 Reviewed June 2009
Reviewed September 2009 MIDRANGE Paradigm Special Edition SE 1 Speaker
Epson PowerLite Home Cinema 6500 UB Samsung BD-P3600 Blu-ray Player, $300 System, $2,344 as reviewed
Panasonic VIERA TC-P42G10 Plasma HDTV, LCD Projector, $2,999 Reviewed July 2009 Reviewed February 2010
$1,200 Reviewed August 2009
Reviewed September 2009 Replaced with PowerLite Home Cinema LG BD390 Blu-ray Player, $350 Paradigm Reference Studio 20 v.4 Speaker
8500 UB LCD Projector, Price unavailable at Reviewed December 2009 System, $2,495 as reviewed
MIDRANGE press time* Reviewed March 2007
Panasonic TC-P46G10 Plasma HDTV, $1,500 Panasonic DMP-BD55 Blu-ray Player, $399 Replaced with Reference Studio 20 v.5
Reviewed July 2009 MIDRANGE Reviewed December 2008 Speaker System, $2,495*
Mitsubishi HC7000 LCD Projector, $3,495 Replaced with DMP-BD80 Blu-ray Player,
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Reviewed October 2008 Focal Dôme Speaker System, $2,599 as
Replaced with TC-P50G10 Plasma HDTV, Panasonic PT-AE3000U LCD Projector, OPPO BDP-83 Blu-ray Player, $499 reviewed
$1,600* $3,499 Reviewed September 2009 Reviewed January 2010
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Toshiba REGZA 46SV670U LCD HDTV, $2,300 Replaced with PT-AE4000U LCD Projector, Digeo Moxi HD DVR, $799
Reviewed November 2009 $2,499* Reviewed June 2009
Panasonic VIERA TC-P58V10 Plasma HDTV, Sony VPL-HW10 SXRD Projector, $3,499 HIGH END
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Samsung UN55B7000 LCD HDTV, $3,600 Boston Acoustics Reflection RS 260
Reviewed August 2009 JVC DLA-HD350 D-ILA Projector, $4,500 SPEAKERS Speaker System, $2,900 as reviewed
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Sony BRAVIA KDL-46XBR8 LCD HDTV, $3,700 ENTRY LEVEL
Reviewed January 2009 HIGH END DCM Cinema2 Speaker System, $500 Atlantic Technology System 4400 Speaker
JVC DLA-HD750 D-ILA Projector, $7,500 Reviewed November 2007 System, $3,350 as reviewed
HIGH END Reviewed April 2009 Reviewed December 2009
Samsung UN55B8500 LCD HDTV, $4,500 Replaced with DLA-HD950 D-ILA Projector, HSU Research HB-1 Speaker System,
Reviewed January 2010 $8,000* $1,124 as reviewed Boston Acoustics VS 240 Speaker System,
Reviewed March 2007 $3,700 as reviewed
Sony BRAVIA KDL-55XBR8 LCD HDTV, $5,000 Replaced with HB-1 Mk 2 Speaker System,
Reviewed February 2009 $1,124*
Acoustic Energy Radiance 1 Speaker
Panasonic Premiere TH-65VX100U Plasma PSB Alpha B1 Speaker System, $1,336
System, $4,200 as reviewed
HD Monitor, $7,500 as reviewed
Reviewed September 2009
Reviewed April 2009 • JVC DLA-HD350 D-ILA Projector Reviewed February 2007
Definitive Technology Mythos STS
Planar PD8150 DLP Projector, $8,000 Mordaunt-Short Alumni Speaker System,
SuperTower Speaker System,
Reviewed July 2008 $1,470 as reviewed
$4,355 as reviewed
Reviewed March 2008
Reviewed March 2009
Sony BRAVIA VPL-VW85 SXRD Projector,
$8,000 • Paradigm Reference Studio 20 v.4 Speaker System
Reviewed November 2009
Marantz VP-15S1 DLP Projector, $9,000

Shane Buettner reviewed this model for
www.UltimateAVmag.com
(Available while supplies last)
• Toshiba REGZA 46SV670U LCD HDTV
* This replacement product has not yet been reviewed in HT. Although we suggest it is worth a close look, this is not a specific recommendation.

Paradigm Reference Signature S8 Speaker Polk SurroundBar 360 DVD Theater Integra DTR-9.9 A/V Receiver, $2,600
System, $15,195 as reviewed Soundbar, $1,200 Reviewed April 2009
Reviewed January 2009 Reviewed January 2009 Replaced with DTR-80.1 A/V Receiver,
$2,800
Pioneer S-2EX Speaker Phase Technology Teatro PC-3.0 Speaker
System, $17,500 as reviewed System, $2,400 as reviewed Arcam AVR600 A/V Receiver, $4,999
Reviewed February 2007 Reviewed May 2009 Reviewed August 2009
• VIZIO VSB210WS High Definition Monitor Audio Platinum PL300 Speaker HTIBS Denon AVR-5308CI A/V Receiver, $5,500
Sound Bar Speaker System
System, $25,650 as reviewed Reviewed August 2008
Infinity Classia C336 Speaker System, Reviewed October 2009 ENTRY LEVEL
$4,494 as reviewed Sony BRAVIA DAV-HDX500 HTIB, $499 Pioneer Elite SC-09TX A/V Receiver, $7,000
Reviewed April 2009 Revel Ultima2 Salon2 Speaker System, Reviewed at Reviewed November 2008
$45,993 as reviewed www.HomeTheaterMag.com
Replaced with DAV-HDX587WC HTIB, $430*
PSB G-Design Speaker System, Reviewed July 2009 PROCESSORS
$4,696 as reviewed
Reviewed October 2007 IN-WALL/ON-WALL Onkyo HT-SR800 HTIB, $599 Integra DHC-9.9 Processor, $2,000
Atlantic Technology IWCB-626 In-Wall Reviewed at Reviewed July 2009
PSB Imagine T Speaker System, Speakers, $875/each www.HomeTheaterMag.com Replaced with DHC-80.1 Processor, $2,300
$4,749 as reviewed Reviewed September 2007 Replaced with HT-S5200 HTIB, $599*
Reviewed May 2009 Marantz AV8003 Processor, $2,600
Sonance VP89 In-Wall Speakers, MIDRANGE Reviewed October 2008
Dynaudio Focus 110 Speaker System, $2,850/pair Panasonic SC-BT100 HTIB, $1,000
$4,750 as reviewed Reviewed September 2008 Reviewed October 2008 Anthem Statement D2 Processor, $7,499
Reviewed September 2007 Reviewed September 2008
Paradigm Millenia 20 Hybrid Speaker Onkyo HT-S9100THX Integrated System, Replaced with Statement D2v Processor with
Canton Ergo 620 Speaker System, System, $5,281 as reviewed $1,099 ARC, $7,499,* review upcoming
$5,550 as reviewed Reviewed January 2010 Reviewed April 2009
BG Radia BGX-4850 In-Wall Subwoofer A/V RECEIVERS
Sonus faber Toy/REL T1 Speaker System, System, $7,000 as reviewed
$6,044 as reviewed Reviewed January 2010 ENTRY LEVEL
Reviewed May 2009 Pioneer VSX-1019AH A/V Receiver, $499
Pioneer Elite EX Series S-IW691L In-Wall Reviewed October 2009
Usher Be-718 Speaker System, Speaker System, $10,197 as reviewed
$6,988 as reviewed Reviewed June 2009 Onkyo TX-SR607 A/V Receiver, $599 • Denon AVP-A1HDCI Processor
Reviewed May 2008 Reviewed August 2009
SOUNDBAR SPEAKERS Denon AVP-A1HDCI Processor, $7,500
HIGH END VIZIO VSB210WS High Definition Sound Bar MIDRANGE Reviewed September 2009
Atlantic Technology 8200e Speaker Speaker System, $350 Onkyo TX-NR807 A/V Receiver, $1,099
Reviewed December 2009
System, $7,530 as reviewed Reviewed July 2009 AMPLIFIERS
Reviewed July 2007
ZVOX Z-Base 550 Single-Cabinet Surround Denon AVR-4310CI A/V Receiver, $1,999 Rotel RMB-1085 Amplifier, $1,199
Thiel SCS4 Speaker System, System, $400 Reviewed November 2009 Reviewed October 2008
$8,350 as reviewed Reviewed April 2009 Replaced with RMB-1565 Amplifier, $1,299*
Reviewed April 2008
ZVOX 425 Soundbar, $600 NAD Masters Series M25 Amplifier, $3,499
Sonics Amerigo Speaker System, $10,095 Reviewed July 2008 Reviewed January 2007
as reviewed
Reviewed February 2010 Definitive Technology Mythos SSA-50 ADA PTM-8150 Amplifier, $4,999
Soundbar, $1,099 • Integra DTR-9.9 A/V Receiver Reviewed February 2007
PSB Synchrony One Speaker System, Reviewed August 2008
$10,700 as reviewed Rotel RSX-1550 A/V Receiver, $1,999 Anthem Statement P5 Amplifier, $7,199
Reviewed December 2007 Denon DHT-FS3 Soundbar, $1,199 Reviewed June 2009 Reviewed December 2006
Reviewed April 2008
Marantz SR8002 A/V Receiver, $2,000 Denon POA-A1HDCI Amplifier, $7,500
Reviewed May 2008 Reviewed September 2009
HIGH END
Rotel RSX-1560 A/V Receiver, $2,599
Reviewed August 2009 • Rotel RMB-1085 Amplifier
• BG Radia BGX-4850 In-Wall

Subwoofer System • Onkyo HT-S9100THX Integrated System

DEMO Where to Find the Best in Home Theater...
CALIFORNIA (northern) LOUISIANA
DAVID VINCENT DESIGN*# VALENTINO HOME ENTERTAINMENT

Jim Zoyiopoulos, Owner Towne Center
Home theater and music systems showroom. 7150 Jefferson Hwy., Suite 670
Lighting control and whole home automation. (225) 925-9669 & (225) 925-9660 FAX
26384 Carmel Rancho Lane www.vheonline.com
Carmel, CA 93923 B&W, Classe, Rotel, McIntosh, Martin-Logan
www.davidvincentdesign.com
info@davidvincentdesign.com
Lutron, Kaleidescape, Crestron, JVC, Sony, Denon,
Niveus, Triad, Speakercraft, Pioneer MAINE
CALIFORNIA (southern) CUSTOM HOME THEATER SYSTEMS

99 Pleasant Street, Suite #1
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MNT, NAD, PIO, RBH, REV, ROT, SLD, SAM, SHA, SIM,
GNP AUDIO VIDEO SNE, STW, SUN
1254 E. Colorado Blvd., Pasadena, CA 91106
(626) 577-7767
www.gnpaudiovideo.com
Home Theater, Home Stereo and Custom Music Systems MARYLAND
since 1977. “Best Stereo Shop” by LA Magazine.
ARC, AUD, B&K, DWI, FUJ, LEX, MAR, MLN, MER, NEC, NIL,
NUV, TNY, PSB, ROT, THI, UNV, AND MORE
INNOFACE SYSTEMS, INC.

www.innofacesystems.com
The DC Metro Area’s source for quality Home Theater
FLORIDA Installations.
Crofton, MD 21114 • (410) 721-4040
CHF, CRE, DAL, DEN, EPS, EXT, HIT, INF, KLI, NIL, PIO,
SHA, TOS, UNV, VEL
STRAM ELECTRONICS
HOME THEATER GALLERY
Tampa’s most beautiful showroom - Established 1988.
Professional Quality Easy Living® Automation Systems
NEW JERSEY
with by appointment services. Tampa’s largest AMX
and Vantage Lighting Control dealers.
3300 S. Dale Mabry HWY., Tampa, FL 33629
(813) 831-8551
www.HomeTheaterGallery.com
AIN, AMX, ANY, ART, ADA, BDI, CAN, CHF, DEN, DVO, EXT,
FAR, FUJ, INF, JBL, LGE, MAR, MER, NIL, PAR, ROC, RUN,
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HOME THEATER INNOVATIONS/

BOB’S TV.
Hwy. 441 Ocala/Villages area Over 15 years
experience Custom Designed Home Theater 2410 Route 35 North, Manasquan, NJ 08736
Automation/ Home Audio 3585 Route 9 North, Freehold, NJ 07728
(352) 245-2183
HiDEFhometheater.com
www.bobstv.tv
GEORGIA HOME
GEORGIA HOME THEATER*# DEALER LOCATOR

20 Years of Excellence Designing Home Automation
and Lighting Control for Atlanta’s Finest Homes.
Visit our beautiful design center.
To Advertise
2516 Cobb Pkwy., Smyrna, GA 30080 CONTACT:
(770) 955-8909 Helene Stoner at
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B&W Speakers, Wilson & 15 Other Brands. Helene.Stoner@msn.com
86 FEBUARY 2010 www.hometheatermag.com

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NEW HAMPSHIRE TENNESSEE
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ENSEMBLE MUSIC SYSTEMS &
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Tel: (603) 888-9777, Fax: (603) 888-9555 (615) 385-3999
info@newenglandhometheater.net CT4, DEN, SAM, BOS, PLK, PIO, PAN, TOS, RUS, JBL, ONQ, BOS
http://www.newenglandhometheater.com
AER, ARC, ANT, ATL, AUQ, BDI, B&W, CAR, CLS, DEN, EPS, DEALER LOCATOR
LGE, MAC, MNT, NAD, PAR, PDM, PIO, PRC, PSB, ROT,
SEN, SIM, SLD, SPK, STW, SUN, THL, TOT, TRP, UNV
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NEW YORK To Advertise
ADVANCED HOME THEATER SYSTEMS *#
INTECH AV
270F Duffy Avenue, Hicksville, New York 11801
Winner, 2007 & 2008 Home of the Year Award! The CONTACT:
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Tel: (800) 822-4993 3209 Premier, Ste. 112, Plano, TX 75075
www.intechav.com • sales@intechav.com (972) 516-1849
Sony, Samsung, Mitsubishi, Toshiba, Crestron, Martin
Logan, Meridian, Niles ICS, Triad, Sim2
www.advancedhometheater.com
AER, ATI, ATL, ACT, B&K, BOL, BOX, CYA, CLP, CRE, DAL,
Helene Stoner at
Since 1993, providing high end custom installation and DEN, DWI, EAR, EXT, FAR, HAR, HNS, ITL, JAM, JVC, KIM,
integration in the Tri-State New York area. LUT, MNT, MON, NIL, PNX, PAN, PAR, PHL, PIO, PSA,
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www.hometheater.biz • info@hometheater.biz # Indicates CEDIA Dealer
A/V EXPERIENCE
Providing over 25 years experience in personalized
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www.audiovideoexperience.com
ADC, APX, ATL, DEN, FUJ, INT, PIO, SAM, SEL, SHA, SPK,
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IDS AUDIO/VIDEO & TECHNOLOGIES

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Music Everywhere. Cedia Certified. IDS Audio/Video &
Technologies Experience over 20 years of personalized
service and custom installation
243 Roslyn Road, Roslyn Heights, NY
(800) 570-6464, Fax: (516) 625-9590
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ACR, ATL, B&K, B&W, BDI, CAN, CHA, CLP, CIN, CRE,
DAL, DEN, DVO, DWI, ELA, FAR, FUJ, HNS, ITG, KLI, LOE,
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NORTH CAROLINA
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Raleigh, NC 27606
(919) 481-4224 • www.intelligentelectronics.com
AIN, ATL, BDI, CAN, CRE, Definitive Technology, DEN,
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Instant Information for Our Readers...
PAGE# MANUFACTURERS
86. . . . . Advanced Home Theater
PAGE# MANUFACTURERS
65. . . . . Oppo Digital, Inc.
YOU’VE
System
Phone (800) 414-1849
www.advancedhometheater.com
Phone (650) 961-1118
www.oppodigital.com
61,17 . . Panasonic Consumer
GOTTA
19. . . . . American Power Conversion
Phone (888) 289-APCC
www.apc.com 34. . . . . Paradigm
www.panasonic.com/viera
Phone (905) 564-1994

HAVE
87. . . . . Audioengine
www.audioengineusa.com
39. . . . . Bello International Corp.
Phone (732) 972-1333
www.bello.com
www.paradigm.com
29. . . . . Parts Express
Phone (800) 338-0531
www.parts-express.com
THIS!
5,7 . . . . Polk Audio
12-13 . . BodySound Phone (410) 764-5275
Phone (877) 943-4041 www.polkaudio.com
www.bodysoundtheater.com
86. . . . . Pro Audio Acoustics
83. . . . . CEA Phone (888) 247-8437
www.CE.org/events www.proaudioacoustics.com
15. . . . . CinemaShop.com 45. . . . . Regza
Phone (866) 243-1001 www.toshibatv.com
www.cinemashop.com
40. . . . . Salamander
9. . . . . . Crutchfield Phone (800) 350-6859
Phone (800) 555-8347
www.crutchfield.com C4 . . . . . Sanus Systems
Phone (800) 359-5520
57. . . . . CSA Audio Design www.sanus.com
Phone (973) 744-0600
www.csaaudiodesign.com 21. . . . . Schneider Optics
Phone (800) 228-1254
10 . . . . CustomHT www.schneideroptics.com
Phone (800) 246-5006, ext.00
www.customHT.com 77. . . . . SRS Labs
Phone (800) 243-2733
C2-3 . . . Definitive Technology www.srslabs.com
23,69 Phone (410) 363-7148
71 www.definitivetech.com 11. . . . . Sumiko
Phone (800) 301-0799 Every issue of Home Theater is packed
22. . . . . Diamond Case Designs www.sumikoaudio.net with in-depth, industry-leading coverage of
Phone (800) 616-5354
www.diamondcase.com C3 . . . . . Sunfire Corp. developments in HDTV, Blu-ray, and more.
www.sunfire.com Plus previews of hot new products, a look
8. . . . . . Intech Corp.
Phone (888) 429-HDTV 81. . . . . Totem Acoustic at some of the most incredible home
www.thehighdefinitionstore.com Phone (514) 259-1062 installations out there, Blu-ray Disc reviews,
www.totemacoustic.com objective gear reviews and comparisons,
20. . . . . JBL
Phone (516) 255-4JBL 79. . . . . Vutec including specs, ratings, measurements,
www.jbl.com www.vutec.com and opinions, and much, much more!
49. . . . . Kevro Monitor Audio 53. . . . . ZVOX Audio Create an incredible home theater
www.monitoraudiousa.com Phone (866) FOR-ZVOX experience with Home Theater!
www.zvoxaudio.com
88. . . . . New Egg
www.newegg.com
Order NOW to subscribe at the
Home Theater (ISSN 1096-3065) February 2010, Vol. 17, No. 2. Copyright 2010 by Source Interlink Magazines, LLC. All rights reserved. Published monthly by Source Interlink
Media, LLC., 261 Madison Avenue, 5th Floor, New York, NY 10016. Periodicals postage paid at New York, NY and additional mailing offices. Canada Post Publications Mail
incredibly low rate of just
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POSTMASTER: Please send address changes to Home Theater, P.O. Box 420235, Palm Coast, FL 32142-0235.
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Mailing Lists: Occasionally, our subscriber list is made available to reputable firms offering goods and services we believe would be of interest to our readers. If you prefer to be
excluded, please send your current address label and a note requesting to be excluded from these promotions to Source Interlink Media, LLC., 831 S. Douglas St., El Segundo, CA Your satisfaction is guaranteed
90245, Attn: Privacy Coordinator. Subscription Service: Should you wish to change your address or order new subscriptions, you can e-mail hometheater@emailcustomerservice.
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www.hometheatermag.com
Information listed in this index is done so as a courtesy. Publisher is not liable for incorrect information or excluded listings.
To order, visit our Website at
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or write to: P.O. Box 420235,
Palm Coast, FL 32142-0235
www.fantamag.c
.com
.com
HOME THEATER
Curtain Call
m BY Michael J. Nelson
Michael J. Nelson is the former host and head writer of Mysteryy

Science Theater 3000 and the proprietor of www.rifftrax.com,
e I,I
which offers his commentaries on A-list films, including Star Wars: Episode
The Fellowship of the Ring, and The Matrix.
Almost Perfect
I
f you love someone, set them free,” is the advice Sting offers. He a garbage bag, since it’s not always possible to choose the more desirable
goes on to add, “Free, free, set them free,” about 300 times, but option of sticking them to their inventor’s face.
it does little to alter his basic message. Der Stingle can be for- Once you’ve freed the disc from its prison and pressed Play, you are
given for a lack of subject/pronoun agreement because he was greeted with the ubiquitous FBI warning screen. We’re used to it now,
probably doing something tantric at the time he wrote it. But but step back and think about the user experience. The cellophane
even if we do him the favor of correcting it to, “If you love wrapper, the stickers, the FBI warning. The message from the manufac-
someone, set him or her free,” I’m not entirely sure I’d buy it. I’d turer is clear: “You are a filthy, thieving pirate. We will hunt you down,
counter with, “If you love someone, keep working on her, correcting her find you, and hang you from the nearest yardarm with a sign around
tiniest faults, and nudge her toward perfection at all times until she is your neck that reads, ‘Filthy, Thieving Pirate.’ Now, enjoy your movie.” I
exactly how you want her to be.” sympathize with their desire to minimize the theft of their product, but
No, I don’t feel this way toward my wife. She knows that I fully agree it’s a little like walking into a store and having to submit to a cavity
with her assessment that she’s already perfect. But I do have this attitude search before being allowed to shop.
about home theater. Things are pretty good right now. We have high- I also love downloadable and streaming content, but here again,
resolution TVs, near-perfect audio, convenient storage media, falling there’s room for improvement. Since I have no other TV service, I’m
prices, and ever-advancing technology. Still, there are some improve- forced to stream sporting events. If you’re considering it, I strongly urge
ments that could be made and edges that could be sanded down with that instead, you grab a buddy, mount his shoulders, and find yourself a
some efficient nagging. nice knothole in the fence through which to view the game. I’m
I bow to no one when it comes to my affection for Blu-ray. (It’s purely confident it will be an altogether superior viewing experience.
platonic, Blu-ray, don’t get any ideas.) But dealing with its packaging This past fall, I was excited to see that MLB.com had finally taken
quickly puts me into a rage that, although I’ve previously never had even the subtle hint of my twice-daily letters that urged them to offer
the slightest inclination, makes me want to set fire to my own hair. The high-quality streams of the games, so I quickly laid out the $10 for
tight, shrink-wrapped cellophane is impenetrable, even though it offers their post-season package. I was fully taken in by their promise of “up
a tantalizing hint that it may be vulnerable at the ends, where it folds to four different camera angles,” which I naturally assumed were in
over and fastens. But any probing with a fingernail quickly proves that it, addition to the game feed itself. I thought it was a harmless gee-gaw,
too, is utterly inviolable. It rewards you with more frustration and one that I’m not likely to use, but hey, if the chaps at MLB.com like to
possibly minor injury. The only dependable way to open it is to whet keep themselves busy providing it, I’m happy they’re happy! As it turns
and hone your thinnest Rapala fishing knife to a razor edge and do your out, the stream was only from a single individual camera. This is a big
best to get its tip under a fold at the end. If you can do this and avoid plus for those people out there who like to go to a ball game and focus
major blood loss, you’re ahead of the game. Would it kill you, Blu-ray their eyes on one tiny quadrant of the field, without ever moving their
packagers, to engineer a little convenient peel-up tab for easy access? I heads or changing their focus. But for those of us who actually like to
submit to you that it would not. follow the action as it moves, for instance, from one base to another, it
Don’t get cocky, though. You’re only through the first layer. You’ll had major drawbacks. Yes, you could select other camera angles, but
now have to deal with the army of security stickers. Designed and only as tiny inset pictures, which offer a similar viewing experience as
engineered to vex you, they do their job superbly. Although they are being high above the stadium in a helicopter with a dirty windshield.
impossible to peel up by the edges, they can, with some effort, be torn in Oh, and no replays, no feeds of interview subjects, etc. It’s as though
half. Or you could slice them with the Rapala, but since you just finished Major League Baseball said, “You can watch a little bit of our game—
bandaging a pretty serious Rapala-caused wound, you’ll probably be a that’s too much! Stop watching!”
little wary of blades. You then have to face the arduous task of picking Yes, I’m sure it has to do with pre-existing contracts, etc., but in a fast-
off the sticker shards. This usually proves to be a relatively easy, if moving digital world, not being able to deliver your product in a high-
unwelcome, task. But it quickly leads to a new problem: You have a quality format seems a little behind the times. Like, Honus Wagner–era
dozen or so sticker shards adhered to your hands. You must peel them behind the times.
off and stick them to something else. I usually stick them to the inside of In short, I love you, home theater experience. Now change.

POWERED BY INNOVATION.
DRIVEN BY PASSION.
Let’s face it, every Home Theater enthusiast has a love affair with Power. For some it’s the
subwoofer. For others it’s the amplifier or receiver. For Sunfire customers, it is all of those. We
share their obsession with power, because we know the end result is a movie and music experience
that is second to none.
That’s why for last 15 years Bob Carver and Sunfire have continued to redefine
how you think of Home Theater. Offering more clean, efficient power than you
ever thought possible – from some of the industry’s most innovative designs,
like our patent-pending Tracking Downconverter™ power supply found in all
Sunfire electronics and subwoofers. Each a testament to our unending search of
sonic perfection.
For a personal audition of Sunfire Home Theater, please visit our website to
locate a Flagship showroom near you.
Limited Time Offer for Home Theater Readers

We invite you to join in our passion. For a limited time, Home Theater readers qualify for a $1000 trade-in
credit when upgrading from an existing receiver or processor to a Sunfire 401-Series product.
For de ta ils, please v isi t sunfi re.c om/ upgrade
www.fantam
amag.com

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The Authority in Entertainment Intelligence • www.hometheatermag.com February 2010 Volume 17 No. 2

SPEAKER BUYER'S GUIDE

Where’s the Subwoofer?

“…prepare to be amazed. The Mythos

The Mythos STS system is

Polk Audio uses Skip, the Neumann

Letters Sonics Amerigo Speaker System

Top Picks Boston Acoustics Reflection RS 260 Speaker System

Sony STR-DN1000 A/V Receiver

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Polk Audio uses Skip, the Neumann

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LED LCD DISPLAY

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The More Things Change…

Bill Crutchfield puts the

The more some things stay the same.

Senior Vice President/Group Publisher: Al Crolius

Editor-in-Chief: Shane Buettner

Group Operations Director: Amy Diamond

OFFICERS OF SOURCE INTERLINK COMPANIES, INC.

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Crafted from exceptional materials,

The three-model T-Series range provides

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14 FEBRUARY 2010 hometheatermag.com

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TOP STORY: DELIVERING INSTANT GRATIFICATION

Shift to Streaming also be sold in Blockbuster stores.

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Power fluctuations are a leading cause of equipment malfunction.

• Prevent damage to costly projector and

APC AV Power Solutions for every level of protection

Enter to WIN an H15 Power Conditioner - valued at $449 ERP.

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US-West: Ron Rouse – Ron.Rouse@Harman.com Latin America: Gabriela Arango – Gabriela.Arango@Harman.com

©2009 Harman International Industries, Incorporated. All rights reserved.

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Should I Go Blu? says it will add this capability in a firmware

I don’t recommend Toshiba’s XDE DVD

get from commercial media, Blu-ray is it.

DIAMOND CASE AVR 7550HD, Arcam FMJ AVR600, and

Experts in Home Theater Furniture 22 FEBRUARY 2010 hometheatermag.com

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• Revel Ultima2 Salon2

• Infinity Classia C336 Speaker System

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for good blending, while still optimizing

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Infinity Classia C336

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Available at select retailers, including: "JORNS$3AN$!NTONIO$48$s$#HELSEA$!UDIO 6IDEO$0ORTLAND$/2$s$&LANNERS$"ROOKlELD$7)