Zone Audio Part Two: Sonos Bundle 150 Multiroom System

Sonos is a company that knows that multizone audio is a typically-unfriendly arena that many would love to have in their homes, but fear the cost. The Sonos 150 system is the second reviewed in the two-part series that covers easy multi-zone audio systems.

The Sonos 150 bundle is one of the most attractive systems for this application, not only due to form factor, but ease of installation. Out of the box, the 150 is offered in amplified or unamplified flavors, the latter perfect for adding to an existing system. Like the reviewed NuVo Grand Concerto system, the amplification from the Sonos 150 is designed for smaller bookshelves or in-wall/ceiling applications where high power is typically not needed nor desired. The Bundle 150 utilizes the uber-slick CR100 handheld controller, first introduced in 2005 to much fanfare. Pioneering the concept of freeing your computer's music into multiple zones of your home with control, the CR100 controller shows artist, track, and cover art information on its 3 1/2" screen - very similar to carrying a large iPod - with control over your entire music collection and (potentially) unlimited capacity. The only real limitation to this system involves range. Although the remote is allegedly capable of operation within 100' of the base, things start getting a little fussy around 60-75', and almost go away outside. This is an issue installers or DIYers should consider when discussing outdoor speakers and placement of the Sonos system.

One of the best parts about the Bundle 150 is capacity - or lack thereof. Computer hard drive storage is extremely inexpensive today, with 1TB drives available under $100. The Sonos is designed to access and amplify your music; not store it. As a result, costs can be kept down (proprietary hard drives are mysteriously still expensive on a variety of devices today, far out of proportion with standalones), capacity is as unlimited as your budget and music collection, and interface to access this collection remains familiar. The CR100 remote offers the ability to quickly access this (potentially) large library through an intuitive A-Z listing format, although the scroll wheel is not quite as nice as the near-perfect iPod version. Refreshingly, the Sonos offers the ability to play back nearly any format (except protected AAC formats, for which there are workarounds), so existing iTunes collections can remain accessible through one program. The Sonos Bundle 150 can be augmented with the ZoneBridge unit, for scenarios where wireless access is required.

Designed to potentially stand alone in a second zone, the powered ZP120 incorporates a 55WPC amplifier and built-in 80HZ crossover to add a subwoofer. This is a nice touch, and addresses the fact that these little boxes are slightly anemic in their output, unless speakers are sufficiently efficient. Adding a subwoofer takes the brunt of the hard work away from these smaller amplifiers, adding impact and dynamics where they might previously be absent. Also, any outboard device connected to the Sonos system is accessible in other zones (minus metadata of course), and both the amplified and unamplified flavors offer digital audio connectivity for hookup to receivers with potentially superior D/A converters.

With the ability to access an entire existing music collection with a minimum of fuss, and access Internet-based subscription services like Pandora, the Sonos Bundle 150 is very possibly the most focused and cost-effective zoned music system available. Although not driven through wall-mounted keypads or 15" touchscreens, the Sonos system is a compact and reasonably-powerful package that should satisfy the DIYer wanting to add great audio to his entire home.

Review: NuVo Grand Concerto Multiroom System

Multiroom audio, for those that have never dealt with such in their homes, tends to be an intimidating topic for many. Part of this reality is that certain companies have made the endeavor absurdly expensive for all but the most well-heeled, but others have noticed the market exists for affordable solutions that are easy to use. In this first of two parts featuring two such manufacturers, I review the NuVo Grand Concerto, the flagship of NuVo Technologies' offerings.

The NuVo Grand Concerto is a one-box solution that facilitates six sources, and up to eight zones. The Grand Concerto offers six of these zones amplified out of the box, with the remaining two requiring an additional two channels of external amplification (Nuvo offers the Zone Pak, which incorporates an additional amplifier and keypad). Included is the controller/amplifier, keypads, and ancillary connection cables. The best part of this system is that the keypads utilize OLED keypads that offer touch feedback and as many as eight lines of metadata. These keypads, when utilized with NuVo sources, offer the data from tuners, music servers, and iPods (wired and wireless). The system easily facilitates separate sources with full information in six different rooms with a minimum of setup pain. Offered with the keypads are three colors of bezels to match nearly any decor.

Installation, unlike many other multiroom servers, do not require a professional programmer and permanent tethering to a specialty audio dealer. In fact, NuVo prides itself on initial ease of installation, and has some of the best tech support in the sector. The NuVo system only requires specialized programming equipment and software (and the associated dealer) when incorporating new, non-NuVo infared codes. This is a minor issue, and from experience, the software is easy enough to use that it allows dealers to be competitive in programming cost. The system in fact will ask the user to which inputs the other NuVo components are connected. New users and households with children and spirited teens will appreciate the ability to set the initial turn-on and maximum volume levels to prevent damage and, more importantly, potential annoyance. Other potential parental and convenience features include the password-protected ability to not only prioritize certain sources to certain zones, but also to restrict which sources are routed to which areas. Each keypad offers an IR passthrough for situations where the original remote is needed or preferred, and can be selectively disabled. In addition, any non-NuVo sources can still be controlled via connected IR flashers, although metadata from these sources will not be conveyed to the OLED keypads.

As with any system, there are some drawbacks. Some are minor, some are frustrating, some are merely inconvenient. NuVo's fall into the latter category. Although supporting iPods (a neccessary thing), transferring music into the Grand Concerto's MV-M3 Music Server only facilitates transfers from libraries incorporated into Windows Media Server 11. In other words, libraries will probably be synced from iTunes to an iPod deployed with the NuVo system, but the reminder of the content will have to be loaded from another program. Although (in theory) this has to be done only once, the lack of a built-in CD drive on the NV-M3 means that content must be duplicated across iTunes and WM11 when adding new content. Happily, the Grand Concerto allows WAV (uncompressed CD) files to be dropped into the system for critical listeners. Those more-finicky types with quality audio systems will also choose to utilize better amplification than what the Grand Concerto provides, as the 40WPC incorporated into the system can be a little anemic under load. In fact, anything other than background music listeners will probably choose to do likewise.

In short, the NuVo Grand Concerto system is an easy-to-use, attractive, and compact system that is extremely DIY friendly. NuVo constantly offers revisions and software updates, and stays on top of customer suggestions and quickly fields the few complaints levied their direction. As it stands, the Grand Concerto, as the most expensive offering from Nuvo Technologies, still remains an incredible value.

Review: Canon VIXIA HF200 Camcorder

Like many new parents requiring ways to archive and document the arrival of a new bundle of joy, one of the gaps in technology in our home was a camcorder. Naturally, in this day, and given the author's propensities, only a high definition camera would do. Canon, one of the leaders in consumer and professional imaging, has created an easy to use and powerful device in the VIXIA series HF200.

About the size of a small can of Red Bull, the Canon HF200 utilizes a 2.5" viewfinder for most of the control. A small, pocket-sized remote is supplied, but the author advises learning precisely what the remote does prior to using it. Through this display, users can select everything from bit rate (ranging from 24Mbps to 5Mbps), fade wipes, imaging effects, and auto-correction controls. Selections require the use of a small "jog stick" and a series of small buttons beneath the screen. Although not touchscreen, the control is intuituve (even for a non-techy), and employs a convenient swivel. The side of the unit deploys a padded hand strap that is marginally adjustable, but is snug enough to facilitate decent peace of mind. Jacks offer mini-HDMI (not supplied - come on Canon), component video (supplied), and power. A small dial on the upper right hand side allows users to switch between film, still, or a combination of the two. Using the combo will reduce image quality slightly, but may be needed for convenience.

One of the interesting features of the device is the use of SDHC cards (not included - again, come on). Appearing identical to a standard SD card, these offer far higher bit rates and transfer speeds than standard. Although potentially expensive, these cards, unlike tape, do not wear out with anywhere near the rapidity of conventional digital tape, and are of course far more convenient to carry in multiples. Depending on the size of the card, users can select (like good old-fashioned tape) the tradeoff between image quality and recording duration. Generally speaking, in considering that HDTVs that this will probably be connected to max out at just over the equivalent of two megapixels, I've found that the 12Mbps supplies a suitable compromise. At this setting, users can record approximately three hours of footage; truthfully, this should outlast the battery. Filming begins with an ergonomically-effective silver button. One note of caution here - red means go, and green means stop. My wife stumbled across this interesting anomaly one day, assuming she was recording because she saw a green light. The opposite was true. One small complaint about the button layout is that the zoom and photo buttons are placed on top of the camera, and apparently operate under the assumption that the user's digits are shorter than normal. This is a small quibble that is quickly adjusted to. Overall, it's a good thing that the camera has a short learning curve, because most new owners will find themselves more challenged by the manual than the device itself.

What matters beyond specs and features is image quality, and the Canon delivers. Exhibiting typical Canon quality, the lens is sufficient to bring this one camera along if one can tolerate a meager 3.89MP still shot in this era of compact 12MP cameras (although, at least in this case, one doesn't have to question the optics). It is a versatile device that allows fantastic, film-like videos at the highest-possible bit rate that SDHC supports at 24Mbps, and stunning stills that belie the relatively low megapixel count (for a still camera). Although low light can trip up this camera (like most with a smaller lens), facial recognition is fantastic and overall, is not as grainy as some outlets have reported (engaging Cinema Mode can help reduce any grainy effects by essentially deploying an unsharp mask.)

Now on to the bad part of the package - the software. My machine is not the most powerful, but the software, after one overcomes the inherent clunkiness of the interface, eats computers for lunch. To verify that my issues weren't simply a signal that my machine needed some key upgrades, I brought the camera to a good friend who is utilizing a two-year old HP with 4Gb of RAM and 160GB of hard drive space. The software was equally as choppy on (attempted) playback here as at home. Understanding that Canon is not a software company is small consolation, when one is attempting to piece together footage that's tough to review prior to finalizing. Blu-Ray users do not want to experiement with coaster making when attempting to burn HD content, although DVD users may be braver while engaging in a little on-the-job training. The author recommends utilizing a program that can actually edit AVCHD in real-time like Vegas. The enclosed software is OK only because it's (presumably) free.

All-in-all, this is a great camcorder. Canon's smallest and lightest offering in the category, the HF200 provides great ergonomics with typical excellent picture quality. Keep in mind that you will be frustrated by the enclosed software, but beyond that, Canon once again has a success.

Review: Rotel RSX-1560

Rotel has always been one of those little secrets in audio, especially if you don't have a specialist audio dealer in town. Part of the Bowers and Wilkins group, Rotel combines British audio tuning aesthetic with quality Japanese manufacturing tolerances; a dream-team combination in the audio world.

Rotel, like many audio companies that do not traditionally play in the mass market, was a little late to the dance in incorporating HDMI 1.3 specs into their receivers and processors. Operating under the reasoning that they would rather make the change once and get it right, Rotel has succeeded in bringing lossless HDMI audio functionality to their products, while incorporating traditional Rotel performance and build quality that followers have come to expect. In late 2008, Rotel came to market with their renovated 15 Series, models that not only changed the outward appearance of the equipment, but also added Ice Power amplification inside. Utilizing a switching transformer design, Rotel's amplifier stages successfully combine low heat output, high drive capability, and seem to enjoy low impedances. Class D topology appeals to the green crowd due to this high efficiency, and when a manufacturer with a pedigree like Rotel can extract performance as exhibited by the 1560 while keeping energy consumption low, it's an audiophile and Rotel PR dream. Dropping an amplifier stage such as this into an A/V receiver priced around two grand immediately raises the bar for their competitors, and serves to change the perception that some still hold that Class-D amplification is meant only for subwoofer applications.

Let's get what this receiver doesn't do out of the way first, since that's bound to be a hot topic for conversation. The RSX-1560 eschews automatic room correction, and there a couple reasons for this. First, Rotel asserts that automatic room correction possesses as many flaws as it does solutions. Rotel's position is that room correction should be handled by acousticians and calibrators, a position which Rotel's dealers would heartily agree. Rotel insists that the cost involved by including this feature would be counterproductive, a feature best left to receivers sold in mass-market arenas where professional calibrators are undoubtedly absent. One thing about the RSX-1560 that's a little disappointing is that, although the HDMI inputs flawlessly handle DTS-HD and Dolby TrueHD codecs from Blu-Ray sources, SACD is not. Rotel insists that the best way to connect (and only, in this case) SACD sources to the unit is via the multichannel analog input bank on the back panel. A small issue, but one has to wonder how expensive or difficult this inclusion would have been. Also, The 1560 doesn't address things like on-screen displays for iPods, or have a glitzy OSD of any type. This is refreshing to many of us that would rather see the price of consumer electronics influenced by performance, not gloss.

Now that the negativity is behind us, we can get to the RSX-1560's strengths, and there are many. A top priority for any updated receiver today is lossless audio performance, and the Rotel comes through in spades. Lossless audio from Blu-Ray is punchy, enveloping, and emotionally involving. Rotel utilizes the high drive, low impedance capability of Ice Power amplification with a silky yet dynamic tone that is never bright, and seemingly always under complete control. CD sound is never strident, even on recordings that traditionally have been such. This isn't to say that the Rotel is somehow coloring or masking things; rather that it isn't adding any harshness to the top end that isn't already there. Torture tests such as the tried-and-true Lenny Kravitz album Are You Gonna Go My Way exhibited this effect, making the CD much more listenable, while retaining the gritty analog effect that's a trademark of the album. On Blu-Ray, Terminator: Salvation was a dynamic powerhouse, with the Rotel exhibiting fantastic control, and allowing my Paradigm Studio 40v.2 speakers to do their best subwoofer impersonation. Despite the abundance of steel, the soundscape was never ear-piercing in any way.

Rotel has again succeeded in making a receiver sound so close to separates as to nearly make the debate moot. Considering that Ice Power amplifiers outboard of a receiver can cost nearly as much as the RSX-1560, Rotel has successfully combined value with performance once again. Additionally, they can legitimately make the claim that with their iteration of Ice Power amplifier technology, they can rock the house without shaking loose the polar ice caps.

Praise for Uverse

Like so many other gearheads that have to try new stuff, we had ATT@T's Uverse service installed this past week. Our decision was also spurred along by repeated DirecTV equipment failures, problematic service issues, and the fact that we occasionally like to watch TV when it rains.

Install was a breeze, requiring only a phone line (to get the signal into the house). One CAT5 runs to the HDDVR downstairs, and another runs to a central residential gateway (fancy name for a modem). We used existing coax in the house to feed the other two TVs.

This service is really slick. Since each STB is essentially a media server device, all three boxes share information. That means anything recorded on the main DVR downstairs can be viewed on any of the other TVs. Although only the downstairs STB does the actual recording, any box can add programs to record, and any can play back recordings. Also, all three are HD-ready (with HDMI) out of the box. Interestingly, HD recordings are downconverted to the two analog sets we still have, providing excellent PQ on non-HD displays. Also, since most HD broadcasts carry a Dolby Digital audio stream, that remains intact on secondary TVs. Very cool.

Media Share is a recent function on the STBs that allow them to pull information from your computer (such as pictures, music, and videos, although I only do pix), and show them with intact folder naming on all three displays. My Xbox360 can do this, but slower, and I don't have one in each room.

As I type this, I'm running on 3Mb download/1Mb upload, also from Uverse. Internet and TV is allocated, so usage elsewhere in the home is not parasitic (in other words, if all three TVs are showing something, the internet doesn't slow down). I'm contemplating moving to 6Mb for only $5 more a month, for a total of $35. That's less (surprise) than what 4Mb cost us from Charter.

Essentially, with three TVs with DVR functionality and broadband will save us about $30 monthly vs the DirecTV/Charter combo we've been running for the past four years. For this, we receive excellent reliability, increased media sharing functionality, and superior DVR. I can recommend this to anyone that has access to the service. Call AT@T if you've been less-than-satisfied with your existing setup.

Comcast vs DirecTV

One of the typical strategies for companies that are having trouble competing in the marketplace is to look for a specific asset they control that has an impact on other parts of the same industry, and using that asset to squeeze their competition.

Comcast "controls" distribution of VS, currently the channel that offers the most NHL broadcasts (especially during the playoffs.) Although VS is almost never in the top 30 channels nationally, Comcast feels compelled to raise the sub fee to over 49 cents a month(!) That is, frankly, insane. VS, as of the NHL playoffs last season, was subbing in at somewhere around 29 cents, which was still a little high even then. DirecTV subscribers that love the NHL liked VS, because apparently ESPN feels that competitive poker and bull riding gets better numbers. Actually in the US, it might, but I digress.

If you are a DirecTV subscriber, do not petition them or complain to them about this issue. This is clearly the responsibility of Comcast to wise up. I cannot blame DirecTV for refusing to pay exorbitant rates for a channel that doesn't pay for itself right now.

Negotiations are still ongoing, with a (preliminary) date of October 1 for a resolution. Hopefully, this will turn into much ado about nothing, but in the meantime, you may hold sympathy for Comcast for being so petty and misguided.

Waiting for the Hammer to Drop

Since the events of the past week I have to report with some happiness that I haven't received numerous complaints about "TVs not working". It seems some, or most of you, paid attention to the DTV cutoff and did something about it. Those that haven't, well, you probably also don't have a computer to read this.

Point is, I have seen more casual TV shoppers (for better or for worse; interestingly, mainly female) than in recent memory in a shop like mine. The thing I was dreading were phone call after phone call about signals not coming in anymore, but that seems in my corner of the universe to have been temporarily avoided.

Let's hope that people that use TV as a lifeline to the outside world, or in the case of many, offer the only companionship in their lives, find a way to keep the boob tube burning.

HDMI: More Than Meets The Eye Pattern

HDMI, or High Definition Multimedia Interface, was at its core, designed to satiate Hollywood's concerns over piracy and copyright management. As the concept needed to be sold to the average consumer, the benefits were (are) presented as easier and simplified connectivity, while potentially offering superior performance. Like so many things in this industry, the design and goals of the system are steeped in good intentions, and the results can be great, but there are some issues surrounding this subject that still perplex many. Certainly, companies that manufacture low-cost cabling, along with partner organizations and websites that sell it, may gloss over some issues that need to be addressed.

The first issue is cost of an HDMI cable, relative to its goals. Cost can be a factor of many things, whether it's distribution, packaging, associated marketing budgets, etc. HDMI however is victim to an interesting phenomenon that afflicts many digital cables out there--the idea that "if it's digital, the signal either gets there or it doesn't."

Well kids, it ain't that easy.

The first of many quasi-technical terms one may encounter along this research journey is "eye pattern". This is the pattern that one sees when viewing the "pattern" a signal generates while traveling over the cable. Example:
OK, so the cable passes the test. All we need to know, right? Not so fast. Admittedly, the eye pattern test is the fastest and best cursory test for whether an HDMI cable passes muster. Over certain distances (and this is where many consumers think they have to be really good guessers or engineers to know this) the center of the hexagonal shape in the center of the eye pattern gets smaller. If the red "box" in the middle touches the purple hexagon, the cable fails. This manifests itself by something called the "cliff effect." This addresses a scenario whereby a signal on an HDMI cable has a very specific distance it can travel, before one starts to see "sparklies" in the image. Seeing these artifacts means that you are very close to seeing nothing at all--over the cliff's edge, in other words. Cheaply-manufactured cables may proclaim that they produce products that "meet HDMI spec", but if a cable that passes a rudimentary eye pattern test under certain conditions fails under real-world conditions, the consumer shouldn't be expected to shoulder the burden. The catch is, how does one know how much money is required before they can avoid this issue?

The solution here is easier than one may think. Gauge and manufacturer make all the difference when making a purchase determination. The HDMI consortium use place-holder terms like "high speed" to make consumers at-a-glance understand what they're looking at. This can actually confuse the issue, since looking at the physical cable in the package may not yield much apparent difference. Here is what that type of terminology means:

• Standard (or “category 1”) cables have been tested to perform at speeds of 75Mhz, which is the equivalent of a 1080i signal.
• High Speed (or “category 2”) cables have been tested to perform at speeds of 340Mhz, which is the highest bandwidth currently available over an HDMI cable and can successfully handle 1080p signals including those at increased color depths and/or increased refresh rates. High-Speed cables are also able to accommodate higher resolution displays, such as WQXGA cinema monitors (resolution of 2560 x 1600).

http://www.hdmi.org/learningcenter/faq.aspx#49

Today, high-speed is not "necessary" given most applications, especially in what I call "rack-lengths" which are typically three to six feet. Where it makes total sense is in scenarios where perhaps a room is being remodeled and new cabling is being pulled. It's a good idea to ensure some semblance of "future-proofing" the wiring as much as possible, and pulling a high-speed HDMI is part of that prescription. Remember, HDMI can carry uncompressed 7.1 channel audio, plus 1080p video. This is an enormous amount of data. Two CAT-5 ethernet cables would have to be run to equal one HDMI cable. Sure, high-speed costs more, but probably less than having an installer come back and pull another cable a few years down the road.

So again, the rule of thumb is this: Purchase from reputable companies that either source from established cable manufacturers, or are well-known themselves for their own house products. Extremely inexpensive HDMI cables, while tempting, are a recipe for frustration, especially if they are installed in a semi-permanent environment, such as a sealed wall or ceiling. Do it right the first time, so you can look forward to technical updates instead of being frustrated by them.

The Auto-Calibration Trap

Modern receivers and processors like to employ in some shape of form an "auto-calibration" system, that attempts to look at how speakers interact in the room, and "curve" the response to be flatter and more accurate. The key with this feature is to understand exactly what it does and doesn't do, and adjust your expectations accordingly.

Audyssey, Pioneer's MCACC, and Yamaha's YPAO (chicken) all attempt to, using a mic about the size of a disposable pen, look at up to eight seating positions and average out problematic frequencies (frequency peaks are typically more of a concern than valleys, which are caused by speaker cancellation due to improper placement, and cannot be resolved by boosting a frequency that isn't there). Most of these systems lack sufficient resolution under 50Hz (sometimes higher), and often do not offer the granularity required to "fix" whatever it thinks is right. What is does do is equalize speaker levels, relative distances, and alert to phasing issues that can result in thin bass. Plug in your Bic mic, keep the room relatively quiet for five minutes, and you (presumably) have a better result that you did before. Keep in mind, this process will typically alter the sound of your speakers to allow them to play nicer in their environment. This is the McDonald's hamburger option to room calibration.

The Spago version is far more complex. Sure it's pricier, but the results are far better. Utilizing spectral room analysis with various laptop-based programs, real microphones (calibrated to the task), and the know-how of the techs, this room examination can reveal things in spaces that were thought to be "good" before. The process typically results in a several page full-color analysis of room modes that can then be used to deploy the appropriate types of treatments in the room to ensure a response that allows the listeners to "reach out and touch" the performance. This addresses everything, from where to place seating areas, speakers, screens/displays, and even the type of sound rating the door to the room should have.

Key in this process is the fact that it addresses the structure of the room itself, not just how certain speakers react in a pre-existing environment. Isolating the room (also known as "floating") allows the equipment to not fight the space it's in. This creates an interesting scenario, in which people discover environmental and effect sounds that were not heard before, improving dialogue, and enhancing dynamics. Note that speaker frequency response is not affected, so what you fell in love with sonically is not fundamentally altered; just optimized through improvement of the acoustic space. Again, the room is treated from the studs in, leaving the electronics alone other than ensuring proper setup. Audyssey in fairness does a good job of smoothing uniformity of response over a given listening area, but only after the room is adequately addressed structurally. The analogy of using room calibration to solve a room's ills without doing anything else is using fine-grit sandpaper to cut down a tree.

As with anything, there are price considerations to be made whenever courses of action are considered. Buying a new receiver will get you some semblance of room calibration, it's just important to realize that in this scenario, the room itself isn't being optimized in any way. Proper room (and system) analysis will determine needs, goals, proper equipment for the task, and development of the space involved to all work in synergy so that finally you can hear what's on the disc--maybe for the first time ever.

The Brain

Sometimes I create a post, and it strikes me that the topic I'm about to address really should have been resolved three to five years ago. Nonetheless, there isn't a day that goes by that I'm not questioned by someone about what looks like an old subject.

The most important component (besides speakers) of any system is by a clear head the receiver/processor. The receiver is literally the hub that everything funnels into, from audio/video signals, camcorders plugged into front panel jacks, iPod docks; the list goes on. Folks ask me all the time, "what do I need on these things, and how inexpensive can I go?" And while the answer to that involves more than a simple list of features, there are some quick, significant things to examine to make sure you aren't putting yourself behind the curve as you walk out the door. Notice that power ratings aren't on the list.

HDMI and HDMI upconversion: At least three inputs, one output. HDMI is already the de facto digital standard for modern components. Ensure they're 1.3 compliant (most will be). I see new devices everyday that only have HDMI and composite. HDMI upconversion allows one HDMI cable to be run to the television; the receiver takes any signal S-video and up, and converts it to something than can be sent via that single wire. Simplifies connections, makes holes in the wall smaller, and helps to counter remote juggling.

Dolby TrueHD and DTS-HD decoding: At some point, you will probably replace your older DVD player with a BluRay player. Although you may not dive in immediately into BluRay as a format, if you do, it makes a ton of sense to ensure that lossless audio formats can be decoded in the receiver, thus retaining all the settings and bass management that are applied to everything else. This is important to ensure all of the parameters of your system are handled correctly, since the processing options in most players are heavily watered-down, and can possibly conflict with the settings already programmed in the receiver.

Second/third zone output: It's nice to be able to have music in the house, and the ballgame on the patio, all amplified and switched from one receiver.

Room correction: This is the least important of all of these, but for people maybe a little technophobic, auto-calibration routines can be incredibly helpful to handle the distance, level, and speaker size settings automatically. This can be useful also to help counter the fact that more than likely, main speakers will be a different size (and certainly shape) than the center, which will also be different than the surrounds. Auto-calibration can help mitigate these physical differences to place the listener in a more-believable "bubble" of sound.

Today, many of the things we used to refer to as "future formats" are here. Therefore, having a receiver that is truly plug-and-play is easier than ever, since there's less of a mystery as to what's coming down the road. The good news is, no matter what those formats may be, there is a 99% chance that HDMI will be the connection of choice. Don't paint yourself into a corner; you can get a receiver that will truly last you 10-15 years without any trouble if you pay attention to some basic issues.

HD Hubris

Of all the annoying phrases and pieces of marketing-speak that I've been exposed to over the years, the winner for the silliest (right above "reputable internet vendor") is "FullHD" (sometimes inaccurately referred to, but not to be confused with Dolby's audio format "TrueHD"). Just what is "FullHD?"

Let me help.

"FullHD" is Sony marketing at work. Period. Sony developed that phrase to infer that anything less than 1080p is not high definition. This is news to those that have owned beautiful 1080i high-def RPTVs and 720p flat panels, most of whom today still have no objection over their sets.

Here's the interesting part, and the one that needs to be spotlighted. Although 1080p existed in various types of televisions for awhile, it wasn't until Sony introduced their 1080p LCD sets to market that "FullHD" as a slogan was seen. Ironically (although not surprisingly) the release of the PS3 also carried this logo, in an attempt to infer that the 720p-based Xbox 360 was also deficient. The thrust of these statements is that even 1080p isn't good enough; it has to be Sony's iteration of 1080p. Let's ignore the other 18 versions of high-res formats. Nonsense.

Why is this an issue worth taking umbrage over? The idea that one company's definition of what constitutes the state of a certain technology is highly egotistical, and factually incorrect. As I've said many times on previous posts, the last thing the industry needs is to create more confusion in the marketplace. "Leaders" like Sony have a history of taking advantage of their name brand recognition to manipulate the buying public and influence the followers in the industry to warp what defines an established set of standards.

And people wonder why marketers aren't trusted.

Functionality vs. Luxury

One of the classic all-time debates revolves around gulfs in price points vs improvement in performance. There is no standard formula, as personal senses of value rule the day. I find many parallels between this issue and another passion of mine; watches. Hopefully we can someday hope to begin to understand that there is more to price positioning than raw issues of functionality.

In audio, the CD has set a "good enough" benchmark for sound. It can be, in fact, very good. CDs incorporate 16-bit sound, which has in many ways failed at the mass-market level to be truly optimized. Whether off the shelf at Best Buy, or a high-end model from a local boutique, two players can and will play the same disc, at the same resolution. Why then would someone pay $5,000 for the boutique model, as opposed to $200 for the base unit? Why would someone spend $6,000 on a Panerai that they may have to hand-wind, vs a Seiko that runs on a battery at $600?

The parallels are only different in that the subjects are different.

The audio world has built an entire mythos around the "promise" of what CD sound can offer (for simplicity, we'll eliminate formats like SACD). Increasing the "air" around instruments, the fit-and-finish of the devices, and the decisions made by certain designers hand-building these units, all create appeal. Indeed on paper, these units may not "look" different in terms of sound, the differences can be staggering in terms of sound stage. But beyond that, these are devices that are generally purchased by those that do not compromise with any purchase decision. The market must reach to meet the demand of those that want the exclusive, brand-cache-laden items (think Harley-Davidson). The fact is that almost unfailingly, these units will embarrass lesser devices. Of course among similar units, the differences are more perception-based, either by a certain voicing applied to the playback, or the combination of aesthetics and performance. The differences thus rely on individuals to decide, based on their tastes and experiences, if a premium audio device is worth it. The specs do not (and cannot) tell all of the story. This is a very difficult concept to convey in the age of Googling our various truths in an attempt to remove the effort required to acquire actual knowledge.

This issue gets even broader when we discuss turntables and vinyl. There is (and always will be) a strong feeling among many that vinyl is "superior" to CD. Although one may prefer the sound of vinyl on a good turntable, generally in many ways it is inferior--or at least equal to--the CD counterpart. Plenty of perfectly happy CD listeners find however that since replacing the tonearm, cartridge, and preamp can dramatically alter the sound of an otherwise-pedestrian unit, there is a sense of "connection" to that piece, and a sense that they have created a custom sound. Clearly, no matter the amount spent, these people have increased their enjoyment using what (on paper) is an "inferior" format. There is more to ownership than pure functionality.

The watch world takes a slightly different tack. Here, the movement (guts) of the watch can be exceedingly critical in terms of eliciting a certain aura around the various brands. More interestingly though, the history around the brands takes on a life of its own, creating an appeal that can be community-based, structured around a mutual love for the brands in question. Using Panerai once again as an example (Paneristi.com), the more faithful a design is to the original that Italian Naval special ops divers used in WWII, the more appeal the unit has. This has nothing to do with timekeeping ability (although this brand excels in that regard). To that end, it is ironic (but relevant) that better watches that tend to operate on automatic or hand-wound movements can be less accurate than your $20 digital offering, but that honestly is a small concern in the grand scheme.

Anyone outside of a hobby can understandably be confused as to why a model train collector spends $50 on a fake to-scale pine tree, or some audiophile would drop $500 on a set of interconnects, or why a watch fanatic would offer up $300 on a leather strap made from a Swiss ammo pouch from WWII. Love of the hobby, and a sense of contribution to a larger community all matter when making purchasing decisions is the short and truthful answer. I hope at some point naysayers (jealous) folks discover a passion that they can find joy in, looking past the droll specifications on a white paper, and find magic in the details.

Plasma TV and the Tragedy of Misinformation

Well, the other shoe appears to be dropping in the TV Wars.

Pioneer is exiting the plasma business by March, 2010. On a welcome note, so is Vizio.

With this news, we can assume that plasma will be seeing a very low level of visibility in manufacturers' lineups. This is a shame, since anyone truly familiar with the technologies of various video displays understands that, broadly speaking, plasma will give viewers better black levels, more accurate color, and superior off-axis viewing. Sure, some sets are a little glare-happy on their screens, but that typically is countered by a glare coating applied to mitigate that issue. This is truly annoying to any self-professed videophile, not wanting to have to sacrifice picture quality based on rumors and speculation about burn-in or lifespan, which have never been correct. Just about a month ago (10+ years after plasma truly hit the ground running), I had a client ask me, "So, have they ever fixed the problem of having to refill the sets after the plasma leaks out?" Trying to stifle laughter, I felt compelled to re-train this person on the differences, and dispel some idiocy that unfortunately came his way.

So what caused this radical decision on the part of the industry leader in performance plasma? Mythology, poor advice at the retail level (read the post about Circuit City's demise below), and spreading of rampant rumors.

Plasma has had a bad rap since the outset, mainly due to the fact that initially, the technology was really only seen in commercial environments. In those places (airports, restaurants, office foyers, etc) nobody really pays attention to the settings of the TV, nor do they typically pay much attention to the content thereon. In such situations, it's no wonder that people saw cooked TVs--but not due to the "inherent flaws" the technology possesses. Today, one will be steered towards LCD tech in probably 8/10 situations, simply because it's a risk-averse technology--no one screaming at the salesperson about how their kid burned in Super Mario, QVC is now a permanent channel, or how they can't in good conscience use the set due to "green" issues regarding power consumption.

In what seems to be a flailing, failing attempt to at least continue the good fight, below I have listed myths regarding certain issues, and how it affects both LCD and plasma. For the sake of simplicity, I will omit other TV tech.

1. Plasma TVs don't last any more than a few years: Both LCD and plasma are rated at anywhere from 60,000 to 85,000 hours of viewing, based on five hours per day. Although it is true LCD trend higher on that scale, the myth of "four to five years" of life for plasmas is and has been ridiculous.

2. LCDs are more energy efficient: What year are we discussing? True, most LCDs were more efficient, but the truth is that after a plasma TV is properly dialed back from the torch-like settings found out of the box, the numbers are surprisingly close--so close as to be virtually irrelevant.

3. Plasmas leak: No.

4. A 120hz LCD is better with fast motion than a plasma: 120hz frame interpolation was designed to keep up with plasma's inherently superior refresh abilities at the pixel level. It still looks less natural, but better than 60hz tech.

I could go on, but the point is that unfortunately, the desire to hire the cheapest wage-earners at big box stores is bringing about the demise of a great technology in plasma TV. Of course, they aren't the only culprit, but as clerks, their jobs are to take orders and move products, not educate. In fact, in these environments, the consumer typically has the product-education upper hand.

Down the line, when people are suffering with the quirks of various successor technologies, this period of time will hopefully be looked at with a measure of perspective. Probably not though, and the cycle will repeat, claiming another superior technology that is too good to be understood (and therefore sold) by the retailers that display the largest selection.

So Long Satellite Radio

Although it appears Liberty Media will invest approximately $530 million into Sirius XM, with the partnership recently trading at close to 15 cents a share, satellite radio appears to be on life support. And although I feel bad for the impact on rent-a-car companies, it may be time to pull the plug.

I think there are any number of reasons for this. First and foremost is the iPod. The fact is, people will still gravitate towards functional, simple, customized things--and prioritize their use accordingly. Folks can already develop their own playlists, mimicking the type of station they would have been drawn to anyway. With any portable device as simple as an iPod, the knowledge that what you want to hear is there, without incessant channel flipping. Back when I had Sirius in my car about three years ago, I would be so curious about what was out there, I never listened to anything.

Second is the fact that for many, radio should be free. A lot of people cannot fathom why they would pay for a "radio" service, when they already have free access to music and the right equipment for it. Of course, there are a great many people that already understand how most radio stations are harbingers of predictable, formulaic music (sure, occasionally a great college station changes perceptions). Plus, since you had to surf channels anyway to find the interesting stuff, it became more of a task than an enjoyable thing. The alternative was listening to the same three channels--wait, just like terrestrial radio!

Third is performance. I never had a day go by where even passing under an overpass at the posted speed limit (of course) didn't result in an annoying three-second dropout of the feed. This was despite the fact I was under the obstruction for less than a second. Forget about tree cover or heavily inclimate weather. Combine that with the low-bitrate MP3 sound quality, and I found myself listening to the iPod or a CD anyway. Poor quality variety is still poor quality, and it's nice not to be tense over when a feed may drop out under little provocation.

Finally though, this format has lost its way. By throwing large dollar amounts at known talent, and not (obviously) clearly understanding the costs involved with maintaining satellite-based broadcasting, XM/Sirius buried itself under a financial mountain it couldn't dig itself out from. Originally based on the premise that one couldn't hear things like what one would find on one of these premium services anywhere else, the music at the end of the day still managed to trend mainstream. Sure, Stern could finally be as lewd as wanted to be, but the music stagnated. Plus, any satellite TV subscriber already had one service or the other at home, so for many, a secondary subscription just for the car was viewed as unnecessary. In these belt-tightening times, such redundancies will always be first to the chopping block.

We always have to applaud any innovator, attempting to fill a perceived void in services or products. That's what makes the free market so great. It is a shame to see these efforts wasted through poor preliminary planning and decision making along the way. Let's hope that through some miracle, these promising services can be resurrected.

The Perpetually Delayed Transition

FCC Chair Appointee Julius Genachowski

Improvement is often times painful. Different from simple change, where we simply replace one thing with another, improvement is an actual move forward. Although the DTV transition will most certainly be an issue for people lacking the ability to make requisite changes (many will be forced to incur expense for an attic or rooftop antenna for example), the bandwidth-freeing move for increased telecommunications and increased quality for television programming is necessary. Many EU countries and Japan have enjoyed the benefits of digital broadcasting for some time now, and just as many are going through the growing pains along side of us.

This week, the House and Congress voted to push back the transition (again) to June 2009. To me, this is a mistake. In order to not only make the monkey wrench and throw it in the gears, The FCC is allowing broadcasters to still shut off analog on Feb. 17th as originally planned! I can't wait for this patchwork rollout to cause mass confusion and stagnate interest even further.

Although it surprises many that the transition initiative was originally passed back in 1996, it's important to understand that there are many unfortunate folks that do not have the ability or resources to gather the correct information or make the proper changes even if so equipped. To people like me, this is all old news, and although it can get a little tedious when people ask me about something that "should" have been on their radar for a decade, I do understand that many simply don't care and just want their stuff to work. Let me therefore preface the upcoming opinions with a disclaimer: I sympathize with those that will suffer difficulty during this transition period, and it bothers me a little to read comments on other sites such as "let them watch snow", and "too bad old people lol" and other chat room detritus.

That said, we have to stop letting the lazy kids slow the class down. In remarking on the decision, U.S. Sen. John Kerry, D-Mass., said that the delay was made "in the interest of protecting the consumer." Are we to believe that anyone that is ill-prepared after 13 years during the largest consumer electronics transition in history will be ready in four months? FCC Chair Robert McDowell said "I'm glad my colleagues in Congress and President Obama agreed that a delay was necessary and took action to protect the millions of consumers at risk of losing their television signal." These millions had over a decade to get their ducks in a row. In fairness, the same is true for any broadcaster not ready for advancement.

Over-the-air tuners have been available since 1999. Just not free ones.

I recently held a DTV transition seminar this past Fall to a group of retirees. A local bank's marketing coordinator decided that, in the spirit of community outreach, it would be good to have an expert discuss this issue in-depth. The attendees understood that the upcoming change was an unstoppable force, that was going to happen like it or not. I happily assuaged many of their fears (this transition is not a big deal for the consumer logistically), and informed them of ways to make the most of this transition. They ate cookies, drank coffee, and left happy. This was in stark contrast to the near-daily rants on the phone (and in person on occasion), essentially accusing the CE industry and the government of a collusive money-grab on an unsuspecting populace. These sentiments ignore the billions the fed is spending to subsidize the hardware requirements (no folks, you don't have to purchase a new TV; you just need the proper tuner), and an equal fortune spent by broadcasters to purchase new gear to facilitate high definition. In what can only be described as an act of guilty contrition, the fed elected yet again to delay this needed move even further.

Let's face it, all things considered, the benefits of this technology are many. Although the hype is increased picture and sound (which can be dazzling), other benefits such as multi-casting, increased immunity to fluctuations in signal quality, and a host of others makes the format clearly superior. In fact, on the picture quality side of the equation, over-the-air high definition channels typically offer a superior image to the same channel viewed over cable or satellite. Thanks to compression and digitization, broadcasters can fit multiple channels of high-quality audio and high resolution video in the same space as one analog channel.

I personally cannot wait for the analog towers to "go dark" once and for all. Let the new age of programming and media services begin in earnest, sooner rather than later. I personally tire of the delays--delays that only cause confusion and increased cynicism.

For more information, call the FCC: 1-888-CALL-FCC

Why Circuit City Failed

I suppose the first response anyone will have to the question of why Circuit City failed is "they're not Best Buy, and they tried to trade punches with them." While that might be true, their tale is a cautionary one for every existing and wanna-be retailer in this industry.

Don't just let inexperience sell product and hope for the best.

This is increasingly a service industry, much like restaurants and the hotel game. Debating over the cost of the individual ingredients, or having the customer argue with the chef over how to cook the meal takes a backseat to the final product. Discounts only happen if a colossal mistake is made; not due to price competition over what's on the menu. If the environment and end product is worth positive word-of-mouth, that establishment will thrive and be allowed to remain profitable.

Custom retailers already know that without calibration, acoustic design, and any number of other specialized services, going toe-to-toe vs the net or big-box retailers is a good way to get your doors chained shut. Skills and services can never be commoditized, especially in markets where the retailer finds a niche skill set and pushes that service as essential.

Is all this obvious? Well, it should be, but even in the presence of services like Firedog, it was apparent that Circuit City thought they could be a "Best Buy Light" and ride the coattails of that company's success. But about two years ago, Circuit decided it was in their best interest to terminate all of their top earners. Typically, the top earners are also the top producers, and they never wanted to replace them with anyone other than outcasts from their competition. This was witnessed on a smaller scale a few years back with the downscaling of Ultimate Electronics. Once the darling of the industry, certain restructuring and changes to compensation plans forced the professionals to evacuate the organization (or move into management), with the predictable influx of people excised from other chain stores now manning the sales floor. Combine that with a dilution of quality in the product mix, and all but a handful of stores closed.

In the market the CE industry finds itself in, having kids as your sales staff means that among the predictable problems of poor system design, you have the lack of experience needed to push essential services, because they simply are unaware of them, or do not know why they're needed (in an effort to sell video calibrations, Best Buy was caught trying to circumvent this reality by displaying "calibrated" televisions next to ones supposedly out of the box. The reality was (is?), the disparate displays were running high definition and the standard-definition version of the same program side-by-side. All it took was for the youthful individual manning the display to just point at the two images and allow the consumer to make their decision based on what their eyes told them).

What large retailers should do without hesitation is to really decide if the $6.50/hr folks on the floor are what is needed to maintain the level of service that is needed to keep the doors open. In other words, take the direct opposite approach Circuit City took. Alternatively, return to a commission-based sales floor where supplying superior customer service and knowing the offerings is worth it to the personnel (and to the consumer). Problems, poor advice, and shoddy experiences tend to be inversely proportional to the compensation of the staff. Unfortunately, the folks with the experience and relevant education are often sequestered in a manager's office, detached from the customer until the inevitable problem occurs. Horror stories (once discovered) are often quickly reported on any number of websites and discussion boards, and allowing inexperienced individuals to dictate the public's perception of their business will not save them money; indeed it will cost them, possibly catastrophically. Given the inability of Circuit to move old inventory (staffing issue) and lack of pushing proper services to wrap around those products that are moved (staffing issue) we have the answer to their demise wrapped up in a nutshell.

Ipod: Audiophile's Best Friend

So, here is some serious heresy to my industry colleagues:

I think the iPod and iTunes are essential for serious music listeners.

OK, stop laughing.

Something that permeates all aspects of this industry is that although it is by nature a very technical one--especially as it pertains to high-end integration of elaborate systems--at the end of the day, the experience and ease of using the gear must weave themselves into our daily lifestyles to be a true success. In fact, part of why elaborate home automation and audio/video server installations can be so costly is the fact that whom one uses to do the work places the difficulty on themselves during design and installation, so that the users can simply use. The key is, can any device be a true lifestyle enhancement, or another widget to cart around?

I couldn't write anything new about the iPod that hasn't already been written, but I think the essential thing that's missing is the fact that this little ubiquitous device has made people rediscover not only their own music collections, but seek out and find new music that perhaps they would never have prior. I know this is the case for me, especially when exploring a new genre or a buzz band. And, more to the point, I also firmly believe that this device can be traced to a phenomenon that even the most skeptical audiophile can appreciate: The resurgence of interest in turntables and vinyl.

In talking with many people that are starting to garage-sale shop for vintage turntables, hitting used-record shops and their parents' basements for records, and wanting to get these older machines up and running, something interesting emerges.

Almost to a person, they're "bored" with digital.

The rub about this phenomenon is that they almost all say that they "discovered" older bands and different genres through exploring various websites and placing "samples" (I won't get into copyright stuff here) in their iPod for perusal. Compounded by the fact that many well-known groups are issuing new albums on heavy-gram wax, and you have one of the most ironic twists the industry has ever known.

It seems the most accessible and well-known device to play back and discover music in history is actually helping sales of a completely (seemingly) unrelated format. And, this competing format was supposed to have "died" twenty-odd years ago. One can now read about the need for a good record player even in such non-audio publications like GQ and the Robb Report. Terms like "enveloping" and "luxurious sound" abound in these articles, and it isn't too far of a stretch to assume that terms like those are alien to the average 128kbps user. With all due respect to them, it seems in increasing numbers, they are also aware of this fact, and are seeking out the format long-known for both warm and authentic sound. The permeation of digitized music seems to be causing an intense desire among even non-hobbyists to return to the roots of musical playback.

So when you pick up a audiophile-oriented publication, and read the lamentations of the editor about how the "iPod is killing quality", just realize that really isn't happening (at least not in the epidemic numbers assumed in those articles). In fact, it's helping a new generation discover music and the type of sound that older generations have long enjoyed.

The Value of Shopping Outside the Mainstream

It's an interesting phenomenon to witness the evolution of tech used in personal and home entertainment. The infusion of cheap, decently-performing (to many anyway) gear and the accessibility of it creates an atmosphere that says that cheap is OK, since tech moves so quickly. This creates a feeling that investing in quality is pointless, since the features change so rapidly as to create a feeling to many consumers that the investment made is behind the curve as soon as they make the purchase.

This couldn't be further from the truth.

Paying attention to the latest of anything--taking the "bleeding edge" approach to purchases--is a key mistake. What this does is takes the onus off of performance and build quality, and places it in the area of feature-set. What bells and whistles are on board a piece of gear takes precedence over long-term quality and immediate performance. In fact, even professional television calibrators (ISF) will happily inform you that resolution is towards the bottom of the list when it comes to judging image quality. Sony's marketing engine would have you think just the opposite, calling 1080p "true high definition" creating the perception that without, one has a deficient television. The industry does this to itself all the time--creating mixed messages, counteracting themselves, and causing consumer confusion--all to get consumers to move from one product to the next in a stressful game of leapfrog.

In years of watching equipment flippers and what I call "format chasers"--people that jump all over emerging, untested "next best thing" formats (SACD, DVD-Audio, BluRay)--it seems that inevitably the equipment is mired horribly in the mainstream. In fact, there is a strong sentiment among consumers that BluRay will "never succeed" until the average price point for the players is $99 or less. In other words, there is a perception that in order for the format to succeed, the industry must do everything in its power to reduce the performance of the hardware to its most base elements. The advice I've always given is to pursue maximizing existing, proven formats (CD, DVD) which has an almost inexhaustible amount of software and works 99.9% of the time. In fact, if I had a nickel for every time someone finally came clean and admitted that if if only they had bought that one great system the first time (as opposed to constantly moving from one quasi-system to the next), I wouldn't have to waste my time on this stupid blog.

:)

The thing is, these formats have a lot more potential than most give credit for. Of course, playing them back on a $299 receiver and $89 Walgreen's DVD player will maybe leave you with a different impression. This isn't snobbery; it's fact. Anytime you read that "everything sounds the same anyway" you should immediately recognize that person as an individual that despite his claims, will never be happy with anything he owns. Deep down, that individual knows that either ignorance is bliss, or his wallet has a far heavier influence than his eyes and ears.

The elixir is not using that same cheap-is-OK model, hoping that a new "super format" will solve the ills that are really hardware-based. The advice is to always invest in at least one level higher than you might think you're comfortable with. This involves really any purchase, and is sound if you believe that spending a little more initially will give you increased pride of ownership, reliability, and enjoyment.