NO FLOOR SPACE? GO TUBULAR! THEATER IN YOUR BACKPACK SVS Fits Deep Bass Into A Small Footprint Royole’s Moon 3D Glasses Take You To The Cinema

TESTED PARASOUND HALO A 52+ AMPLIFIER P66

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BEAM MACHINE SONY PERFORMS HIGH-TECH MAGIC WITH THE VPL-VW5ES 4K LASER PROJECTOR IN-WALLS YOU CAN A BOX OF BIGSCREEN LIVE WITH THE HISENSE LASER GOLDENEAR’S INVISA TV ULTRA SHORT SIGNATURE POINT SOURCE THROW SOUNDS LIKE THE REAL DEAL PROJECTION SYSTEM PUTS 100 INCHES WITHIN YOUR REACH Polk Audio is a DEI Holdings, Inc. Company. Polk Audio and Polk, are registered trademarks of Polk Audio, LLC. Polk. Expect Great Sound. is a trademark of Polk Audio, LLC. Chromecast is a trademark of Google Inc. All other trademarks are the property of their respective owners.

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LEARN MORE AT WWW.POLKAUDIO.COM MAY 2018 Volume 83 No. 4

ON THE COVER Beam Machine: Sony VPL-VW885ES LOG ON TO soundandvision.com and sign up to receive our projector. Additional gear from GoldenEar Technology, ON THE new, free eNewsletter for first-rate, up-to-the-minute reporting Hisense, NAD, Royole, and SVS. WEB of everything that’s hot in the world of home theater. 32 58

36 Closer han It Looks: Your Path to the Ultimate Home heater Experience

COLUMNS FEATURES

Rob Sabin Technical Talk e Bose 901 Speaker Track One: e Big Picture 8 System 32

Ken C. Pohlmann Signals: Smart Speakers Closer han It Looks Your Path to the and he Art of War 21 Ultimate Home eater Experience 36

Michael Antonoff Apptitude: Lights Off, Breeze On 22 74

Al Griffin Ask S&V: A/V Games 24

John Sciacca e Connected Life: Voice Control: e Next Interface Frontier 26 DEMAND MORE

DEMAND SERIES™

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&GƂPKVKXG6GEJPQNQI[..%KUCYJQNN[QYPGFUWDUKFKCT[QH5QWPF7PKVGF+PE&GƂPKVKXG6GEJPQNQI[KUC TGIKUVGTGFVTCFGOCTMQH&GƂPKVKXG6GEJPQNQI[..% 50 62 46 REPORTS

FEATURE REVIEWS P40-44

Sony VPL-VW885ES LCOS Projector DEPARTMENTS Laser etched. 40 by Kris Deering Letters What you really think about the “inconvenience” of vinyl. 14 TEST REPORTS P46-67 P F GoldenEar Technology Invisa erfect ocus S P S I -W New gear, top news, how to, and more. 18 ignature oint ource n all Speaker System In-wall we must. 46 by Darryl Wilkinson New Gear A look at the hottest new A/V gear and gadgets. 30 Royole Moon 3D Mobile heater Face time. 50 Entertainment Terminator 2: Judgment by Rob Sabin Day, Dunkirk, Kingsman: he Golden Circle, 68 and more on Ultra HD Blu-ray. NAD T758 V3 A/V Receiver Modular Dirac. 54 Premiere Design McIntosh XRT2.1K by Mark Fleischmann Speaker System 74 Hisense Laser TV 4K DLP Projector Projection TV. 58 by Al Griffin

66 SVS PC-4000 Subwoofer Go tubular! 62 by David Vaughn

Parasound Halo A 52+ Amplifier Power plus. 66 by Al Griffin

54 68 Visit The “How We Test” link on our Website for a soundandvision.com ON THE detailed explanation of our testing regimen and a list of WEB our reference gear. soundandvision.com UDP-203 Ultra-HD Blu-ray Disc Player Tr May 2018 ck One THE BIG PICTURE The technology changes, but the goal remains the same. •Products like In prepping for this issue’s focus on front ultra short throw projection, I found myself philosophizing projectors and on the value of having a big image for virtual theater glasses broaden viewing movies, TV serials, and sports. the market for a Not just big, but really big. truly big-screen We can, of course, make all the jokes experience. about how no one shopping for a TV BY ROB SABIN, ever complained about having too big EDITOR a set when they got it home (a truism for the most part, by the way). But there’s a reason that dedicated sports bars really sprung up as soon as afordable front projectors began seeping into the market, and why the trend in cathode-ray-tube and now lat-panel televisions has always been toward larger and larger screens. If I had more time, I’d try digging into the science of how our brains engage with cinematic images; how our emotional response to the program changes as the percentage of our peripheral vision is increasingly illed, as surely it must. But I don’t need the primer update (page 36) and in our review of the Hisense Laser science to prove what I know anecdotally to be true: Bigger TV (page 58), is the recent concerted push by manufacturers is always better. to promote ultra-short-throw projectors for home use. For Some of the technology to achieve a truly huge image at those unaware, these are modestly sized components typically home remains expensive and elusive for the mass market. suitable for tabletop mounting that throw a projected image of We’ve frequently mentioned in these pages the exorbitant cost 100 inches from only 6 inches away from the screen. Mated of lat-panel televisions above 75 inches, though we know from with an ambient light rejecting (ALR) screen mounted on the experience that, as time marches on, manufacturers will build wall behind them, they’re a suitable substitute for a day-to-day facilities capable of creating larger and larger substrate panels. lat-panel TV and considerably less costly than any modern- hese are the ginormous master panels from which smaller day LCD or OLED TV of that size. But the key beneit is not screens are cut. he bigger the substrate, the greater eiciency so much their ability to function in ambient light, which in punching out bigger individual screens. hat ability to drive traditional projectors do as well. It’s the hugely simpliied volume in these larger sizes with each new generation factory installation. All that’s required is a traditional TV credenza to eventually leads to cheaper prices, even more volume, and... support the projector and house the usual source and audio How big will be big enough? At CES this year, Samsung components—no mounting, no snaking long signal wires showed its cutting-edge miniLED display—dubbed “he through ceilings and walls, no need for running electricity Wall”—at 146 inches diagonal. he technology relies on small to some remote location. he Hisense marks the second 4K modules that can be conigured for any size they wanted, but UST model to come through our shop, and we’ve tested a more company reps said they arrived at this dimension because the afordable 1080p option as well. I don’t doubt well see more. average U.S. home has at least one wall that is 8 to 9 feet wide Another fascinating big-screen alternative is the Royole and therefore large enough to accommodate a 16:9 screen Moon virtual home theater headset tested on page 50. of that size. Perhaps the sweet spot is really somewhere in Technically, this is a portable, wearable display device, but between there and today’s 75- and 85-inchers. But the trend is its intent to reproduce a genuinely cinematic experience clear, and for now it’s still toward bigger and bigger images. and utilize the entirety of your peripheral vision really makes Samsung’s Wall will launch later this year, at a inal size and it more like a projector than a classic TV display. It wasn’t price that remained unannounced at press time. I’ll be without its caveats, not least of which are its nearly pound-and- surprised if it doesn’t cost multiple times my annual salary. But a-half weight and its $800 price tag. But it got the job done and this relentless drive to expand image size has also resulted in le me wondering if future generations of products like this the emergence of more afordable new technologies intended won’t also make the big, big, big-screen experience accessible to to bring the big picture to a wider audience. Two are explored an even wider audience. in this issue. he irst, addressed in our annual front-projection

Customer Service and Subscriptions LOG ON TO soundandvision.com [email protected], call (800) ON THE and sign up for our free monthly 264-9872 (international calls: 386-447-6383), or write to: P.O. Box WEB eNewsleer. You’ll get exclusive tips, 420235, Palm Coast, FL 32142-0235. Please include your full name, trends, news, and reviews from your address, and phone number on any inquiries. favorite S&V writers. Bring the concert experience into your home

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“ he Triton Reference presents a serious ilm capacitors bridged across the high-pass section on the upper- bass/midrange drivers, a unique proprietary mix of long-iber lamb’s challenge to speakers in the multi $10K range” wool and Dacron for more eective internal damping, intensive work – Robert Deutsch, Stereophile with a high-resolution accelerometer to determine the most eective implementation of complex internal bracing, a 3/32˝-thick steel plate GoldenEar’s Triton One is one of the best selling high-end built into the medite base to further stien it for increased stability, loudspeakers ever, consistently thrilling listeners and reviewers alike new stainless steel loor spikes and cups, all of which results in higher and winning an enviable and unmatched collection of the industry’s resolution of subtle details … and the list goes on and on. most prestigious awards, including “Loudspeaker-of-the-Year” and “Product-of-the-Year” from key publications all around the world. “ hey are lat-out incredible, knock-your-damn- Clearly, we knew that the One would be a very hard act to follow. socks-o, jaw-droppingly realistic, enrapturing here was a spirited discussion within our product development speakers.” – Caleb Dennison, Digital Trends group about an all-out assault on the ultimate, cost-no-object, state-of-the-art, to produce a six-igure loudspeaker to do battle Visually, the Reference oers a strikingly beautiful upgrade to the with the most esoteric and expensive loudspeakers on the planet. classic Triton styling, with a gorgeous hand-rubbed piano gloss-black However, after much soul-searching, rational minds won out, and the lacquer inished one-piece monocoque cabinet. Sleek, statuesque decision was made to create a new GoldenEar lagship, positioned and reined, the Reference is simply an elegantly gorgeous statement above the Triton One (of course still current and available), that piece that will excite listeners with its dynamic visual presence, as would joust with the best, but still stick to our trademarked slogan, well as its extraordinary sonic performance. “We Make High-End Aordable.” We are pleased and proud to introduce the new Triton Reference. he Reference has begun Sonically, the Reference has been engineered to perform with a gathering its own collection of honors, winning the prestigious dramatic and authoritative voice, comparable to speakers that sell and coveted CES Innovations Design and Engineering Award, for ten and more times its surprisingly aordable price. T Refs Digital Trends Best Home Audio Tech at CES, HD GURU Best completely disappear, with superb three-dimensional imaging that High Fidelity Loudspeaker at CES and What HiFi Stars of CES! will open up your room, stretching from wall to wall and beyond, And Triton Reference won the grand slam from Absolute Sound and depth that makes the wall behind them seem to vanish. he at CES, where all four of their writers honored T Ref with their astonishing bass is rock-solid, with low-frequency performance highly coveted accolade, “Best Sound (for the money)”! that is tight, quick, highly impactful and musical with extension lat to 20Hz and below. Another GoldenEar signature is a silky “ Undeniably stellar … Yes, it does deliver the smooth high end that extends to 35 kHz with a lifelike sheen but no trace of fatiguing hardness, sibilance or stridency so common sort of performance previously delivered only by with lesser tweeters. Tremendous time and energy has been put into the voicing of the speaker and the seamless blending of the cost-no-object speakers.” – Dennis Burger, Home heater Review drivers, for unmatched musicality with all types of music, and home he Triton Reference is an evolution of everything that we have theater perfection. Rarely do speakers excel at both, but with their achieved with the Triton One, but taken to a stunning new level of world-class neutrality, the Reference absolutely does. A special sonic performance and sophisticated visual design. All the com- bonus is the Reference’s extremely high 93.25 dB sensitivity, which ponents in the T Ref: including larger, more powerful, active sub- gives them tremendous dynamic range and allows use with almost bass drivers with huge “Focused Field” magnet structures, upper- any high-quality ampliier. You must experience T Ref for yourself! bass/midrange drivers with “Focused Field” magnet structures, and High-Velocity Folded Ribbon tweeter with 50% more rare earth neodymium magnet material, are brand new, and have been speciically developed for use in the Reference. he powerful 1800 watt subwoofer ampliier, with level control to ine tune the bass to your room, and 56-bit DSP control unit are a signiicant evolution of those in the Triton One and our SuperSubs. www.goldenear.com here are a myriad of other signiicant upgrades and reinements, PO Box 141, Stevenson, MD 21153 (410) 998-9134 including: new internal wiring with a specially developed twist, Like us on Facebook! Follow us on Twitter! further development of our signature balanced crossover including facebook.com/goldenear twitter.com/goldeneartech Call us or check our website for your nearest dealer

May 2018 Volume 83/Number 4

Editor-in-Chief: Rob Sabin Executive Editor: Claire Crowley Senior Editor, Technical Editor, Video: Thomas J. Norton Audio Editor: Mark Fleischmann Technical Editor, Audio: Mark J. Peterson Editors-at-Large: Bob Ankosko, Darryl Wilkinson Contributing Technical Editors: Kris Deering, Barb Gonzalez, INTEGRATE Al Griffin, Steve Guenberg, Michael P. Hamilton, Daniel Kumin, Fred Manteghian, Geoffrey Morrison, John Sciacca, Michael Trei, David Vaughn AND CONQUER Contributors: Michael Antonoff, Anthony Chiarella, Brandon A. DuHamel, Avi Greengart, Corey Gunnestad, Achieve separates-quality Fred Kaplan, Josef Krebs, Ken C. Pohlmann, Leslie Shapiro stereo reproduction with Music Editor: Mike Meler Movies Editor: Chris Chiarella a single component. Logistics Manager: John Higgins Technical Consultant: Joel Silver, Imaging Science Foundation Art Director: Heather Dickson Copy Editor: Ken Richardson Web Monkey: Jon Iverson Contributing Photographer: Jorge Nunez

General Manager: Keith Pray, 212-915-4157, [email protected] Associate General Manager: Ed DiBenedeo, 212-915-4153, edibenede[email protected] Advertising Sales Manager: Mark Aling, MAC Media Solutions Central & West Coast Manufacturers, National Retailers, Classifieds 289-828-6894, [email protected] This thin column represents Advertising Operations Manager: Monica Hernandez the sound of your current Advertising Coordinator: Lorraine McCraw Sales Coordinator: Rosemarie Torcivia, 212-915-4160, [email protected] integrated stereo amp. Time to upgrade to the full-sized ENTERTAINMENT GROUP MANAGEMENT sound of Anthem’s President: Norb Garre VP, Sales & Marketing: Kristen Ude STR Integrated Amplifi er. Production Director: Kasey Kelley Group Content Director: Micah Abrams Q High-resolution preamplifi er section DIGITAL GROUP Director of Engineering: Jeff Kimmel Q High current, high output Senior Product Manager: Marc Bartell amplifi er section Digital Content Strategies Manager: Kristopher Heineman

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Q S/PDIF coaxial and optical TEN: PUBLISHING TEN: PUBLISHING MEDIA, LLC MEDIA, LLC Q Balanced AES/EBU inputs 831 S. DOUGLAS ST. 1212 AVENUE OF THE AMERICAS, 18TH FL EL SEGUNDO, CA 90245 NEW YORK, NY 10036 Q MM and MC phono PHONE: (310) 531-9900 PHONE: (212) 915-4000 Q Graphic Front Panel Display Back Issues: To order back issues, visit TENbackissues.com. Subscription Customer Service: E-mail [email protected], call (800) 264-9872 (international calls: 386-447-6383), or write to Sound & Vision, P.O. Box 420235, Palm Coast, FL 32142-0235. Please include full name, address, and phone number on any inquiries. Canada Post: Return undeliverable Canadian addresses to IMEX Global Solutions, P.O. Box 25542, London, ON N6C 6B2. Reprints: For high-quality custom reprints and eprints, please contact The YGS Group at 800-290-5460 or [email protected]. Any submissions or contributions from readers shall be subject to and governed by TEN: Publishing Media’s User Content Terms and Conditions, which are posted at hp://www.enthusiastnetwork.com/submissions.

Visit anthemav.com to fi nd a dealer near you. COPYRIGHT © 2018 BY TEN: PUBLISHING MEDIA, LLC. ALL RIGHTS RESERVED. PRINTED IN THE USA. SEPARATE AND CONQUER Introducing the ultimate performance combination

For classic phono or other low-gain line-in sources, STR Preamplifi er Features the new STR Preamplifi er and STR Power Amplifi er are QBass management for two subwoofers, perfectly calibrated to work together. They deliver a in mono or stereo smooth one-two punch of noise-free gain, and a massive, Q Up-sampling of lower-resolution sustained, low distortion power boost. Only exclusive sources to 24-bit/192 kHz Anthem technology, like ARC Room Correction and ALM Q Asynchronous USB audio input Advanced Load Monitoring, allows you to tear away the supports 32-bit/384 kHz PCM, and veil, revealing lifelike clarity and realistic detail even at DSD 2.8/5.6 MHz sources extreme volume. It’s a classic performance suited for QMM and MC phono, balanced XLR, classic performances. and single-ended analog inputs Q Multi-curve adjustable phono EQ Experience it at your Anthem dealer, or buy it today at anthemAV.com. STR Power Amplifi er Q 400W/600W/800W continuous into 8/4/2 ohms, both channels driven Q Cascoded complementary feedback input stage Q Massive toroidal transformers Q Four power on/off options STR Preamplifi er Only Available in black or silver. Q Advanced Load Monitoring (ALM™) We welcome Herb Goldman, in his February/March questions and letter, aer a concise history of conven- Letters comments ience in music listening, makes the blindingly obvious point that vinyl is less convenient than MP3s, then goes E-mail them to [email protected]. Please note: Questions about the features and functions of a on to trash an entire group of music particular product are best directed to the manufacturer. Questions about what product you should buy are best listeners, those of us who buy vinyl. directed to a dealer who knows all the details of your system, your preferences, and your personal habits. All submissions are considered the exclusive property of Sound & Vision magazine and TEN Publishing. We reserve According to Mr. Goldman, who alas the right to edit letters for brevity. Due to the volume of mail that we receive, we regret that we cannot respond to doesn’t bother to cite the source of every letter. his statistics, we’re all either status- desperate millennials or oldies who claim we have “golden ears” and can Straight Steer on Stereo like SACD and vinyl as regressive hear sonic improvements in vinyl... Reading the reproduction of your elements of the lunatic fringe. What without actually listening to any. 1958 article “Straight Steer on Stereo” a load of crap. I’m 57, so certainly not one of Mr. (February/March and soundandvision. Do you like to cook yourself a Goldman’s “golden ears.” I have an MP3 com) was like being transported by Mr. delicious meal, or do you prefer the player and an Alexa home speaker, but I Peabody’s Wayback machine, particu- convenience of driving through a get the most enjoyment out of listening larly the section on radio broadcasts dismal burger chain every night? Do to music seated on my sofa, between simultaneously using an AM and FM you like to watch a 4K or Blu-ray stereo speakers, uninterrupted by station to achieve a stereo broadcast. Disc and enjoy the pristine picture convenience, and sometimes that hat’s exactly how I irst heard stereo and sound, or do you prefer streaming means vinyl. If that makes me a mem- in the L.A. area (Santa Ana). My father a convenient low-bandwidth, low- ber of the “lunatic fringe,” so be it. Why set up two radios, and based upon resolution facsimile? What the vinyl? Not for status. Not for display. As scheduled broadcast times, we listened millennials have discovered in vinyl a mid-level audio enthusiast, I wouldn’t to the new efect in sound. Within the playback is not some trendy nostalgia make any claims to its sonic superiority next year, he had bought a Bogen amp (is any generation less nostalgic than our (although it certainly sounds diferent and FM tuner, Rec-o-Kut turntable with millennials?), but their desire for a to me). Perhaps there’s some nostalgia a Shure M12, a couple of AR2s, and closer connection to the music. his is there, and certainly appreciation of a accompanying electrostatic tweeters. the joy and advantage of vinyl and tactile object—but mostly, because I From that point on, we only bought physical media. It involves us in the like it. ‘Stereo’ records. I’m currently resurrect- creative process of the artist. It is a Rather than questioning the reasons ing the turntable for old time’s sake, in richer multi-sensory experience than why people buy music in a particular his memory. MP3 convenience can provide. format, I wish that Mr. Goldberg had Gary Kinsman I enjoy my iPod nano and little celebrated the revival of vinyl, and the Pleasanton, CA Grado ’phones on long walks. I enjoy fact that there’s another format (yes, streaming jazz, both Becks, and the with its tradeofs of convenience and The “Inconvenience” of Vinyl Pixies while cooking and doing idelity) that allows music fans more More oen than I care to, I will read a housework and shop projects. Very options to choose from, rather than letter to Sound & Vision from some convenient. I also enjoy sitting down deriding and mocking those of us who crank telling me what our beloved and listening to CDs, SACDs, DVD- buy vinyl. audio pastime should be and why we Audios, and vinyl in front of my robust Robert Edwards are all delusional for not following their Marantz/Wharfedale 7.2 surround Via e-mail prescribed method of participation. system while I read liner notes. I love Herb Goldman’s letter in the February/ to take my time and let the music bring I ran Herb’s letter without comment (it March 2018 issue (“A Flash of Vinyl?”) me to a diferent place. Same reason I spoke well enough for itself) and assumed was the latest feeble rant to do so, have driven a stick shi V8 Mustang I could count on readers to respond with replete with slams against Mike Mettler, for the past 31 years. It’s not always the opinions from both sides of the argument. “golden ears,” “status-hungry millenni- most convenient vehicle, but it gets me We did get a few e-mails from the vinyl als,” the resurgence of vinyl, and the closer to the road and my love of supporters who took ofense to the let- “lunatic fringe.” his 65-year-old crank driving. And when I stomp on the loud ter’s tone and apparent dismissal of the wants to set the record straight (in pedal, it makes a little music of its own. format, but alas, nothing In Defense of whatever rpm you like). Magazines like Sound & Vision and Herb. My perspective: I would hardly call Goldman’s overweening thesis is that Stereophile show us all the ways we can everyone who genuinely enjoys playing we should all bow down to the god of connect to the emotion and intelligence LPs today an audiophile or golden convenience. His paradigm of musical of movies and music. From budget ear—there are diferences in the character enjoyment is restricted to the least wonders to high-dollar marvels, they of vinyl and digital, even hi-res digital, amount of efort required from a music cover all the bases. Let’s celebrate this that are obvious on good-quality, playback source, wherein the iPod hobby for all the reasons we can and not mid-priced playback systems. Whether would rule the audio world. Strangely, dump on the methods and motives of you think vinyl “better” or merely dif- he omits digital server streaming those who enjoy it diferently than we ferent, it has its engaging qualities. But (maybe he hasn’t heard). His rationale think practicable. I do think Herb had a valid point in is the traditional mass-market appeal Roger Vance questioning what’s driving the current of successive emergent formats of Crescent City, CA resurgence. Many of the so-called new convenience. So he debunks variants “turntable” sales in the last few years

14 MAY 2018 soundandvision.com

LETTERS

have been nothing more than low-grade, such lab measurements as wow and At-Home Engineering suitcase-style all-in-one record players lutter, speed accuracy, induced buzz With regard to the letter in the January that have nothing to do with good sound. and hum levels, VTA range, tone arm issue from the fellow looking for test Visit an Urban Outtters store, and mass, and variance in tracking angle equipment for measuring loudspeakers you’ll see them lined up on the shelves. I’d across an LP. (“When I Grow Up, I Want to Be Mark guess those are being purchased mostly by Mr. Trei’s report has no performance Peterson”): A good, reasonably priced, millennials who either didn’t know any measurements at all. Is this because semi-professional means of measuring better or just wanted the convenience— modern turntables are so good that loudspeaker capabilities can be found there’s that word, again—of a fully measurements are irrelevant? Or does it using the soware package Arta integrated system. Ater all, what existing mean you, too, got rid of your turntable (artalabs.hr). I have been using this component would they likely have to stuf a few years back, including test soware for well over a year, and it connect a “real” turntable to, anyway? So, gear? Just askin’… provides most of the primary loud- while I don’t think vinyl is going to go Thomas V. Lento speaker characteristics. he FAQ at away again so fast now, I do think there Wilmington, DE their website recommends the is an element of the current market that necessary hardware to purchase to may, in fact, grow tired and abandon it Your note brought a grin to my face, support one’s measurement needs. sooner than the rest, especially if the Tom. First, to the second question: It’s Keith Hollman record companies keep charging premium very much the latter—it’s been a long Via e-mail prices for new LPs.—RS time since we had access to test gear that could measure those turntable param- hanks for the recommendation, Keith. Wow, Without the Fluer eters. We probably won’t do enough In our previous response, our own Tom Michael Trei’s review of the $1,699 turntable reviews to justify a reinvest- Norton recommended the $300 Omni- Technics SL-1200GR in your February/ ment at this point…but I admit the Mic V2 system from Parts Express as an March issue raised a couple of questions thought momentarily crossed my mind afordable and all-inclusive option (mic in my mind. First, did I make a mistake when I saw your letter. and sotware included, just add PC). I’m when I sold my working 1974 Technics As for the verdict on you letting your not familiar with Arta, but I can see from SL-1300 (a semi-automatic version of SL-1300 go for $100… recent completed the website that the cost for unlocking this the original 1200) for only $100 two eBay sales of this unit range from about “shareware” for an individual user is just years ago? $125 up to $300 (or even more in some 79 euros (about $96) and that you would Second, why are there no quantita- cases) depending on condition. But I’d say presumably just add a computer with one tive test results in the review? When I it was only a mistake if you’re hankering of the compatible soundcards and a bought the 1300, the reviews included now to listen to your old LPs.—RS calibrated mic.—RS Meandering Voices Your writers, especially homas J. Norton, are hard to read because they are addicted to parentheses. I quit reading J.D. Salinger for this fault. It’s like listening to someone speak who has to pause every few sentences to vomit. Enter to WIN Probably on my shoes. David Adelman CRUTCHFIELD’S GREAT GEAR GIVEAWAY Via e-mail David, thanks for the observation; it brought a smile. I honestly can’t argue with the criticism, and, as suggested by your comment, Tom is hardly the only ofender. At least a couple of the other guys are also fond of the more-than- occasional aside, and I personally never met a comma- or M-dash-separated clause, parenthetical, or (well- constructed) run-on sentence I didn’t Sign up for your chance to win like. I suppose we’re just trying to pack it all in, while also qualifying the subject U F U matter (as is oten required) with some D& XW KHOG*LIW&D G scant, extra technical detail that might otherwise, in its absence, result in a misleading statement or, god forbid, an Enter now crutchfield.com/SVS outright falsehood. he upside of such constructions, should there be one, is a certain cadence to the language that we hope brings a bit of personality and lyrical joy to the proceedings—lest we become as dry and direct as a technical engineering paper...or perhaps, Hemingway.—RS

Perfect focus NEW GEAR, TOP NEWS, HOW TO, AND MORE... Edited by Clire Crowley Bringing Bck Victor Records 15 Minutes with Graham Alexander, President of Victor Corporation of America I turned down any offers and became determined to redesign GRAHAM ALEX- was already the GE the industry into one that took ander is a talented Building at that point. its music development money musician, but he’s Locally, though, every- from another source: hardware. also an entrepre- one I knew called it Manufacturing of home audio neur, historian, and “The Victor Building.” was the backbone of the entire music-label exec who I knew it as Victor industry at the birth of the music has undertaken the because in the ’90s the industry and, with the vinyl enormous (and Victor Victrola was a boom of the last 10 years, this laudable) task of hot antique market system made a whole lot of resurrecting Victor item—every house sense. Victor was always on my mind Vault of Victor Records as the face Records, the iconic had one again! So it when I worked on Broadway in NYC of—or umbrella for—the new Victor? brand that dates back seemed there was as a musician [he was a cast member GA: I wouldn’t call it a face or umbrella, to the earliest days of a revival in public of Rain: A Tribute to the Beatles in but it has been important to have a recorded music. We’re talking the interest. My earliest musical influences 2010-2011]. I had heard the Victrola physical manifestation of the company label that recorded the likes of Sergei came from the Victor Victrola and label was up for sale, so I bought it on a smaller scale, as we build a new Rachmaninoff and forged an exclu- my grandparents—one was a singer and slowly began to revive Victor. The larger facility. When we open our new sive recording deal with the legendary in a 17-piece big band, the other Victor Company managed to acquire headquarters in 2018, the Vault of opera singer Enrico Caruso. More a folkie—my mother, who loved virtually all of the original brands Victor Records will remain, but it has than that, Alexander has created a R&B and hip-hop, and my father who associated with Victor’s first 50 years always been a satellite of the Victor delightful live-performance space was (and still is) a singer-songwriter in Camden, including, but not limited brand itself as opposed to the other called The Vault in the small town of and bass player. I spent a large amount to, His Master’s Voice, Camden way around. The Vault of Victor Berlin, NJ, about 20 miles from Center of time with my grandparents, who Records, Little Nipper, Victrola, Records became a place—the City Philadelphia. The venue is unique had a beautiful Chickering Parlor Bluebird Records, and Victor. We then epicenter—that represents the in that it’s home to the official Victor Grand piano and a Victrola phono- began to manufacture and press Camden area reclaiming its music Records archive as well as an assort- graph. records, opened a music venue, and industry throne. Camden is the ment of historical artifacts and continued to run Victor Studios…and birthplace of the music industry. memorabilia. We sat down with S&V: So a couple decades later, you the rest is still unwritten. Alexander to learn more about his came upon an opportunity that led S&V: Tell us about the actual vault and multi-faceted operation. to the acquisition of several iconic S&V: Tell us how you parlayed these the archive it houses. —Bob Ankosko brands. wonderful brands into the new Victor GA: The Vault of Victor Records GA: In short, I saw the music industry enterprise, including their new home [literally an old bank vault] is really S&V: We need to go back to the ’90s break—and watched a beautiful at The Vault in Berlin, NJ… cool. It holds 10,000 or so masters, to tell your story. Talk about your model that had given careers to a lot GA: So our first order of business was test pressings, lacquers, and tons and musical influences and boyhood of musicians and writers absolutely opening Victor Studios, which we did tons and tons of corporate papers and fascination with the historic RCA collapse. When I was working on in 2013 in Haddonfield, NJ (Camden film negatives, all part of the archival “Nipper” Building on the waterfront my first album [Graham Alexander, County). Then, in 2015, we opened department of Victor Music Group. A in Camden, NJ, home of the Victor released in 2011], I had interviews at The Vault of Victor Records. We lot of our acquisitions came from Talking Machine Co. at the turn of the two of the three remaining “major needed a place to store the archives former employees, private collections, 20th century and later RCA Records. labels” and quickly learned that, while of the company, and we wanted to be or were simply inherited from take- GA: I actually never knew it as the RCA they really liked music, they focused able to open that archive to music fans overs. Some of the coolest stuff there: Building since I was born in 1989—it most of their attention on safe bets and researchers. On top of that, we presidential speech masters, the and back-catalog releases. Who wanted a cool intimate live music master lacquer of the first sounds can blame them? If I owned the venue for showcases and Victor artists of war ever recorded, unreleased rights to Pink Floyd’s The Wall, and album releases. Education and Rachmaninoff recordings, and blues I’d reissue it on tree bark, too. brand awareness is a major compo- and jazz takes that were never issued. [Editor’s Note: Visit victorrecords. nent of it all: There was not a single The list goes on and on and on and com/hismastersvoice for more definitive book or online source of any on. on this subject and Graham’s meaning about Victor. unique perspective on the music The full version of this interview appears business.] S&V: Is it accurate to characterize the on soundandvision.com.

18 MAY 2018 soundandvision.com This Just In... By Mrk Fleischmnn BluOS Is Streaming Amazon Music on Bluesound and NAD audio products. You’ll need the latest software update for BluOS devices (2.14.2) and the latest BluOS wireless products are on app (2.14.0 or higher)... the way... A New Board for NAD Samsung May Use LG includes two tuners, voice modular two-channel LCD search, Dolby Digital (and products adds three panels in future TV models, DD Plus), Wi-Fi, Ethernet, HDMI-ins and one out. The reports the Korea Herald. and a USB port (version 3.0, Chrome for Android MDC HDM-2 supports UHD Samsung has been seeking for future applications)... is getting HDR support. LG, including HDR10, 24/192 a new supplier to replace Samsung, and Sony make audio resolution, and sells Sharp, which bowed out Hulu’s New Live TV HDR-compatible Android radio for $299... after being acquired by service and user interface smartphones... stations Foxconn... are now running on the around Key Digital Has Added open-source Tizen OS, used Cable Broadband the world. Sonos LG and Meridian in Samsung’s 2017 smart TVs is leveling off, with growth Search for stations with the to the streamlined inte- are teaming up on the and other products, plus slowing by 17.2 percent X1 voice remote... gration products in its design of LG audio pro- Android, iOS, fourth-gen this year for Comcast, and Compass Control Pro ducts. They’ll include Apple TV, Amazon Fire TV, 17.9 percent for Charter/ Comcast Pulled program. Bidirectional soundbars and wireless Nintendo Switch, Roku, Spectrum. Telco broadband Remote DVR drivers afford control of EQ, speakers (see this month’s and Xbox One. Samsung providers like AT&T and scheduling from its Stream audio, playback, queue, New Gear)... TV owners can upgrade Verizon are starting to eat the app after the International and browsing along with service to include enhanced cable operators’ lunch... Trade Commission ruled that now-playing info... Sony’s Android Smart cloud DVR... the feature violated two TiVo TVs Verizon Will Launch patents. You can still use Voice Search will run Comcast’s Xfinity TV HDR10+ Is Now 5G Stream to download and is used by only half of those Partner app in 2018. Watch Streaming wireless broadband service play content... who have access to it, says live, on demand, and cloud from Amazon Prime Video in Sacramento, California a TiVo study. Of those using DVR material via the X1 on Samsung premium and four other undisclosed Pay-TV Operators Will it, 46.5 percent do so with program guide... smart TV models. This is markets. It has tested Lose satellite TV, 28.7 percent with the streaming debut of “pre-commercial” gigabit 26 percent of their sub- Amazon Fire TV, 19.6 percent Vizio’s SmartCast HDR10+... service in the millimeter scribers by 2030, fore- with Apple TV, and 17.2 TV platform now has a wave spectrum in 11 casts the Diffusion Group. percent with a game working NBC app. Just the Netflix May Expand markets... Household penetration will console... thing to catch that SNL skit HDR drop from 85 percent to 79 they’re talking about at the support someday, an Verizon Added Netflix percent of U.S. homes... Cinemark’s Movie water cooler... executive told TechRadar. It to some of its FiOS TV Club already supports the widely set-top boxes. Comcast and Voxx International, gives you one 2D film ticket Channel Master’s used HDR10 and is mulling the Dish Network previously owner of Klipsch, has per month at any of 350 Stream+ combines over HDR10+ and Dolby have done the same... expanded its membership theaters for $8.99/month. over-the-air TV reception Vision, though not for the in the Wireless Speaker and You can also bring a friend at with support for all apps in near future... DirecTV Now Audio Association (WiSA) that price, enjoy a 20 percent the Google Play store except passed the one million to include its Acoustic discount on snacks, and roll Netflix and Amazon Video. It HDR-Enhanced TVs subscriber mark. The Research, Energy, Heco, over unused tickets to the will grow from the current AT&T-owned streamer plans Jamo, Magnat, and RCA following month... 12.2 million sets in homes to roll out cloud DVR, UHD brands. That may mean to 47.9 million by 2021, says support, more VOD titles, more WiSA-compliant an IHS Markit forecast. individual profiles, and a new However, only 23 percent user interface... of UHDTVs shipping this year offer “the full HDR Comcast Has Added experience,” an analyst iHeartRadio adds, citing the cost of back- to its X1 set-top boxes, lights as an obstacle... offering access to traditional soundandvision.com 19 Klipsch Heritage HP-3 Headphones Hnds Performance Build Quality Klipsch Heritage HP-3 Headphones Comfort Value By Steve Guttenberg

THE VERDICT A New Classic At last, with the Heritage HP-3 there’s finally a Klipsch head- PRICE $1,199 phone founder Paul W. Klipsch AT A GLANCE would be proud of.

THE HERITAGE HP-3 IS A Plus clean break from all of Klipsch’s Q previous full-sized headphones. Solid machined wood Although Klipsch’s previous head- earcups phones were decent, I never felt they Q Rich sound balance put the same passion into their Q Bio Dynamic drivers in the company’s 70th anniversary headphones as their speakers. Klipschorn, Cornwall, and Heresy Maybe that’s why the HP-3 feels like Minus speakers. a new beginning. Klipsch is finally The HP-3s’ 52mm BioDynamic going up against the big boys in the Q So-so comfort over long (a.k.a. biocellulose) driver comes high-end audio headphone biz. sessions from CM Foster in Japan. It’s a This bit in the HP-3 press release “free-edge” design that uses a roll set me reeling: “The Heritage HP-3 surround, similar to the sort you see its dexterity—it doesn’t suffer from was inspired by founder Paul W. rials. Klipsch offers the HP-3s in three on speaker midranges and woofers. any thickness or flab, and dynamics Klipsch (PWK). Long before stereo solid-wood finishes—walnut, ebony, Most headphone drivers don’t have are given their full due. Soundstage existed, PWK’s first audio experimen- and oak. Klipsch-o-philes take note: surrounds; instead, their thin film width and focus are quite nice. tation was with a pair of headphones The earcup grilles are the same diaphragms adhere directly to the The HP-3s are very American- that he modified for stereo material used driver frame. Klipsch engineers sounding headphones, by which I reproduction in 1919.” Klipsch collaborated with CM Foster to mean they’re big and bold. In that really was a forward- fine-tune the sound with a series of sense, they sound like a big Klipsch thinking man! radial slots in the driver’s baffle. tower speaker. As for the HP-3s, HP-3s are assembled in China. The HP-3s’ looks remind me of the even before you The genuine hand-stitched $1,190 EnigmAcoustics Dharma pop them on your cowhide headband looks cool, but I D1000 hybrid electrostatic/dynamic noggin, you can’t wish it had more padding. Same for headphones I reviewed for Sound & help but notice the ear cushions, which didn’t seal Vision back in 2015. I still have the the build quality all that well. The HP-3s’ comfort over Dharmas on hand, so I was eager to in their die-cast long listening sessions was good but compare the two models. Of course, steel, hand- nowhere near as comfy as, say, the there’s a huge difference in the tech, sanded and Beyerdynamic T1 or Sennheiser HD and the D1000s’ electrostatic tweeter -polished wood, 800S headphones. definitely supplied more top-end air sheepskin (for To get acquainted with the HP-3s’ and clarity than the HP-3. Lee Ann the earpads), sound, I checked out ex-Top Gear Womack’s The Lonely, the Lonesome and machined hosts Jeremy Clarkson, Richard & the Gone album’s tear-stained aluminum Hammond, and James May’s new tunes had more soul over the HP-3s, mate- series, The Grand Tour, with the while the D1000s’ sound was clearer boys driving a V12 Aston Martin and more hi-res. The two head- DB11, a supercharged V8 phones offer two very different Dodge Challenger SRT perspectives on the music, but if I Hellcat, and a twin turbo had to choose, I’d go with the HP-3 V12 Rolls-Royce Dawn for their more organic tone. across Italy. The sounds The Heritage HP-3s aren’t the first of those exquisite rides Klipsch headphones, but they’re the massaged my eardrums company’s first ’phones that’ll tempt to a fare-thee-well. The audiophiles. I’m sure they won’t be HP-3 was in all its glory. the last. As for music, the HP-3s sound sweet, and the clarity is there, it just doesn’t shout SPECS detail or sound lean. Indeed, the Type: Semi-open back, over-the- sound flatters both male and female ear • Driver: 52mm biodynamic singers, who sound more full-bodied drivers • Impedance: 25 ohms than they do on a lot of headphones. • Sensitivity: 98 dB • Weight The bass deserves special praise for (Ounces): 15.9

20 MAY 2018 soundandvision.com Klipsch • klipsch.com PERFECT FOCUS Dragon Box Holds Signals Pirate Booty he people behind the Dragon Box are in  .  big trouble. Amazon, Netlix, and major movie studios are suing in California district court because the box accesses S S - their content without a subscription. he mart peak Dragon Box website says otherwise, he claiming that it “acts merely as an index ers and of media posted by other enthusiasts on the internet, which is completely outside Art of War “Whoever is first in the field and of our control.” But the lawsuit contends awaits the coming of the enemy that “when used as Defendants intend Sun Tzu was a Chinese gen- will be fresh for the fight; whoever and instruct, Dragon Box gives Defend- eral and military theorist is second in the field and has to ants’ customers access” to copyrighted living in the 6th century B.C. hasten to battle will arrive material, not only including cable and He was the author of he Art exhausted.” streaming sources, but also movies still in of War, a treatise on military strategy and Amazon was the irst company to score theaters. he device sells for $350, and no, tactics. In addition to its profound military major victories. Its Alexa products intro- we’re not going to tell you where to ind importance, his work has inluenced many duced smart speaker technology to the it.—MF other competitive enterprises. I imagine public; thanks to its head start, Amazon that business executives are studying Sun owns 70 percent of the smart speaker mar- Tzu right now, as they plan for one of the ket. Alexa is integral to Amazon’s strategy greatest corporate wars of all time. of enlisting you into the army of Amazon Prime. Apple, Microso, and Google “The art of war is of vital impor- responded with their own smart speakers. tance to the State. It is a matter of And outside the home and oice, the battle life and death, a road either to is moving to cars. Talk to your new BMW, safety or to ruin.” and Alexa will respond. he coming war, already building in inten- sity, is the war of the smart speakers. Who “On the ground of intersecting could have guessed that loudspeakers, such highways, join hands with your a sedentary technology, would suddenly allies.” become weaponized? Of course, it’s not the he four combatants are all natural ene- mies in diferent respects. But Amazon and Who could have guessed Microso don’t really go head to head in most of their endeavors. hus, they agreed that loudspeakers would to join forces for this battle. By the time you S B K become weaponized? read this, Alexa and Cortana will be linked; harp ows 8 you can ask one to access the other. Over C time, as the integration strengthens, the amcorder magnets and voice coils that are in conten- systems will automatically route your Don’t panic, 4K Ultra HDTV buyers, but tion; it’s their newfound intelligence. And request to whichever assistant is most com- Sharp has just introduced its irst 8K it is vital that companies win that war or at petent to respond. his alliance makes camcorder—for pro use, of course. he least occupy some of the disputed territory. complete sense; Alexa occupies millions 8C-B60A uses a 33-million-pixel image How important? It’s expected that smart of homes, and Cortana lives in millions of sensor to record 40 minutes of 8K to a speakers will be smartphones all over again. PCs via Windows 10, while Google and solid-state drive. It weighs 10 pounds Apple own phone platforms and, as such, and will cost 8 million yen, or more “If you know the enemy and know occupy the high ground. Apple, in particu- than $70,000, when the irst models are yourself, you need not fear the lar, is very protective of its high ground. delivered to NHK, the Japanese broadcast result of a hundred battles.” Amazon and Microso failed in the phone authority. It’s unlikely that consumers will Sales of smart speakers were a paltry $360 market and must do everything they can, need to go 8K in the near future, so don’t million in 2015. hat’s hardly enough for a including collaboration that efectively worry about the 4K UHDTV you’ve just company to remodel the restrooms in their places two assistants in each hardware bought or are about to buy. Instead, pay headquarters. By 2021, the smart speaker device, to compete against the powerful attention to which HDR formats are market is expected to be $3.5 billion. hat’s phone assistants. supported by that 4K set you’ve got your a respectable igure, but it’s chump change eye on.—MF compared with the real rewards at stake. “He will win who, prepared Imagine that you had a device in every himself, waits to take the enemy home that searched the internet, played unprepared.” music, made phone calls, read e-mail, I have all four assistants arranged strategi- bought goods and services, controlled cally around my house. In turn, I asked other smart devices, etc. Leveraging that them if they knew who authored he Art data low and data-mining it and selling of War. Each of them promptly responded the information would bring you untold that it was Sun Tzu. Clearly, they’ve been billions. preparing for a ight.

soundandvision.com 21 PERFECT FOCUS AT&T Powers Up Apptitude AirGig   AT&T’s AirGig delivers 1-gigabit-per- second internet service using a novel powerline-assisted technology. Signals Lights Off, don’t travel through the power grid directly. Instead, millimeter wave signals Breeze On are guided by antennas connected to the grid by local electrical workers. he tech- he snappiest way to adjust nology is designed to bring internet ser- the ambiance in my home vice to urban, rural, and underserved theater is to touch an icon areas in general, in the U.S. and world- on my phone to start the wide. he irst test is in a rural part of ceiling fan a-twirling. Touch another icon, Georgia in partnership with a local util- and the fan’s room light turns of. Getting ity, the Georgia Power-Southern Com- the fan’s speed right may require another pany. In addition to feeding mobile tap or two. It should be fast enough to dry devices, AT&T also thinks the technol- TV viewers’ brows but not so fast as to ogy has applications in augmented real- cause paper plates and napkins to ly of ity and self-driving cars. (Incidentally, the cofee table. according to Wikipedia, the distinction Touch control of the things that enhance between augmented reality and virtual our entertainment experience is pretty cool, reality is that “augmented reality enhanc- right? Not cool enough, actually. he screen es one’s current perception of reality, app has already been eclipsed by something whereas virtual reality replaces the real even cooler. world with a simulated one.”)—MF Let me explain. Doing my part to ight climate change, I made the switch from air conditioners to ceiling fans. I have six fans hovering over various rooms, including the living room, S&V. Chris Merck, Olibra’s chief engineer, which doubles as the home theater. he called to explain that, unlike my other wide-span, ive-blade fan rotates in tand- fan remotes, the model in my living room em with almost all our TV viewing from incorporates an LCD readout. I was May through October. Until now, it’s been advised to keep pressing a remote but- operated entirely from a dedicated RF ton rather than just holding it down to remote kept near the sofa. see if the Bond could capture the code. Compared with other gadgetry at trade hat worked. shows, ceiling fans are decidedly low tech. I successfully commanded my fans over But when I came across the Olibra booth, I the internet using the app on an iPad away from home. It’s unclear why I’d want to do Verizon to Stream that except, perhaps, to cool a pet or turn NFL The next big interface will on a light to give the impression that someone was home. Verizon has struck a video streaming be spoken, not touched. In the support call, Merck told me deal with the National Football League something that was an aha! moment. He to bring games to Verizon-owned web- said that 90 percent of his users put away sites and apps. hey include Yahoo, was impressed by the company’s pitch the app and operate the Bond entirely Yahoo Sports, and go90, and of course that you didn’t need a smart fan to make it through an Amazon Echo or Google games will be on the NFL app. Coverage Wi-Fi-compatible. Even legacy fans could Home smart speaker. “I say, ‘Alexa, turn on will include pre-season, regular season, be app-controlled by the Bond, a $99 kitchen fan.’ It’s what I prefer to do at home. playofs, and the Super Bowl plus other hockey-puck-like emitter. You plug it into You’ve got both hands full cooking. It’s very original content. he Yahoo Sports app is an electrical outlet and install the free Bond convenient to just use your voice.” available in both Android and iOS.—MF app on your iOS or Android device. Can you understand my dismay? Here I You point your fan’s remote at the Bond, am writing a monthly column largely about which searches its database. he Bond apps on mobile devices, and now I’m being had no diiculty identifying the fans in my told by a company that makes apps that its reading room and home oice. Both were app is not essential. RF devices operable from other rooms. I felt like calling it quits. But I didn’t do (If your remote is IR, the Bond will need that aer keyboards and mice took a back line-of-sight to that particular fan.) Fans seat to palm-size screens. And I didn’t do deploying only wall switches or pull-down it aer the natural world succumbed to chains are not compatible. the virtual world. So, I’m not about to give he Bond stumbled when I tried to get up on screen apps just yet. But clearly—at it to recognize the Hampton Bay fan in my least in the home—the next big interface living room, home to movie night and the will be spoken rather than touched. See raison d’être for covering the product in bondhome.io.

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martinlogan.com PERFECT FOCUS DirecTV Q&A Skeds UHD, HDR   Ultra HD goodies enhanced by HDR are comin’ round the bend from DirecTV. First to hit the birds was an NFL A/V Games game between the Pittsburgh Penguins and Vegas Golden Knights. hirteen NBA games My system consists of a Sony were slated at press time, along XBR-X900E TV, a PlayStation 4Pro with women’s college basketball, console, and a Yamaha YAS-207 the Rose Parade, and the Brian soundbar. The PS4 Pro does not Setzer Orchestra’s 14th annual play Ultra HD Blu-ray Discs, so I’m planning ensure that you get the best A/V quality from Christmas Rocks! concert. to buy an Ultra HD Blu-ray player. Here’s my each source. DirecTV’s three Ultra HD problem: I want to connect both the PS4 Pro and and HDR channels deliver 60 the disc player to the Yamaha, but the soundbar I recently bought an Xbox One X console and frames per second, wide color only has one HDMI input. I’ve looked around for have it connected to my Yamaha RX-A2050 A/V gamut, and 10-bit color depth. an HDMI switcher that’s compatible with both receiver. When I watch Atmos demo videos using Programming can also be 4K/60-Hz video signals and high dynamic range the Dolby Access app on the Xbox, my AVR’s viewed on non-HDR but haven’t been able to find one. Will I have to front-panel LED display reads “Dolby Atmos.” I UHDTVs.—MF switch the cable connected to the soundbar from get the same result when I watch Netflix shows my sources on an as-needed basis to maintain with an Atmos soundtrack. When viewing Ultra best picture and sound quality? HD Blu-rays with Dolby Atmos soundtracks, Paul Trava / via e-mail however, the receiver’s front panel will read “Dolby TrueHD.” Are Atmos and TrueHD the I wouldn’t suggest doing that—unplugging and same thing? replugging cables each time you switch sources is Hans Furey / via e-mail a hassle, and it can also put signiicant wear and tear on the connectors. A more elegant solution No, they’re not. Dolby TrueHD is a lossless audio to your dilemma would be to use an HDMI codec that supports up to eight audio channels switcher. on Blu-ray Disc. Dolby Atmos soundtracks, in You can ind HDMI switchers that are contrast, consist of audio objects—up to 128 of compatible with both 4K/60-Hz signals and high them—that are mixed in a 3D soundield during dynamic range on sites like Amazon. Many of the production process. When the soundtrack is these cost under $50 and are made by outits played back in a movie theater or home environ- with colorful names like Foscomax, Rooful, and ment, the audio objects are rendered by an Atmos Awakelion. My suggestion would be to look for decoder to the available speaker set, which Talk to Your a model with an Amazon’s Choice tag, which includes overhead ceiling speakers. Comcast Box While Dolby Atmos and Dolby TrueHD are two separate soundtrack formats, Atmos data Comcast has added voice con- Are Dolby Atmos and TrueHD on Ultra HD Blu-ray is actually an extension trol to its X1 DVR/receiver. he to TrueHD that is folded into the bitstream to XR15 voice remote will enable the same thing? maintain backwards compatibility. Here’s how you to go forward or back that works: If you play a disc with an Atmos speciied lengths of time in soundtrack, the Atmos extension data is decoded DVR or VOD material—for indicates that the product is highly rated by by an Atmos-compatible receiver. If your receiver example, “go back 10 seconds.” buyers. If you’re seeking a more road-tested isn’t Atmos compatible, the extension data gets You can ask the voice remote solution—the type that would be used by a ignored and the soundtrack is decoded as regular what song you’re hearing in a CEDIA-ailiated custom integrator—and are Dolby TrueHD. movie, show, or ad. here’s also willing to spend more money, I’d also look at Now that we’ve covered the diferences between a ind-my-phone HDMI switchers from companies like Key Digital, Atmos and TrueHD, let’s discuss your Xbox One feature that lets Atlona, and Gefen. X. here are documented issues on the Xbox you speak your Having said all that, since you’re planning to support site of Microso’s Blu-ray player app name or buy an Ultra HD Blu-ray player, why not get a defaulting to TrueHD output when playing discs number. model that has built-in HDMI switching? Oppo with Atmos soundtracks. Microso regularly —MF Digital’s UDP-203 (Sound & Vision, May 2017 updates their app (a patch was recently done to and soundandvision.com) features an HDR10- correct too-high black levels when playing discs compatible, 4K/60-Hz-capable HDMI input with high dynamic range video), so your irst step you can use to hook up your PS4 Pro. To select should be to make sure you’re running the latest between the PlayStation and the UDP-203’s version. While you’re at it, also make sure to output, all you’ll need to do is switch them using update the irmware on your receiver: Atmos the Oppo player’s remote control. At $549, the playback problems with the Xbox One X are UDP-203 isn’t the cheapest Ultra HD Blu-ray reportedly associated with speciic receivers player out there, but its HDMI switching feature and soundbar models, so Yamaha may have will both solve your connectivity problem and a related ix in the works.

24 MAY 2018 soundandvision.com

PERFECT FOCUS VR Flies Through The Connected Life the Air Virtual reality via antenna?   It’s almost here. LiveWorks has introduced an AR/VR platform compatible with the incoming ATSC 3.0 Voice Control: The broadcast standard, using a $15,000 grant provided by Next Interface the National Association of Broadcasters—for whom Frontier the next-gen over-the-air wants something else. TV standard is of course As audio/video systems have his ethos was perfectly a big deal. “HD live feeds advanced in performance, summed up by Phil Schiller, can be switched, mixed and features, and capabilities, they Apple’s senior VP of world- overlaid onto the live VR have also become increasingly more wide marketing in his recent interview with Bob Ankosko feeds in real time along diicult to operate. Back in the day, a TV was just a TV, (available at soundandvision.com) where Schiller said, with 3D graphics and other with a single remote control and about 13 channels to “he most important attribute, and the one we map all of interactive and immersive navigate. You pointed the remote at it, and if it didn’t our products to, is user experience: Apple’s legendary ease content,” boasts the com- work, you changed the batteries. A sound system had an of use and the ability to just plug it in and it works.” pany. Advertising might input selector to choose what to listen to and a volume Since the dawn of A/V, we have primarily lived with evolve from traditional ads knob to make the music louder or quieter. button pressing as the most intuitive user experience. to “artful product place- hings rarely locked up or needed rebooting because Press this button, and something will happen: the volume ment” in games or stories, there was no computer or microchip to lock up or reboot. goes up, the channel changes, the system turns of, etc. coupled with “rewards.” here were no HDMI handshakes to deal with or copy It’s cause and efect and, for the most part, efective and —MF protection schemes capable of rendering the whole intuitive. Provided, of course, you know which button system inoperable. Worst case scenario, someone would to press. press a Tape 2 Monitor button or turn on Speaker B But as we increasingly move beyond single room to instead of Speaker A, and a single button press normally integrated whole-home control, button pressing is righted the ship. frequently no longer the most ergonomic, and voice Today, the systems I install are oen incredibly com- control appears to be the next frontier. his was especially plex. he displays are fed by multiple sources from both apparent at this year’s CES where voice control demon- inside and outside the house; the surround system can strations were practically everywhere. Whether Amazon’s have upwards of 11 channels; and speakers are located Alexa, Google’s Assistant, Apple’s HomePod, or Samsung’s R throughout, driven by audio matrix switchers and multi- Bixby, companies are embracing voice for control in a oku channel ampliiers. Intertwined amongst this A/V gear multitude of ways. Tries New are additional subsystems like lighting, security, surveil- hink of a fairly typical application like turning on M lance, HVAC, and more, with the whole thing run by an lights and music for a party. You pull out your phone, oves advanced control system that replaces a tabletop full of unlock it, open a control app, navigate to lighting, select Roku has a bunch of new remote controls. Even so, getting a picture on the screen a lighting scene, then navigate to audio, ind and select moves for other brands or audio in a room can require multiple button presses. the music to listen to, then add rooms where the music incorporating its platform. In More than ever, the control interface needs to be should play, then set volume levels in each area. Phew. addition to its own set-top intuitive and simple. hat’s a lot of button pressing. Instead, all of that could be boxes and various brands of accomplished by just walking into a room and saying, Roku-hip smart TVs, there’s “Turn on Party Mode” or the like. now a reference design for Companies are embracing voice I’ve had Alexa integrated with my Control4 and Lutron soundbars that uses the oper- for control in a multitude of ways. systems for the past 16 months, and it’s great for many ating system for voice con- things. Like walking into the house with my arms full and trol, searching, and stream- asking Alexa to turn on the lights. Or heading over to ing (TCL announced the irst he gold standard for this would be one that passes the couch with drinks in hand and asking Alexa to start model at CES). It works with the babysitter or mother-in-law test. hat is, something Movie Time. Voice control is also great for mundane any HDMI-A RC-capable so inherently easy to use and understand that a guest chores like checking the weather, setting cooking timers, TV. here’s also a reference user could come over and make it work…without getting daily news, getting a drink recipe, or just querying design for smart speakers in having to read a laminated sheet of step-by-step random facts (“Where are the 2020 Olympics?”). either single- or multi-room instructions that sits on a cofee table by the pile of Voice control certainly isn’t perfect yet. For example, conigurations. Roku speak- labeled remotes. Alexa oen tells me a device doesn’t exist, isn’t respond- ers can integrate with Roku A near-perfect example of this is Apple’s iPhone and ing, or just ignores my request altogether. And interfac- TVs and boxes. hen there’s iPad interface. My daughter, Audrey, is not quite 22 ing with advanced control systems requires speciic Roku Connect, for wireless months old, but she’s already mastered the iOS interface. programming for each command. Plus it isn’t ready for speakers. And inally, a Roku Once the screen is unlocked—a process she understands multiple strings of commands in natural speak like, Entertainment Assistant is but has yet to master—she knows to swipe through “Turn on lights in the kitchen, dining, family and being prepared as a free so- multiple screens and even embedded folders until she breakfast room, and play some jazz.” ware update to the Roku OS. inds the app (YouTube) she’s looking for. Once there, she However, voice control integration is still in its infancy, Roku might swipes through videos, minimizing and closing ones that and the resources behind it and companies driving its become an don’t meet whatever criteria she’s currently searching, development forward look promising indeed! ecosystem pressing the home button to close the screen when she unto itself. —MF

26 MAY 2018 soundandvision.com Introducing Debut 2.0 Series Surround yourself with the sound of applause, better than ever.

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©2018 ELAC Americas Inc. PERFECT FOCUS Reference Tr cks mike mettler

Roxy Music’s Self-T itled Re-make/Re-model of Rock Convention Gets a Rich 5.1 Upgrade

No one had ever thing of being happy with having seen or heard any- this blend of stuf. It didn’t have thing like it before. to be a funk or a blues or jazz, or When Roxy Music something weird or psychedelic. released their self-titled debut in We were all happy to have this June 1972—ironically enough, combination of things built on the exact same day their spiri- around very simple chords. tual brother-in-creative-arms David Bowie released he Rise MM: Does the surround version and Fall of Ziggy Stardust and of the album give you something the Spiders From Mars—the art- you always wanted to hear, or school-tempered British sextet something you didn’t expect? instantly ushered in an immedi- What does it mean to you? ate sea change for both the style PM: To me, the 5.1 is the star and sonic character of an already of the show. Because if you’re a sagging rock scene. Roxy fan and you’ve heard these Roxy shook up the form’s tracks for years, you now hear visual sensibilities with a highly UMC Courtesy Virgin them in a diferent way. here’s stylized, playfully suggestive way we and [Floyd keyboardist] very much the right way of so much to gain, so it’s worth it front cover featuring internation- Rick Wright were using the thinking about it—the idea of just for that. ally renowned fashion model VCS3. It was more of an elec- having musical conversations. I Kari-Ann Muller, clad in a pink- tronic soundscape idea, with the might play this [verbally mimes MM: Is there one particular song and-white satin swimsuit and diference being it’s coming from a rif], and Andy would play that in the Roxy canon you would sprawled out with a shiny gold within the context of a pop band.” [mimes another rif], and then like Steven to mix in 5.1? record placed just out of the And now, the Roxy Music Brian would play something else. PM: (slight pause) Ooh. Actually, reach of her outstretched right party is being properly feted hen you agree on something, I’d say “In Every Dream Home a hand on the back cover. Not with a 45th anniversary special bounce it of each other, and go Heartache” [from 1973’s For Your only that, but the music found edition 3 CD/1 DVD set that somewhere else. Pleasure]. I think that would be within such provocative packag- includes demos, outtakes, BBC And when Bryan is singing, amazing to hear in surround. ing undisputedly forged new Sessions, and surround sound you’re there to support the vocal ground—most especially the way guru Steven Wilson’s wholly and the lyric, to try and create An extended version of the Mettler- the always forward-thinking immersive 96-kHz/24-bit DTS- a musical context for him. hat’s Manzanera Q&A, including a master synth/tape operator Brian HD Master Audio 5.1 mix. I got what all of us were really doing discussion of the iconic solo- Eno manipulated the other- on the line with Manzanera, 67, on that irst album. We were tradeof section during “Re-make/ worldly sounds he was able to to discuss the band’s intuitive trying to create an interest- Re-model,” appears in the S&V coax out of an EMS VCS3 port- sense of interplay and why the ing musical backdrop and Interview blog on soundand- able synthesizer. album’s intent comes across even context for this singer with a vision.com. “It’s easy to forget very few better in surround. Next time is strange voice—and good looks! bands even had a VCS3 synthe- the best time, we all know…. (chuckles) CD & DVD LABEL: Virgin/UMC sizer in those days,” points out AUDIO FORMATS: MM: MM: 44.1-kHz/16-bit PCM Stereo Roxy Music guitarist Phil he individual relationships Steven Wilson’s surround (CD & download), 96-kHz/24-bit DTS-HD Manzanera (at le in the photo between the players is one of the mix puts us in a space that rein- Master Audio 5.1, 96-kHz/24-bit Dolby AC3 above). “Pink Floyd had one and things that makes Roxy Music forces how every song on this Sound 5.1 (DVD) NUMBER OF TRACKS: 58 (39 on three CDs, we had one, but I can’t think of such a special album, in my album really has its own indi- 19 on 1 DVD) anyone else who was using one at opinion. You and [vocalist] vidual character. LENGTH: 4:41:52 (3:17:51 on three CDs, the time. here may have been a Bryan Ferry, Brian Eno, and PM: It’s very diicult to categor- 1:24:01 on 1 DVD) Moog out there, but not in the [saxophonist/oboist] Andy ize the styles of the diferent PRODUCERS: Bryan Ferry, Darryl Easlea, Johnny Chandler (box set), Pete Sinfield Mackay all have what I call songs, because they chop and (original album) an interplay shorthand. Did change around. hey are a bit ENGINEERS: Andy Hendricksen (original you feel you were working like collages—and Bryan, of album), Steven Wilson (DVD 5.1 mixes); Ray more directly with one per- course, had been taught how to Shulman (DVD mastering); Bob Ludwig, Frank Arkwright (CD mastering, studio tracks); Rhett son in certain sections of do painting collages by Richard Davies, Simon Willey (CD mastering, BBC each song, or was it more of Hamilton when he studied at Sessions tracks) a group feel overall? [Newcastle] University. But I PM: Deinitely in the instru- think by a complete sort of luck, PERFORMANCE mental bits, we were having he ended up with a bunch of SOUND conversations, really. hat is musicians who had this natural

28 MAY 2018 soundandvision.com

www.GoldenEar.com | ( 410) 998-9134 THIS MONTH’S HOT NewGe r STUFF...

A Emotiva DC-2 Desktop DAC Supercharge your desktop rig! That’s what you’ll be able to do with the DC-2, an update of Emotiva’s reference-quality DC-1 digital-to-analog converter (DAC). Emotiva CEO Dan Laufman calls the new half-height DAC a “no-holds-barred converter for any enthusiast whose music library is stored on a computer or hard drive.” Moving Up: The upgrades begin with a new 32-bit AKM Verita DAC—equipped to handle a range of hi-res audio formats, including DSD—an AK4136 sample rate converter selected for its “extremely low jitter and detailed sonics,” a beefed-up headphone drive stage, and a new low-noise switch-mode power supply. Connec- tions include a USB port, standard (RCA) and balanced (XLR) analog inputs and outputs (one each), and three digital inputs (coaxial, BNC, and optical). You can select inputs and adjust settings via front-panel buttons or the supplied remote. Price: $699 Emotiva Audio • (877) 366-8324 • emotiva.com

G Marantz AV8805 A/V Preamp/Processor OK, you can stop salivating now. Yes, the new AV8805 flagship pre/ pro from audio pioneer Marantz is a beast. Allow us to dip into its vast reservoir of features, starting with the 13.2-channel architecture (with 15.2-channel XLR and RCA outputs for flexibility), which sets the stage for over-the-top 9.2.4 or 7.2.6 speaker layouts with Dolby Atmos or DTS:X object-based surround processing (both on board). Or you can go with Auro 3D processing, which will be available as a free firmware update in the future. From there, think state-of-the-art in technical design, processing, and connectivity. Futureproof: When you’re dropping serious coin on new gear, the last thing you want to worry about is obsolescence. Marantz told us AV8805 owners will be able to upgrade to HDMI 2.1 when the spec is finalized. It won’t be free, but you won’t be left out in the cold, either. Price: $4,499 Marantz • (800) 654-6633 • us.marantz.com

30 MAY 2018 soundandvision.com J Riva Audio Riva Central Wireless Amplifier Think of Riva Central as a pathway for integrating existing speakers and other audio gear with Riva Audio Arena and Festival speakers you’ve set up around the house. Connect your speakers (or component) to the nondescript box, and they become full-fledged members of your wholehouse music network, with centralized control of your music sources through the Riva Wand app. If the speakers you’re adding are passive, no worries: A 55-watt-per-channel amplifier is included. Copious Connections: The Central’s impressive selection of connectors makes it possible to make just about any audio device wireless. In addition to speaker connections, Riva provides a USB input—perfect for a memory stick loaded with favorite tunes—plus analog and optical digital inputs and outputs and a 12-volt trigger to power an external amp. There’s even a line-level subwoofer output. Price: $399 Riva Audio • (844) 438-7482 • rivaaudio.com

D LG SKY10Y Dolby Atmos Soundbar System Last December, LG and Meridian Audio entered into a partnership to “raise the bar on acoustic performance, using natural and authentic sound derived from research and development.” The SKY10Y soundbar is the first LG product to emerge from the collaboration, and it’s got Meridian fingerprints all over it. Higher Ground: The bar supports Dolby Atmos 5.1.2 sound with two up-firing speakers and is built to handle hi-res audio files. In keeping with the high-performance theme, the SKY10Y has four HDMI 2.0 inputs and packs 550 watts of power, excluding the power built into the companion wireless subwoofer; it also incorporates Meridian’s Height Elevation technology, which lifts sound to screen level and improves dialogue intelligibility, and is compatible with Google Assistant for voice control and Chromecast built-in for access to a wealth of content. Estimated Price: $1,200 LG • (800) 243-0000 • lg.com

J Sony A8F OLED Ultra HDTV Sony continues its OLED comeback with a scaled-down version of the award-winning A1E, one of Sound & Vision’s 2017 Top Picks of the Year. Available in 55-inch ($3,000) and 65-inch ($4,000) versions, the A8F models drop the easel base in favor of a more conventional stand but retain Sony’s outstanding X1 Extreme processor, which does as good a job of upconverting HD and lesser- quality video to 4K as we’ve seen. The processor handles three flavors of HDR—HDR10, Dolby Vision, and Hybrid Log-Gamma (HLG)—and analyzes color and adjusts contrast in real time to produce a more realistic picture. See It, Hear It: The A8F series also retains Sony’s unique Acoustic Surface “sound on screen” technology that turns the entire screen into a sound-producing diaphragm, complemented by bass from a subwoofer mounted behind the screen. Sony • (239) 245-6354 • sony.com

soundandvision.com 31 TECHNICAL TALK THE BOSE 901 SPEAKER SYSTEM Julian Hirsch’s review of the Bose 901 in 1968 helped set off one of the greatest and longest-lasting audiophile debates.

There may be no singular product in speaker’s huge commercial success. While the review modern audio history that has generated retained Hirsch’s usual dispassionate and professorial more accolades, derision, or pure controversy than voice, it was certainly as close to a rave as he ever got. the Bose 901 loudspeaker. Introduced in 1968 by a In 1998, when SR celebrated its 40th anniversary and then four-year-old concern named aer its MIT- Hirsch was asked to relect on the most noteworthy educated founder, the 901 neither looked, nor sound- products he’d encountered, he cited the 901 right ed, like any speaker that had come before it. With its alongside such classics as the original Shure V15 car- pentagonal cabinet that faced eight of its nine identical tridge, the Marantz 10B tuner, and the Dynaco A-25 4-inch, full-range drivers at the relecting wall behind the bookshelf speaker. Back in ’68, the 901 review appeared with- speaker, its designer Amar Bose sought to have it mimic the way we out fanfare and was mixed among the several featured each issue in hear in concert halls and imbue its sound with a giant soundstage Hirsch’s “Technical Talk” department, which always began with a and spatial realism that was unsurpassed. brief essay (not reproduced here), followed up by a handful of Beyond any success of its spatial trickery, the 901 had its issues— product tests. the combination of its small cabinet and unusual dispersion pattern he 901, with periodic improvements, remained continuously required equalization at both ends of the frequency spectrum, and it available from Bose right up until 2017, when the company inally was (not surprisingly) room and place- suspended production.—Rob Sabin ment sensitive. Some sophisticated audio- philes bemoaned a perceived lack of detail DEPENDING on one’s viewpoint, the Bose and veiled quality to its sound. J. Gordon 901 speaker system might be considered Holt, founding editor of our high-end a revolutionary approach to sound sister publication Stereophile, noted in a reproduction, or simply a workable 1971 commentary (available at stereo- combination of well-established (and phile.com) that the 901 “produces a more sometimes deprecated) techniques. he realistic semblance of natural ambience Bose 901 enclosures house nine small, than any other speaker system, but we specially designed drivers that have would characterize it as unexceptional in 4-inch cones and powerful magnetic all other respects.” My own mentor, Harry structures. Eight of the drivers are Pearson, Jr., told me in the early 1980s that angled to the rear, while the ninth is he bought a pair of irst-generation 901s mounted on the front of the enclosure aer reading the positive reviews in the facing the listening area. his arrange- mainstream audio press and was so disap- ment is intended to achieve approxi- pointed that it prompted him to found mately the same ratio of direct to relect- he Absolute Sound as an alternative voice. ed sound that exists in the concert hall. In the legend and mythology of the he 901’s cabinets are quite com- Bose 901, the review we’ve reprinted here, pact, measuring 12-3/4 inches high by written by Julian Hirsch for HiFi Stereo 20-9/16 inches wide when viewed from Review’s September 1968 issue, looms the front. Seen from the top, the rear of large. It has been suggested by some the enclosure forms a “V” of about 120 observers that few factors beyond Bose’s degrees. Basic to its operation is the own advertising contributed more to the requirement that it be mounted with

32 MAY 2018 soundandvision.com he uniformly excellent tone-burst response of the Bose 901 is illus- trated by the oscilloscope photos of tone-bursts at (let to right) 130, 1,000, and 9,500 Hz. the “V” facing the wall, the apex being about 12 inches from the wall. When a pair of 901s are so installed, the sound appears to be uniformly distributed across the wall between the speakers com- pletely free of any “hole-in-the-middle” efect. Since only 11 percent of the sound is radiated directly forward, it is almost impossible to localize the source. An intrinsic part of the Bose 901 system is an active (ten-transistor) equalizer that handles both channels; it compensates for the high- frequency losses inherent in the relecting process and also lattens out the bass response. (he uncompensated bass response is down because of the natural bass roll-of resulting from the very small volume of the enclosure.) Housed in a walnut cabinet 2-13/16 inches high by 9-1/4 high-frequency response from the speakers. When the rocker switch inches wide and 6-3/4 inches deep, this self-powered equalizer unit is is set for TREBLE DECREASE, it introduces a depression in the connected either between the preampliier and power ampliier or in response between 2,000 and 6,000 Hz. he ive switched contours the tape-monitoring signal path of the ampliier or receiver. In the then not only afect the very-high-frequency speaker performance, latter case, the ampliier’s tape-monitor switch is le set to TAPE. So but also the frequencies between 500 and 2,000 Hz that are not afect- that the tape-monitor function would not be lost, Bose has built it into ed with the rocker switch in its NORMAL position. In all, ten difer- the equalizer. A tape recorder can be connected to the equalizer and ent high-frequency/mid-range response contours are available. the usual monitoring switching performed through it. For those who have well-trained hearing and musical judgment— here are ive controls on the equalizer, four rocker switches and plus the urge to tinker—it is possible to correct for poor recordings one ive-position rotary control. One rocker serves as an on-of to a remarkable degree with the equalizer controls. Most people will switch, another as the tape-monitor switch, and the third as a low-cut probably prefer to leave them in their NORMAL settings. ilter that primarily afects frequencies below 40 Hz. his is intended he active equalizer introduces no perceptible distortion. We mea- to reduce rumble or acoustic feedback. he fourth rocker switch sured its distortion at less than 0.13 percent for any output under 3 interacts with a rotary ive-position treble-contour control. When volts, which is greater than would be required with any ampliier we the rocker switch is set for NORMAL, the rotary switch provides know of. he output signal is of approximately the same level as the a boost position, a lat position, and three positions of decreasing input signal. In the August, 1968 Technical Talk col- umn, I commented on the diiculty of Our original review of the Bose 901 in September 1968 was one of several that month in describing speaker performance in purely Julian Hirsch’s Technical Talk department. objective terms. he Bose 901 is a perfect illustration of this problem. Aer a couple of months of living with a Bose 901 system, I am convinced that it ranks with a handful of the inest home speaker systems of all time. Because of its unconventional mode of operation, I rather doubted that any fre- quency-response measurements I could make would account for the remarkable realism of its sound. Diicult as it is to mea- sure the output of a single direct radiator in a normal living room, it is well-nigh impos- sible to measure an almost perfectly dis- persed sound pattern such as that of the 901 without strong inluence from the efects of room acoustics. Nevertheless, a measure- ment was attempted. We placed the speaker in the recom- mended position relative to the wall. We did not have the equalizer in the signal path for our frequency-response and tone-burst measurements, but measured the equalizer

soundandvision.com 33 BOSE 901 SPEAKER SYSTEM response separately and added it to the speaker response to obtain tance of a speaker such as the Bose 901. he 12-inch gap necessary the inal curve. Ten microphone positions were used, and their between the apex of the speaker and the wall places the front of the readings averaged. Harmonic distortion was measured at a 1-watt speaker about 30 inches from the wall. Bookshelf mounting is gen- drive level with the equalizer installed. erally impractical, and it may be diicult to install the 901 in the It was no surprise to ind that the inal response curve was not as correct location without disturbing room decor. Many potential lat as some we have measured. here appeared to be a broad rise users will be forced to decide between style and sound. of about 5 or 6 dB in the 130- to 250-Hz region, although we could Electrically, the Bose 901 is rather ineicient, and the 18 dB of not detect its presence by ear. he output fell smoothly above 1,000 bass boost supplied by the equalizer requires huge reserves of Hz to –7 dB at 6,000 Hz, then rose to the 1,000-Hz reference level ampliier power if loud low-frequency passages are to be played. To between 10,000 and 15,000 Hz. a lesser degree, the same problem exists at the very high frequen- he low-frequency harmonic-distortion measurements were cies. Bose recommends ampliier power ratings from 20 to 200 afected by the speaker and microphone placement. he distortion watts per channel, into 8 ohms. We have used it successfully with was 7 percent at 20 Hz, and reached maximums of 12 percent at 30 ampliiers at both ends of this range. Unlike most speakers, the 901 Hz and 10 percent at 50 Hz. It was considerably lower at other fre- sounds as good at a whisper as it does at a roar, but if you are ever quencies in the bass range. (As a point of reference, the better tempted to turn up the volume a bit, an ampliier with a continuous acoustic-suspension speakers have about half as much measured power rating of at least 60 watts per channel is strongly recom- distortion at similar drive levels.) mended. A possible compromise is to use the “below 40 Hz” roll-of We listened to the Bose 901 in several listening rooms, which in the equalizer, which reduces low-frequency peak-power require- ranged acoustically from extremely hard and bright to quite dull. It ments by 8 dB and has little audible efect. Incidentally, don’t worry was compared in A-B tests with several of the better speaker sys- about overloading the 901. he individual drivers can each handle tems at our disposal. he Bose 901 had an utterly clean, transparent, 30 watts without diiculty, and few of us are likely to be able to and efortless sound. Its clarity and deinition when reproducing apply more than 270 watts to each channel. complex orchestral passages were, in the writer’s opinion, unsur- In the inal analysis, the judgment of a speaker must be subjective passed by any other speaker he has heard. his impression was con- and personal in nature. I have, on occasion, warmly praised speak- irmed by its tone-burst response, which was uniformly excellent ers that I considered to be outstanding performers. Everything I across the frequency spectrum. Its low-bass response was diicult have said in the past is still valid. Nevertheless, at this moment, I to credit to such a compact system. It had all the room-illing must say that I have never heard a speaker system in my own home potency of the best acoustic-suspension systems, combined with which could surpass, or even equal, the Bose 901 for overall “real- the tautness and clarity of a full-range electrostatic speaker. he ism” of sound. My partner, Gladden Houck, concurs to the extent spatial distribution, which brings an entire wall alive with sound, that he considers it a very ine system, certainly the equal of any- contributes greatly to the sense of realism. thing at or near its price. he Bose 901 system, consisting of two here is, unfortunately, a serious obstacle to the universal accep- speaker units and the equalizer, is priced at $476.

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SAVE $10 off your next $100+ order! Use promo code: 8SVM7E Offer expires 5/31/2018 Some affordable •projectors, such as the Epson Home Cinema 4000 LCD projector ($2,200, at right and below), accept 4K HDR signals but use 1080p imaging devices with pixel-shiing to enhance resolution.

Closer Thn It Looks With new ultra-short-throw and cheaper 4K projectors appearing on the market, your path to the ultimate home theater experience appears to be shrinking. by Rob Sabin

ast year in our annual front projection update (May 2017, available at soundandvision.com), we wrote about how Lthe category wasn’t about to be le behind on the 4K, Ultra HDTV revolution. Nothing in this business stands still, of course, and we’re happy to report that “front projection’s reinvention,” as we dubbed it last year, is moving into yet

another phase. Not only are 4K-compliant about sitting back in front of that giant -priced lat panel that will match the impact projectors more readily available, better 100-inch screen? Read on to ind out. of a large projection screen. Sitting, say, 12 feet performing, and in some cases much back from a 100-inch-diagonal image ups the cheaper, we’re also seeing a batch of fresh Let the Revolution Begin engagement factor, big time. ultra-short-throw home theater projectors Let’s start with the premise that, for now hat said, it wasn’t too long ago that reaching the market in 2018. So what does anyway, there is no viewing experience you acquiring that big screen meant a serious this mean for you if you’ve always dreamed can have with any conventionally sized and commitment and willingness to deal with space

36 MAY 2018 soundandvision.com More critically, head on. A UST projector combines a small, although an ALR typically component-like chassis that gets placed screen should just below and only inches from the projection provide a surpris- screen. An optimized lens allows it to cast a ingly high-contrast geometrically correct image of 100 inches or image when the more on either a conventional screen material lights are on, as or an application-speciic ALR screen that well as a boost in accepts light from below and relects it to the contrast versus viewer while rejecting it from all other angles. conventional It’s a simple matter to place your video sources screens when the and audio components nearby, perhaps in lights are of, they the same console furniture that supports the LG’s recently announced 4K ultra-short-throw projector, the HU80K, may produce a projector or in an adjacent rack, so there’s •has an upright design that allows it to project images from the floor, pearly or sparkly no requirement for any mounting or in-wall mounted on a wall, or hanging from the ceiling. quality to the image cable runs. Easy-peasy-lemon-squeezy, as surface that could some folks say. requirements, potentially complex installation, be more noticeable in dark-room viewing. So if So, what’s not to like? Well, although UST and the need to control ambient light to avoid it’s paramount for you to get a smooth, ilm-like projectors have been around for the business washing out the image. picture in a darkened home theater, a conven- and educational markets for a while, home In the last couple of years, that’s started to tional matte-white screen is still the best option. theater-centric models are just starting to change with the appearance of two signiicant Keep in mind, too, that you can still keep your appear. And while the UST projector/ALR front projection technologies: ambient-light- 65- or even 75-inch lat panel around as your screen combos we’ve tested so far have lived up reducing (ALR) screens and ultra-short-throw day-to-day TV for lit-room viewing and let your reasonably well to their promise of replacing a (UST) projectors. he new ALR screens have den or family room do double duty as a dark- TV for lit-room viewing, so far we’ve yet to see been a game changer in their own right up to room projection theater with the pulling of one that delivers the dark-room contrast and this point. Combined with UST projectors, shades and the push of a button that drops a black levels of a high-performance theater though, they stand to introduce front projection retractable screen down in front of your projector. hat includes the top of the crop, and the really-big-screen experience to a whole everyday set. where Sony has its $25,000 VPL-VZ1000ES new class of customers. laser-driven 4K SXRD projector, or at the entry Let’s take the ALR screen irst. Sound & Skip the Install level where Epson has the new LS100, a Vision has been reporting for years on so-called ALR screens may represent an opportunity to lamp-driven 3LCD projector priced at $3,000 “high-gain” or gray screens intended to boost take front projection out into the light of your (both reviews available at soundandvision.com). contrast in modest ambient lighting or with everyday living space, but the installation In this issue, Al Griin reviews the Hisense inherently darker source material, such as requirements for conventional projectors Laser TV, a 4K DLP projection system that projected 3D images. But their performance remain a serious impediment. For a 100-inch retails for $10,000 and comes with its own was marginal at best. Today’s ALR screens are screen, most permanently installed projectors UST screen and ofers a host of TV-like fea- another breed entirely, and they employ some will likely utilize a ceiling mount placed at tures, including a built-in tuner. See page 58 for sophisticated, multilayered designs to more least 10 feet from the screen if not greater, his results. directly eject light coming from overhead or the which provides the necessary throw distance Still, we’re just at the beginning of this UST sides of the screen while relecting light from (depending on the projector) and a clean line trend, and it’s reasonable to assume that in the projector back to the viewer. As long as the of unobstructed sight that prevents viewers future generations manufacturers will get more projector has suitable brightness, some of these from casting shadows on the image every time serious about further improving image quality. screens can produce a remarkably high-contrast they get up for a snack. hat means hanging One thing we’ll also be exploring in future image, even in a lit room, something impossible a projector in plain view in your living space reviews is how well these UST projectors just a few years ago. So, ALR screens really open or somehow concealing it at the back of the might perform in dark-room applications with the opportunity for taking projection out of a room, as well as snaking long cable runs traditional white-matte screens. Given the dark-room home theater environment that through the ceiling and walls back to the ease of installation, a high-performance UST requires controlled lighting and spreading it signal source. It’s easy to see why so many projector makes an attractive use-case even for a to multi-use spaces around the house as an people take the pass. dedicated theater room with controlled light. alternative to the lat-panel TV. In response, Ultra-short-throw projectors tackle this issue projector manufacturers have been ratcheting Details, Details up the light output as best they can on the latest Most new lat-panel TVs today are Ultra HD projectors, even the more afordable budget models, and front projection is very slowly projectors, with a few models hitting 3,000 heading in the same direction. As we’ve lumens or more. To put that in perspective, frequently reported, the beneits of Ultra HD until the advent of high dynamic range start with 3840 x 2160 pixel resolution, or (HDR) content (more on that below), approximately 8 million pixels of detail 1,200 lumens was generally considered versus the 2 million for 1080p or “Full HD” more than enough to light up a 100- resolution. hat spec for Ultra HD comes inch-diagonal projection screen in a close to the 4096 x 2160 pixel count for dark room. true digital cinema 4K—hence, the here are some caveats with these common use of both terms in describing screens, though. Although late-gen UHD displays. he extra pixels beyond ALR screens are deinitely appearing Full HD have frequently been dismissed now at budget prices, these high-tech by the pundits for displays of 75 inches materials remain considerably more expensive or smaller, where the beneits are said to True native 4K projectors, which can than traditional matte screens, and the better •display all the pixels in a UHD signal at once be lost unless you sit uncommonly close to examples of the breed can easily run $3,000 to with no need for pixel-shifting, remain rare in the screen. On the other hand, they are most $5,000 or more for a 100-inch-diagonal, 16:9 the consumer market. Sony’s VPL-VW285ES welcome for large projection screens, where version. ($5,000) broke a new low price for the category. they can visibly smooth diagonal and circular

soundandvision.com 37 CLOSER THAN IT LOOKS

content—especially on UHD Blu-rays, with their HDR- and WCG-enhanced images— makes for a very reasonable trade-of. JVC’s projectors start at around $4,000, and late last year Epson introduced a $2,200 1080p pixel-shier, the Home Cinema 4000 (review at soundandvision.com). If a basic 1080p projector is all you need or can aford for now, you can ind acceptable performance below that $2,200 price point, and for as little as $600. he $1,200 to $1,500 range is a particularly ripe sweet spot for projectors with quite excellent color, reasonably Thanks to DLP’s affordable new 4K high light output, and average to above-average •imaging device, full-resolution 4K projectors contrast. hey are much improved over their are turning up below $3,000—with Optoma’s predecessors in that price class of just a couple UHD65 ($2,500) among them. of years ago.

video streams, you’ve got good reason to lean Pick Your Pic toward a 4K projector. Native 4K consumer here are three major display technologies projectors, which we deine as those whose used in today’s consumer projectors: the imaging devices deliver all the pixels of a UHD aforementioned Digital Light Projection frame simultaneously, are still scarce. Until (DLP), liquid-crystal display (LCD), and recently, Sony was alone in this market, liquid crystal on silicon (LCOS). DLP uses edges on objects and generally provide a delivering a range of models that started at pixel-sized micromirrors arrayed on dedicated sharper overall image. $10,000 and went up to $60,000. JVC joined micromirror chips (called Digital Micromirror he more recently introduced UHD features them last year with a $35,000 model. his year, Devices, or DMDs). he micromirrors relect of wide color gamut (WCG) and high dynamic Sony broke a new low price barrier for a native light toward the screen and oscillate at dif- range (HDR) are more obviously discernible. 4K model with its $5,000, VPL-VW285ES ferent speeds to brighten or darken the image. But while the additional color range of WCG is (review at soundandvision.com). Most DLP projectors employ a single DMD a shared beneit among both lat panels and In the last year, though, several other together with a translucent color wheel that projectors, the noticeably brighter highlights manufacturers have introduced DLP-driven spins around to create the red, green, and blue and deeper blacks of HDR just don’t come projectors, including several under the $3,000 primaries required for a full-color image. across with the same impact as they do on price point, that use pixel-shiing to bring all Some DLP projectors employ three DMDs, traditional TVs. Brightness has always been a the pixels in a UHD frame to the screen. hey one for each color, and dispense with the color challenge for projectors casting a large image, use a new DLP chip that delivers the informa- wheel, but they tend to be very expensive. which explains why the digital projector at tion in two sequential frames of approximately Optoma, BenQ, and ViewSonic are among the your local cinema is a monster that dwarfs half-UHD resolution, with the pixels partially popular projector manufacturers that typically any consumer product. But the ability to hit the overlaid and diagonally ofset from one another. employ single-chip DLP technology. high peak-brightness levels on small isolated he rapid sequencing of the frames allows LCD projectors shine a light source through portions of a projected image to provide the the eye to blend them into one image. his translucent liquid-crystal panels whose pixels same level of enhanced viewing you get with approach oicially qualiies as a UHD display can be individually opened or shut down to HDR on a top-notch direct-view display has, under Consumer Technology Association rules, modulate the brightness. Of course, this is the for now anyway, not been demonstrated in any and our tests so far suggest that any diference same technology used in the vast majority of afordable consumer projector. Complicating in detail versus a true native 4K display is lat-panel TVs today. LCD projectors typically matters is the fact that, while the industry has negligible with real program material. hat said, employ separate red, green, and blue LCD issued a clear technical target for what HDR in our admittedly limited experience to date, panels for the primary colors, hence the “3LCD” should ideally look like on a lat panel, it has this DLP chip does appear to ofer less native branding used by Epson, this technology’s chief yet to do so for projectors. With no standard contrast than prior-generation DLP chips and proponent. in place, projector makers have been forced would presumably need to be mated with LCOS display devices are similar to LCD to develop their own formulas for the so- suitable dynamic contrast-enhancing features panels, but they have a relective backing: Light called “tone-mapping” that translates the such as an automatic iris or another method to comes in through the front, hits the relector, brighter highlights and darker blacks found suiciently modulate the light source. We’ve bounces back through the LCOS device a in HDR-mastered content to the screen. Some only tested three models to date, the BenQ second time, and is then directed through the do it better than others, but all still seem to be HT9050 ($8,999), Optoma UHD65 ($2,500), lens and out toward the screen. JVC’s D-ILA feeling their way around for now. and Hisense Laser TV (review this issue). (Direct-Drive Image Light Ampliier) and his doesn’t mean that there isn’t noticeable Only the latter provided reasonably acceptable Sony’s SXRD (Silicon X-tal Relective Display) extra punch visible when these projectors are dark-room contrast. are variants of LCOS. fed HDR content, just that the experience still Alternatively, two manufacturers—JVC and Naturally, certain characteristics are attendant falls short of the more visceral efects possible Epson—are selling high-performance home to each of these three display technologies. with today’s best lat panels. hat shouldn’t be theater projectors that accept 4K video signals But with careful selection, you’ll ind high- enough to steer you away from the quite (while providing WCG and HDR playback) performing and high-value projectors from all dramatic engagement you’ll have with an and use similar pixel-shiing technology with of them. Here are a few features and perfor- enormous projection screen or to avoid seeking 1080p chips to deliver onscreen resolution mance parameters to keep in mind as you shop: out a projector with HDR capabilities. But it’s that is efectively in between 1080p and UHD. Brightness. Projector brightness is usually something to be aware of. Although there’s some sacriice in detail versus spec’d in lumens. However, there’s no irm Given the beneits of 4K projection with 4K projectors, the proven contrast and black- standard for making this measurement that all scaled-up 1080p material and native 4K content level performance of these projectors, coupled manufacturers adhere to, so it’s best to use this delivered by the Ultra HD Blu-ray format and with the beneit of having access to native 4K spec only as a general guideline or for gauging

38 MAY 2018 soundandvision.com Ultra-short-throw adjustments to change the color temperature •projectors mated with to correct for diferent colored walls! ambient-light-rejecting You’re best of with a real projection screen. screens, such as the Sony hese will be designed to relect back at 1.0 VPL-VZ1000ES shown unity gain (or perhaps be more relective as the here ($25,000), are now an situation requires), to optimize contrast, and to alternative to costly, mega- provide a smooth, uniform, ripple-free surface sized flat-panel TVs. that evenly distributes brightness and color. High-quality matte-white screens around 100 inches diagonal that live up to those cri- engines. Laser- and LED-driven teria are available today for perhaps $200 to light engines found now in some premium $300 from manufacturers like Elite Screens, projectors have the beneit of not requiring the VisualApex (VApex), and Silver Ticket. regular replacement of expensive lamps, which hat isn’t to say you can’t ind good reason to naturally lose brightness and shi their color spend more on a screen. he price range cited proile as they age. And these projectors aren’t above is for ixed-frame screens that hang on a susceptible to damage from rapid or unexpected wall, typically stretched on a black-felt frame power cycles, the way lamp-based projectors that creates a light-absorbing border around the are. Consider the rated lamp life of any edge. But if your application requires that your the output of one projector versus another in lamp-based projector, and if you’re serious screen be hidden until you need it, a manual the same manufacturer’s lineup. As mentioned, about always getting the best performance or motorized retractable screen can provide anything over 1,200 lumens will usually be from your projector, be prepared to recalibrate a stealth installation—and also protect the enough to achieve adequate brightness on a periodically and replace the lamp prior to its screen from damage in a multipurpose room. 100-inch screen in a fully darkened room, but rated half-life. (Half-life is the point at which the Retractable screens come in surface or lush- for high-ambient-light conditions, additional lamp’s output is expected to drop to half of its mounted casings, and in tensioned (generally light output and/or an ALR screen might be brightness when new, and it depends on how recommended) and non-tensioned versions. required. Given the trend toward HDR among you use the projector—for example, the lamp Such screens are typically more expensive 4K-compliant projectors, more brightness is brightness setting you select.) and may require professional help for proper better—though in these projectors or any Lens and setup options. In permanent installation. others, it ideally shouldn’t come at the sacriice installations, setup is something you do once, so Should you need it, there are screens made of contrast. the lack of remote-operated, motorized controls from acoustically transparent materials that Contrast and black level. he ability to for lens shi, zoom, and focus shouldn’t be a you can hide your speakers behind. And if you deliver something close to true black is as deal breaker. But you’ll ind this convenience in require use in high ambient light, there are critical for image quality with projectors as with better projectors, along with lens memories that those ALR screens discussed earlier. Note that lat-panel displays. While high brightness can allow you, for example, to change from a 16:9 some are stif panels rather than roll-up screens, be had in many budget projectors, getting high image to a widescreen 2.35:1 image with the and they come in a variety of gains and styles, output with good contrast is more challenging. push of a button. More critical, though, will including a bordered or edgeless look. Better projectors start with imaging devices that be the potential lack in budget projectors of have a low native black level, then add a lens shi controls, or the burden of an overly Get the Big Picture dynamic iris or other technique to modulate restrictive zoom range. Make sure the projector here’s no doubt that 2017 was an interesting brightness on dark scenes to improve contrast. you buy will it your space and mounting year for the evolution of front projection, one LCOS-based projectors have traditionally deliv- requirements. that saw the introduction of more and less ered the best blacks and have made them a fav- expensive UHD models and the emergence orite among serious enthusiasts, including the Screen Dreams of a new category of product in the easy-to- reviewing staf at Sound & Vision, but excellent Some people think it’s OK to use a bare wall install ultra-short-throw projectors. With any contrast can be had with well-engineered, with white, of-white, or specialized screen luck, 2018 will bring more of the same and premium LCD and DLP projectors, too. paint for a home theater screen. Some further smooth the path to front projection 4K content playback. We’ve already cov- projectors—usually cheap ones built on a for everyone who’s ever dreamed about it. ered the diference between true native 4K, biz-projector platform—even have menu Stay tuned... pixel-shied 4K, and the pixel-shied 1080p projectors. All of these options provide the High-tech ambient-light-rejecting (ALR) screens have brought front projection signiicant beneit of viewing 4K source material •into the living room, but enhance contrast in home theaters as well. Shown is the with higher resolution, wide color, and HDR, Seymour Screen Excellence Ambient-Visionaire Black 1.2. particularly from UHD Blu-rays. Low fan noise. In many home setups where the projector gets mounted near the seating, it’s critical for the projector to have a suiciently quiet cooling fan that won’t interfere with viewing. Our reviews point out when a fan is unusually noisy. Laser- and LED- versus lamp-based light

Texas Instru- •ments’ new DLP chip uses pixel- shifting to flash up two half-frames of 4K video and achieve full UHD resolution.

soundandvision.com 39

LTEST REPORTser Etched

By Kris Deering Sony VPL-VW885ES LCOS Projector

PRICE $25,000 satisfactory performance overall and HLG) via two full-bandwidth good pixel delineation in the center of AT A GLANCE (18-gigabit-per-second) HDMI my 140-inch-diagonal matte white THESE DAYS, IF YOU WANT A TRUE inputs. For those who care, there’s screen, its focus uniformity away from native 4K projector (no pixel-shifting Plus also 3D, made accessible via a built-in the center wavered a bit. I’m not sure required) that doesn’t have a Sony emitter (a feature often missing from this would be visible in every Q True 4K (4096 x 2160) badge on it, you’ll have to spend other projectors). Other ports include installation when viewed from the SXRD panels $35,000 and up for the privilege. RS-232 (for control systems), IR, main seating distance, but in this Q HDR support, including Meanwhile, Sony now has four Ethernet, and USB. Along the other $25K model, it suggests a trade-off HLG different models below that mark, side of the chassis, you’ll find basic of some optics quality to allow for Q starting at $5,000. Since the debut of Laser light engine controls for power and operation. inclusion of the laser engine. Chro- the VPL-VW1000ES (in 2011!), we’ve The slightly recessed lens is fully matic aberration was barely a been waiting for other manufacturers Minus motorized for focus, zoom, and lens concern (some light fringing near the to join the native 4K fray—and yet, shift, but it lacks a motorized lens sides of the image was visible), and Q Middling dynamic contrast here we are. cover. I was disappointed when Sony convergence of the RGB imaging Q This past year, Sony introduced a Limited HDR adjustments announced that this model would chips was spot on. few new treats to the company’s 4K not use the fantastic ARC-F lens The VW885ES exhibits some line. The biggest announcement, previously featured at this price point of the same processing artifacts however, was the VPL-VW885ES, a tested claiming the same output. in the VPL-VW1000ES and currently that I reported in my review of the consumer projector showcasing a The big difference here is that, unlike in the VW1100ES. That lens delivers VW1100ES and have seen on all new laser light engine. At $25,000, it the performance of projectors driven some of the best optics performance Sony 4K projectors I’ve reviewed. slips in at the exact same price as the by traditional UHP lamps, the light I’ve seen to date. Instead, this pro- This is associated with Sony’s choice original VW1000ES and just below its output should be much slower to jector has a new lens that’s also to turn on sub-pixel convergence still-current follow-up, the VW1100ES fade over time. Sony rates the found in Sony’s less expensive 4K to assist in dialing in the projector (which I tested in 2014, review at half-life at 20,000 hours. projectors, including the VPL-VW675 convergence before it leaves the soundandvision.com). But does the This projector sports a completely ($15,000), VPL-VW385 ($8,000), and factory. It remains on by default when VW885ES have the goods to sit side distinct chassis from those of the VPL-VW285ES ($5,000). This lens the projector reaches the consumer by side with those groundbreaking other Sony models, but it still looks doesn’t quite live up to the lofty bar and is undefeatable except in the designs and live up to its lofty price? right at home. The sleek lines and set by the ARC-F. Though it offered service menus. Interference artifacts Let’s find out. hefty weight are what you’d expect at this price. There’s support for high Design dynamic range (HDR10 and The VPL-VW885ES is Sony’s third laser-based consumer projector. Its first was the $60,000 “prosumer” VPL-VW5000ES, also still in the line, which was followed up last year by the ultra-short-throw VPL-VZ1000ES. Like the other laser projectors we’ve reviewed, the VPL-VW885ES uses a blue laser diode that works in con- junction with a yellow phosphor and a prism system to create the red, green, and blue beams that light up the imaging devices, in this case, three of Sony’s SXRD-branded LCOS-based reflective chips, each with a native resolution of true 4K (4096 x 2160). The projector is rated at 2,000 lumens, and it essentially matched (or delivered slightly more than) the light of other projectors I’ve

The recessed lens has •motorized focus, zoom, and shift.

40 MAY 2018 soundandvision.com THE VERDICT PROJECTOR Sony VPL-VW885ES SXRD LCOS Projector With the new VPL-VW885ES, Sony has added a pre- SONY VPL-VW885ES LCOS PROJECTOR Performance mium laser model to its consumer projector line, but PRICE: $25,000 Features even at $25,000, it comes with some compromises. Sony • (877) 865-SONY • sony.com Ergonomics Value from this processing are always consistent, and I visible when viewing single-pixel rarely saw any 4K test patterns (typically as swaths need to fine-tune of color across the screen, as if after a shift. Sony someone spilled watercolors on it), also provides including full-field grayscale patterns some image- up to about 45 percent white. The sizing options processing prevents the projector (1.85 and 2.35 from performing true 1:1 pixel ZOOM) to take mapping to achieve the sharpest advantage of the possible image and is one of the extra image principal reasons why Sony’s Reality width afforded Creation enhancements are needed by the projector’s to compensate and bring back a 4096 x 2160 bit of sharpness—though Sony’s pro-4K panel position is that the processing (as opposed to improves image clarity and that the the more typical image would suffer if this was turned consumer 4K at off. I initially worried that what was 3840 x 2160). This will give you a With full output on the laser, the all the models I’ve reviewed over the visible in the test patterns would slight boost in light by using more projector could deliver a whopping 27 years. The VPL-VW885ES departs carry into regular programming. pixels for the image. ft-L on this screen. That’s about 1 to 2 from this, offering no iris of any kind. Fortunately, although I saw some The remote is very similar to ft-L more than what I could achieve Instead, a laser level control is occasional banding from this previous Sony designs, and it worked with another lamp-based projector I provided with a range of 0 to 100, processing, it was rarely an issue great. Picture modes and most image had on hand that is similarly spec’d at though the range is limited: Moving in day-to-day viewing and not enhancement features are easily 2,000 lumens output, though the the control from 100 to 0 only something I think most users would accessed, and the backlight provided laser-lit Sony would maintain this reduced the light output by about half spot. ample lighting in my dark room. brightness for far longer with little drift. and provided no benefit to the pro- Like most other high-end proj- While the brightness was more than jector’s native contrast ratio (indeed, it ectors today, this one includes lens Setup enough for my screen with standard actually lowered it slightly). memories, allowing for different Sony has carried over the menu dynamic range content, it still fell a Some say it’s rare to find projection zoom, focus, and lens-shift positions system from their past models, and it touch short of my preference for HDR scenarios where you have “too much at the touch of a button. This worked provides plenty of preset picture viewing (minimum 30 ft-L). This light.” But given the limited range out great with my reference 140- modes to serve across a wide range projector can support some pretty of this projector’s laser output inch-diagonal, 2.35:1 Stewart of viewing scenarios. As with most massive screens for standard adjustment, and the inability to shut Filmscreen StudioTek 100 screen. projectors, most of these were a bit dynamic range, but if HDR is a priority down excess light with an adjustable Setting up lens memories for 16:9 overtuned for my critical taste. Aer for you, I would recommend keeping iris, careful attention must be paid and 2.35:1 took no time at all, and measuring all of them, I seled on the the size below 140 inches for both by those with commonly sized shifting between them was quick Reference mode, which gave the 2.35:1 and 16:9 screens. Another screens (100 to 120 inches diagonal), and painless. Focus remained most accurate image out of the box, option would be to move to a higher especially of the higher-gain sort. with minimal display enhancements. gain, though from experience I prefer You may end up stuck with a brighter (A full list of seings is available with the smooth uniformity of a high- image than you’d prefer for standard the online version of this review.) performance unity gain screen dynamic range content. On the plus Most of the Sony projectors I’ve material with 4K projectors. Still, if you side, while the laser adjustment did tested have been fairly accurate prior desire a massive screen with plenty of nothing for contrast, it did help with to calibration, and this one was no light for HDR, a higher-gain material is fan noise levels: A value of 80 or exception. a workable solution. below produced noticeably quieter I approached the setup as I do with Managing light output presented operation. Still, even at full output, fan every projector. I did a full calibration one of the more noticeable concerns I noise was on par or lower than most for standard dynamic range material had with this new laser design. Most projectors I’ve used that are rated at with a target of Rec. 709 color and of the projectors I’ve used in past this light output. BT.1886 gamma. I calibrate my peak years featured a manual aperture/iris In my experience, Sony’s pro- white point for 16 foot-lamberts for for dialing in the white level you want jectors have always been in what I viewing on my aforementioned on screen exactly, while simultane- would call the upper-middle of the 140-inch-diagonal, 2.35:1, 1.0-gain ously increasing contrast as you close pack when it comes to native contrast matte-white screen. Since I zoom the the iris down (due to the reduction of performance (that is, the maximum image out to accommodate 2.35:1, light scatter captured by the iris). This dynamic range of the projector this is equivalent to a 148-inch-diag- is a win-win scenario for any projector without the help of a dynamic contrast onal, 16:9 screen, which is typically that delivers more light than you need, feature). This projector measured asking a lot of most projectors. and Sony has provided this feature on right in line with previous SXRD

The Sony sport clean lines and, at •44 pounds, has a solid heft.

soundandvision.com 41 TEST REPORT Test Bench Sony VPL-VW885ES LCOS Projector

designs (approximately 15,000:1 re-engage and the image to come BEFORE Calibration native contrast ratio). But native back on, in rapid, jarring fashion, at contrast is just a starting point, and more or less the previous high level. unlike some other Sony designs that This behavior allowed for dark rely on a dynamic iris feature to transitions between scenes and a improve contrast scene by scene, contrast measurement of infinite but Sony instead implemented a dynamic no actual contrast enhancement with dimming function for the laser, similar real program material. I confirmed to what we saw with the Epson these results by conducting measure- PowerLite Pro Cinema LS10000 and ments at image levels just above AFTER Calibration the JVC DLA-RS4500. black, and the numbers showed A dynamic laser should work no difference between the modes conceptually like a dynamic iris in when it came to measurable con- attempting to lower the light output trast (again, the image would dim (while gamma is simultaneously somewhat, but even this was barely modified to keep highlights pre- perceptible). served), but it should ideally be able This is a surprising shortcoming to respond faster to the for such a high-end Sony signal and provide projector and a depar- FULL-ON/FULL-OFF Contrast 16 -L on my screen. (Note that greater range than ture from the dynamic Ratio: Infinite (Dynamic), 15,000:1 user setup plays a significant role in a mechanical iris contrast performance (Native) what type of contrast performance system. However, the we’ve become accus- MEASUREMENTS were taken in you can expect to see from this or dynamic dimming tomed to with their other various conditions, with most taken any other projector.) feature on the designs. Admittedly, in the Reference preset and with THE RGB tables were captured VPL-VW885ES didn’t dynamically modulating the laser at 80%. The gamma from a calibration workflow in behave this way and a laser’s light output has correction preset was selected as CalMAN from Portrait Displays. delivered nearly been challenging for 2.4. All calibration was done with RGB color points and grayscale imperceptible contrast other manufacturers as the dynamic laser disabled, and the tracking out of the box were very enhancement with well, particularly in that contrast ratio measurements were good and on par with previous regular onscreen first step out of black. I done with various seings for Sony projectors I’ve tested, with a images in either of its complained of similar dynamic dimming, as noted. All peak Delta E of 5. (Delta E of 3 or two active settings. jarring artifacts with the viewing and measurements were under is considered reference and The Limited mode Epson LS10000 when I done on a 140-inch-diagonal, imperceptible to the human eye.) provided just a small tested it (at a cost then 2.35:1 Stewart Filmscreen Minor tweaks to the grayscale and but imperceptible of $8,000), though its StudioTek 100 screen (1.0 gain). gamma controls resulted in a peak bump in contrast, dynamic system worked THE full-on/-off contrast was Delta E of 3. Gamma averaged 2.42 boosting the measure- gradually through the measured with a Minolta T-10 with the projector set to 2.4 and ment to about range so it wasn’t quite meter at 12 inches away from the Rec. 1886 as my target gamma in 20,000:1 (from the as obvious and still lens face. The highest native CalMAN. native 15,000:1 provided benefit to contrast ratio (dynamic laser THE color gamut in the Rec. 709 starting point). I low-light scenes in disabled) was obtained with the profile was nearly spot on, with no assumed the Full content. The JVC projector at 100 laser power. This value exceeding a Delta E of 3. mode would DLA-RS4500 ($35,000) produced a contrast ratio of Peak error aer calibration was less significantly enhance is the best I’ve seen approximately 15,000:1. Using the than 2 Delta E, which is excellent this, but with this in this regard, with dynamic laser in Full mode resulted performance for any display. setting I discovered transitions in and out of in an infinite contrast ratio, as the Luminance and saturation values that the dynamic black showing almost laser turns fully off. In Limited throughout the inner gamut were system would only no artifacts at all, but dynamic laser mode, the peak also very accurate.—KRD react to 100 percent even that projector had contrast ratio was 20,000:1. As black signals, which similar problems when it noted in the review, these dynamic would cause it to was first reviewed and modes were essentially ineffective SPECS shut down the laser was only improved later with real program material. For my Dimensions completely for a full via firmware update. viewing, I used the projector at 80 (WxHxD, Inches): 22.06 x 8.78 x onscreen blackout. Hopefully this is laser power for standard dynamic 19.53 • Weight (Pounds): 44 • Signal content that something that Sony range. This produced a native Video Inputs: HDMI (2), RS-232, was even one notch can also address with contrast ratio of about 14,000:1 and IR, Ethernet, USB above black would future updates to the cause the laser to projector.

The backlit The lamp-free laser light engine is a •remote provides big selling point. good access to all major controls.

42 MAY 2018 soundandvision.com PROJECTOR

•The two full-bandwidth HDMI inputs support high dynamic range.

The rest of the setup and and HDR Reference. Sony’s manual hope that Sony will start to offer a the Sony handled the scaling and calibration for standard dynamic says the HDR10 mode should be more user-friendly and full-featured image processing duties. range went pretty smoothly. The Rec. used with titles mastered with a peak HDR implementation. HDR playback Since the VPL-VW885ES already 709 color mode was nearly spot on, value of 1,000 nits or higher, and HDR should have its own picture mode has processing engaged with any with only minor adjustment needed in Reference is for titles that are 1,000 with adjustability for not only the content fed in (due to the internal the menu, and grayscale and gamma nits or lower. basic settings like contrast and panel alignment settings I mentioned needed only a small bit of work to get Critically, black levels and shadow brightness, but also the gamma/tone earlier), evaluating its scaling things dialed in nicely. Care should detail were an issue with HDR mapping, which I’ll talk more about in performance was more difficult than be taken, however, when setting gray- playback. The optimal brightness my viewing comments. I would also normal. Every resolution pattern I scale and gamma, as you could (black-level) setting required for HDR expect an option for full gamut looked at had obvious artifacts that unintentionally lower the overall in this projector is different from the coverage of at least P3, especially would not only discolor the patterns contrast performance if you take setting required for standard dynamic when Sony has shown they can but create interference patterns. away light to get the best possible range material. But the brightness accomplish it with their previous and Using Sony’s Reality Creation feature grayscale. I saw contrast measure- control is shared for any given picture current designs at this price point. in its default settings to sharpen ments drop by as much as 50 percent mode. This results in black crush and things up resulted in some image when I wasn’t carefully monitoring a loss of shadow detail in darker Viewing ringing (artificial edge enhancement) the effect of these settings. I would content. As a workaround for this lack As a technical reviewer, it’s my job to and subtle harshness while watching suggest a professional calibration to of control, I set up another picture be critical in my evaluations, and normal program content, but turning ensure the best performance. mode just for HDR using the User projectors have generally gotten so them down to their minimal settings HDR tuning was another animal picture mode option and selected good across all price points that I’ve resolved most of the ringing and entirely. As we’ve covered at length that one when watching HDR found I have to be even more overly processed look and left the here at Sound & Vision, HDR for content. We’ve seen other manufac- hypercritical than in years past to image nicely detailed. Turning Reality projectors is not nearly as mature as it turers’ projectors automatically go make clear the sometimes subtle Creation fully off actually made the is for flat-panel TVs. There is no formal into a dedicated HDR picture mode differences in design and perfor- image softer, which is not something standard, and the limited light output (allowing for full picture setup options mance among competing models. I’m used to seeing when it comes to of projectors generally means that exclusive to HDR playback) when That holds even more true when picture enhancement features. So, each manufacturer has concocted its they detect an HDR signal. The lack evaluating a projector at this price this is actually one of the few times own secret sauce for applying the of this functionality results in given the already staggering you’ll see me encourage the use of a more aggressive tone mapping somewhat cumbersome operation performance we see today from the picture enhancement mode. required to make HDR look right on on the Sony if you want to fully best examples in the sub-$10,000 Thus tuned, I watched quite a few your big screen. Sony’s approach optimize it for HDR signals. market. staple films that I always look at for is a bit simplistic compared with Sony’s Rec. 2020 color mode does That said, Sony has always projector reviews, including Oblivion other recent designs I’ve used and not use a filter to extend the usable delivered breathtaking imagery and Casino Royale. Oblivion looked reviewed. When the projector detects color the way some other high-end from their projector line, and the spectacular, with excellent fine object an incoming HDR signal, it changes designs do, but it does cover about VPL-VW885ES follows suit. I had detail and depth and fantastic its color mode to Rec. 2020 and 90 percent of the color range that the opportunity to use it for several shadow detail. This is still a go-to title applies its HDR EOTF over what- most Ultra HD titles are being weeks with a wide range of content on Blu-ray for showing just how good ever picture mode is active. A new authored in today (P3 gamut within delivered from streaming sources, the format can look. Black levels contrast adjustment is shown the Rec. 2020 container). We’ve seen Blu-ray, and of course, UHD 4K suffered slightly in some of the most (labeled as HDR), which, Sony says, full P3 coverage from projectors well Blu-ray. While my 4K UHD library is demanding scenes, and without a adjusts the brightness level of below this price point, though you growing at a rather alarming rate, I still suitably well-performing dynamic midtones to add some extra punch to typically lose a bit of light output watch a lot of standard Blu-rays in my contrast system to help with these the image. In practice, it also affects when a filter is employed to accomp- theater. For this evaluation, I paired darker scenes, they even fell short of the clipping point for peak white, so lish this. Still, it’s nice to have the the VPL-VW885ES with my reference what I’ve seen from previous Sony care needs to be taken to avoid option for it for those who have Oppo UDP-205 UHD Blu-ray player designs. turning it up too high and creating brightness to spare in their viewing and made sure the Oppo was in its Daniel Craig’s debut as James clipping artifacts with HDR content. environment. Source Direct mode so that any Bond in Casino Royale was a lot of fun For HDR10 playback, there are two Of course, we’re still in the early video processing in the player was on the Sony and reminded me how different modes available: HDR10 days of HDR with projectors, but I bypassed, allowing me to check how good this older Bond movie could

The Sony is a great projector capable of spectacular images.

soundandvision.com 43 TEST REPORT

• The new chassis is redesigned but is still unmistakably Sony.

latest pixel-shifting designs on the market have done wonders to narrow the gap, but native 4K designs always provide better rendition of back- ground detail and the finer instances fine-tune on a title-by-title of small object detail that pop up basis. Colors were vibrant, with from time to time. This is clearly plenty of punch, but a loss of models from Sony’s own lineup as evident with fine-lined objects, such saturation in greens and reds was well as other brands. Typically, as text in an image. noticeable versus projectors I’ve projectors at this price point are Watching 4K Blu-ray also gave seen with full P3 coverage. designed to meet the needs of me a chance to see how Sony’s Unfortunately, the drawbacks in larger home theater screen installs, look. At times the 1080p Blu-ray execution of HDR tone mapping the Sony’s dynamic contrast which require much higher light image took on a nearly native 4K compared with the rest of the HDR performance were obvious at times, output and higher-quality lenses to quality, though I thought the projectors that I’ve seen to date. I especially with darker material like retain fine sharpness across the VPL-VW885ES had some issues already commented on the lack of John Wick: Chapter 2 and the recent expanse of the screen. While the handling the film’s grain, giving it a controls for tuning HDR, but what release of Stephen King’s It. The VPL-VW885ES’s light output is on more digital look reminiscent of about the quality of their tone latter has a lot of dark sequences, par with previous Sony designs at compression noise. Color rendition mapping? This basically refers to the which looked slightly muted and this price point, the lens it shares was excellent, though, making for projector’s ability to retain and render washed out at times. Brighter scenes with the rest of Sony’s lower-priced eye-catching experiences in some of accurate colors and convincing looked better, with a reasonable line represents a step down from the film’s tropical locales. highlights in the remapping of amount of pop, but I know that more Sony’s past projectors at this Streaming sources are becoming the HDR source content to the could be done to give the image the level (as well as the still-current more common in homes and home projector’s more limited brightness look that HDR advertises. Still, the VPL-VW1100ES at slightly higher theaters everywhere, so I thought I’d capabilities. VPL-VW885ES performed in line with cost). The addition of a lamp-free see how the latest would hold up on Generally, I would place this most of the other projectors I’ve seen laser light engine is obviously a big the bigger screen via the Sony. Using projector’s default tone mapping as when it comes to HDR, and it may be selling point, and in fairness I should one of the new 4K Apple TV boxes, I about average, falling in line with a while before we start seeing bigger note that alongside the JVC RS4500, was able to sample a vast selection what I’ve seen from most other strides in this area. the only other true native 4K con- of 4K content from both iTunes and recently released HDR projectors. One of the noticeable highlights sumer home theater projector with Netflix. I was surprised at how good Overall image contrast fell a bit short for this projector was its Motionflow a laser engine (aside from Sony’s the quality of these streaming with HDR, and shadow detail was settings, which allow you to add ultra-short-throw model), the components and the content itself lacking (a trait I’ve seen with all HDR frame interpolation to the image in VPL-VW885ES costs 40 percent less has become, especially with darker projectors on the market today). This various degrees. I’m typically not a and has a considerably smaller and scenes that were notorious in the can give the image a slightly darker fan of these modes, but I found lighter chassis for installations where past for showing compression look and flatten out the image Sony’s implementation to be one that’s a factor. Still, the significant issues. I would venture that most compared with better tone mapping of the best I’ve seen. There are also premium attached to the laser here viewers would have a tough time solutions I’ve seen both in outboard options for pure unprocessed needs to be weighed heavily when telling apart the 4K HDR streams I video processors or in some flat- handling of 24p content, but in their there are less expensive lamp-driven was watching via iTunes from their panel TVs with greater light output. lower settings, the frame interpola- models in the Sony line featuring the UHD Blu-ray counterparts. The Apple The HDR Contrast control can help tion modes allowed for visible same lens, same native 4K SXRD TV’s constant shifting of frame rates here, though as mentioned before, it improvements in motion resolution panels, and (in most models) a and formats showcased the Sony’s must be set carefully to avoid with little to no soap-opera effect. dynamic iris that may deliver better excellent HDMI ports, which were clipping artifacts in the image. Motionflow can be applied to any contrast than the VPL-VW885ES in its substantially faster at locking onto Setting up a dedicated mode for input resolution, so the benefit wasn’t present day form. This all brings into the various changes in resolution and HDR using the User preset, as limited to only HD content (as we’ve question the value proposition for dynamic range than I’ve seen with my mentioned earlier, definitely allowed seen on Sony’s lower-end models). this projector. reference JVC DLA-RS4500 projector me to dial in the brightness and If this is a feature that you look for Given their nature, I believe most (and other JVC designs). This really contrast controls for the best with displays, the Sony performed of the shortcomings that I identified takes the frustration out of viewing possible results. But with the noticeably better in this regard than in this review could be addressed by these types of sources that change limitations in tone mapping and the JVC DLA-RS4500 and was even a Sony with firmware updates, and I output frequently. vagaries in the mastering of content, I touch better than most other hope they will do so. Still, at the end Certainly, the highlight of my time still found myself reaching for the projectors I’ve tried. of the day, even with these caveats with the VPL-VW885ES was watching remote a fair amount to and technical concerns, it must be movies on Ultra HD Blu-ray. This Conclusion said that this remains a great pro- format is indeed the pinnacle of At $25,000, the jector capable of spectacular content on the market today, and VPL-VW885ES images—and one that could be more and more titles continue to be demands a critical fantastic if a few of these quibbles are released. Watching them on a native review reflective of addressed. Either way, those seeking 4K display device always results in its performance a cutting-edge, lamp-less solution for the best image resolution you can alongside large-screen applications should find get from projection. Some of the competitive plenty to marvel about in its picture.

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By Darryl Wilkinson

AT A GLANCE GoldenEar Technology Invisa Plus Q Rotatable pleated tweeter Signature Point Source In-Wall for horizontal orientation Q 2½-way design Speaker System Q High performance-to-cost definitely getting into eyebrow- ratio PRICE $7,250 as raising territory. In fact, you have to do some serious searching to find an Minus reviewed who say, “I want to have my ham and in-wall or in-ceiling speaker that eat my turkey, too.” Having helped costs $1K or more. They’re out Q Horizontal installation JUST AS NOT EVERYONE PREFERS co-found not only GoldenEar but there—I’ve reviewed a few of requires modification of to eat turkey on Thanksgiving, there also two other speaker companies, them—but there aren’t many. So, for wall stud are some people who don’t like to Polk Audio and Definitive Tech- the moment, the Invisa Signature have tower speakers standing at nology, Gross is no stranger to the Point Source in-wall is GoldenEar’s attention (and drawing attention) design pitfalls of trying to shove a first attempt at creating a “reference” Turning Towers into Walls in their family’s living room. At our speaker in a wall and make it sound architectural speaker. Gross told me that the impetus family’s traditional Thanksgiving like it’s out in the room. He also has a behind developing the Invisa SPS chow-down (at Christmas, we have reputation for coming up with was the number of customers who a ho-ho-hoedown), we serve baked in-room speakers that sound requested an architectural speaker ham as an alternative to the like, well, they’re not in the with performance similar to that of delicious, funny-looking bird the rest room: Most recently, Gross the Triton series towers. Not sur- of us enjoy. (Those who don’t like (with his engineering partner, prisingly, the design goal was to either choice get bread and water.) Don Givogue, and the design “take as much of the technology in For people who can’t or won’t have team at GoldenEar’s facility in the Tritons as possible and put it into tall, floorstanding speakers in the Ottawa, Canada) introduced an in-wall speaker.” vicinity of their TV, the acoustic the company’s top-of-the- The result is a 2½-way speaker equivalent of baked ham is a set of line ($4,250/each) Triton that borrows heavily from the in-wall speakers. (Those who don’t Reference powered towers, engineering found in the GoldenEar like in-room or in-wall speakers get the ones that turned Al Griffin towers, including four 5.25-inch their own kind of bread and water: into an “audio crack”– cast-basket bass drivers—two of a cheap soundbar with no sub- addicted “music junkie” when these handling midrange duties and woofer. Only those on the naughty he reviewed them for our employing the company’s multi- list must endure the speakers built June 2017 issue. (Word is he vaned phase plugs, and all four into the TV.) still hasn’t left his listening incorporating GoldenEar’s Focused Although the thought that a pair of room.) Field magnet structure. The single in-wall speakers could ever approach Near the end of his review, folded planar magnetic tweeter— the sound quality of a really good set Al asked of GoldenEar, “What a standard component of every of in-room speakers is laughable for to do next after creating a many people who are serious about speaker called the Refer- listening to music and movies, there ence?” Gross’s answer is the are a handful of speaker designers new Invisa Signature Point who honestly think it’s possible to Source in-wall LCR speaker. engineer such a thing. In other words, At a “mere” $1,000 each, it these acoustic chefs believe that, seems like a flea-market with the right combination of spices, bargain compared with the they can make ham taste—um, hefty price of the Triton sound—like turkey. (But not sound Reference tower—and, in like a turkey, because that would be a way, following up such a totally plucked up.) fantastic speaker with an in-wall model feels like a References, Please letdown. Architectural Sandy Gross of GoldenEar speakers are a different breed, Technology is one of those though, and one thousand pumpkin-pie-in-the-sky dreamers bucks for a single in-wall is

One folded planar magnetic tweeter •nestles in between four woofers.

46 MAY 2018 soundandvision.com THE VERDICT SPEAKER SYSTEM GoldenEar Technology Invisa Signature Point Source In-Wall Speaker System With the Invisa Signature Point Source in-wall GOLDENEAR TECHNOLOGY INVISA SIGNATURE POINT SOURCE Performance speakers, GoldenEar Technology has intro- IN-WALL SPEAKER SYSTEM • Price: $7,250 (Signature Point Source, Build Quality duced an in-wall speaker with a performance- $1,000 ea; MPX, $500 ea; HTR 7000, $500 ea; SuperSub X, $1,250) • Value to-price ratio that rivals in-room competitors. GoldenEar Technology • (410) 998-9134 • goldenear.com

GoldenEar speaker—is largely based speaker is the crossover; he refers to and at about 3.75 inches deep; it fits system. If you’re doing a retrofit on the tweeter used in the Triton it as the “conductor” that directs the into standard 2 x 4 stud-constructed installation, one of the major Reference tower. Next to the tweeter performance of the “orchestra” of walls. Embedded around the outer drawbacks of any horizontally is a three-position high-frequency drivers. GoldenEar spent a significant perimeter of the speaker’s front baffle oriented in-wall center speaker adjustment switch. Gross believes amount of development time solely are 24 small neodymium magnets measuring more than 15 inches wide that perhaps the most on voicing the speaker. that tightly hold the off-white metal is that one (or possibly more) of the important ele- The SPS measures grille (with a nearly invisible flange studs in the wall will need to be ment of a 28.5 x 8.5 inches, design) to the front. Four small pads modified in order to make room for strategically located inside the grille the drivers’ baskets and magnet serve to further minimize extrane- assemblies. Most pro integrators are ous vibrations. The extremely rigid, prepared to handle it, though. With all-in-one baffle-and-mount new construction, the walls can be assembly includes a double-channel framed to accommodate the speak- support molded into the back. It has er’s dimensions ahead of time. an unusually high number (12) of dog-leg-style clamps around the Newton’s Favorite edges that, combined with the Technology rigidity of the baffle, make the wall The system that GoldenEar put feel like it’s made out of brick rather together for me to install and listen to than wallboard once everything included three Signature Point Source is installed. speakers (two vertically for left and GoldenEar ships each right, one horizontally for the center) SPS configured for and two other models from the Invisa a straightforward, series: a pair of MPX Multipolar in- vertically oriented wall speakers ($500 each), for the installation. For surrounds, and four HTR 7000 horizontal use, the in-ceiling speakers ($500 each), for tweeter has four very the front and rear Dolby Atmos height short screws that are easy channels. From the SuperSub series to remove (and reinstall), allow- came one of the company’s fairly ing the tweeter to be rotated 90 recent small-form-factor freestanding degrees—which was how I installed subwoofers, the SuperSub X ($1,250). the center-channel speaker in the I’ve reviewed the MPX and HTR 7000

The smaller Invisa MPX and round Invisa HTR• 7000 flesh out this review system.

soundandvision.com 47 TEST REPORT GoldenEar Technology SuperSub X Subwoofer Test Bench Performance •The SuperSub X is one of Features GoldenEars’ small-form-factor Build Quality subwoofers. GoldenEar Technology SuperSub X Subwoofer Value

Double Entendre I’d heard the SPS in-walls set up as part of a 7.2.4 Atmos system in GoldenEar’s CEDIA booth in September 2017, so I had a pretty good idea that they’d perform quite well in a two- channel system. (As a brief aside, I think a Dolby’s Atmos rig using Dolby Surround upmixing is fantastic with most two-channel source material. In my case, I normally listen to music with my system’s full Atmos array because I like the processing’s delicate handling and expansion of ambience cues in two-channel material. Mainly because of the SUPERSUB X (blue) Close-miked response, normalized to level @ 80 Invisa series speakers’ similar Hz: lower –3 dB @ 22 Hz, –6 dB @ 20 Hz, upper –3 dB @ 127 Hz using voicing, the 5.1.4 configuration for LFE input.—MJP this review sounded spectacular with nearly every music selection. But I digress.) If the Invisa SPS SPECS Invisa Signature Point Source: 5.25 in poly speakers were to truly live up to their cone woofer (4), 1 in folded planar magnetic tweeter (1); 8.5 x 28.5 x Triton Reference pedigree, though, 3.75 in (WxHxD), 14 lb • Invisa MPX: 4.5 in poly cone woofer (2), 1 in they were going to have to be damn incredible the SPS in-walls were at Folded planar magnetic tweeter (1); 7.25 x 13.875 x 3.75 in (WxHxD), good for listening to music—without conveying that life force into the 6 lb • Invisa HTR 7000: 7 in poly cone woofer (1), 1 in folded planar any caveats related to theatrical room. I always love the top end of magnetic tweeter (1); 10 x 5 in (diameter x D), 4.5 lb • SuperSub X: 8 performance. GoldenEar’s speakers, and this in fiber cone active woofer (2), 10.5 x 9.5 in Medite passive radiator Yes, my experience at CEDIA variation of the tweeter in the SPS (2); 1,400 watts peak; line-level input, RCA input; 14 x 12.75 x 13.25 in was favorable. But as I started this in-walls is truly worthy of its Ref- (WxHxD), 40 lb review—when it was just me, a pair of erence badge. The violin was light the SPS in-walls, and the SuperSub X and open, without any noticeable in my room—I was still caught off ringing or breakup. The lower voice guard by how open and revealing the of the cello was equally revealing, The SuperSub SPS speakers were. I was caught especially with the nuanced X, measuring 14 doubly off guard (off-off guard?) decaying resonance of the inches wide x when I listened to the “neoteric and instrument’s body. 12.75 high x intriguing” duo of Arianna Warsaw- I moved on to “Lullaby of Birdland” 13.25 deep, is Fan (violin) and Meta Weiss (cello), from Heather Masse and Dick a powered known as duoW, on their 2013 Hyman’s Lock My Heart. The opening subwoofer that release, Entendre. (I listened to the piano notes were not only widely uses Golden- 192-kilohertz/24-bit two-channel spaced across the front of the room, Ear’s patented version, but the Blu-ray Audio edition they also had the same decisive Dual-Plane includes DTS-HD Master Audio percussive nature that the cello Inertially 5.1 and 7.1 versions.) The release strings had on duoW’s Entendre. In Balanced includes Kodály’s Duo for Violin and fact, the lively dynamics of the piano Technology. Cello, Op. 7, and throughout all three across its tonal range were absolutely Basically, this is a movements, the two instruments fantastic for an in-wall speaker. configuration that pits two active weave in and out and talk to each Masse’s sweet and fluid vocals had and two passive drivers against other in a musical language of their none of the boxiness or constriction each other in an attempt to cancel own. In the classical canon, there’s that is often present with in-walls, and speakers as part of previous sys- forces that would shake the cabinet not a whole lot of music written for her voice was placed solidly in the tems, so I won’t spend much time instead of radiating all of the energy violin-and-cello pairings, but duoW’s center—as well as slightly out into on them here, other than to say that into the room—making the cabinet performance of the Kodály is an the room. What’s more, the entirety of they include driver and crossover perform more as if it were inert. invitation for composers to write the soundstage had a sense of depth technologies similar in concept The SuperSub X is powered by a more. It’s difficult to describe the life that was totally unexpected from and engineering to that of the SPS 1,400-watt-peak Class D amplifier. and emotion these two women speakers on a flat wall in front of me. speakers—especially when it comes (The Reference towers include an imbue their instruments with. It’s On the subject of soundstage to the tweeter in each one. 1,800-watt amp.) nearly as difficult to describe how depth and width: “I Need Never Get

The sub houses two active •and two passive drivers. The Invisa SPS’s performance rivals that of an equivalently priced in-room speaker.

48 MAY 2018 soundandvision.com Small neodymium magnets securely hold the •off-white grilles to the baffles.

attribute I highly appreciated with the music playing in the background dialogue-heavy Walking Out. The politely filled the remainder of the full-throated, open character of the room, creating a wonderful sense of horizontal SPS allowed the emotional space behind the close conversation nuances in the actors’ voices to in the front. While I was watching the stand out, since there was nothing movie, I wrote in my notes, “One of extraneous to mask them. This the best LCR matchups with in-walls also gave extra emphasis to the that I’ve heard in a long while. Seam- sometimes heart-wrenching sound lessness defined!” of the violin in the soundtrack. Old,” the highly energetic opening Wonderfully Wide The entire GoldenEar system was Conclusion track by Nathaniel Rateliff & the Wilderness absolutely stunning during the In-wall and in-ceiling speakers get Night Sweats on their self-titled 2015 If ever there was a movie epitomizing outdoor scenes, both in the open a bad rap—and for good reason. debut, had both in spades—starting the fact that sound is 50 percent fields and in the densely forested Most are designed with a low price with a solo guitar way out to the left of the overall movie experience, mountains, as it re-created a com- point as the goal, and they merely before it is joined by another guitar Walking Out is it. Set in the remote pletely seamless audio envelope, provide background-music quality. equally far to the right. The horns that mountains of western Montana, it bringing the sounds of the wind, But that doesn’t always have to be follow filled in the middle along with follows David, an urban teenager animals, and flowing water into the the case. GoldenEar Technology’s the drum kit and were smooth yet who lives with his mother in Texas, room. A large part of this was new Invisa Signature Point Source crisp, even when the SPS speakers and his nearly off-the-grid father, obviously due to the wonderfully speakers are proof that you can were pushed to high volumes. The Cal, who lives on sprawling acreage matched timbre of the speakers. I build an attractive, non-intrusive projection of the soundstage into the in those mountains, as they go really can’t say enough about the in-wall loudspeaker offering room was even more noticeable here (reluctantly, in the case of David) artistry of the movie’s soundtrack— performance that rivals (and, in than with “Lullaby of Birdland”— on the boy’s first moose hunt. Of and the way in which the speaker some cases, surpasses) that of almost to that magical point of course, the movie is more about the system reproduced it. Awards should an equivalently priced in-room breaking out and matching the attempt of the two to emotionally be given to both the movie and the speaker. depth perception generated by an reconnect than it is about moose speaker system. It’s often said that GoldenEar’s in-room speaker. But even that was hunting. It’s a traditional drama, It feels awkward going from the speakers sound as good as other bested by “Pocahontas” from Neil one in which you’d expect the sublimity of Walking Out to the companies’ speakers costing many Young’s recent Hitchhiker release (of background music and dialogue to rambunctiousness of Atomic Blonde, times more. Architectural speak- a 1976 recording session), during be the only important parts of the but the contrasting styles of the two ers are harder to compare using which I noted, “Damn, that guitar is soundtrack. But here, while it’s movies’ soundtracks helped to show such a blanket statement because living in the room!” true that there are few “surprise” that the Invisa system was totally installation, size, form factor, and Although I’d already noticed how surround effects (one of the most capable of handling shock and awe, other things need to be considered well the SuperSub X blended with the notable being a number of startled too. I’m not sure I can give a good as well as sound quality. That said, Invisa SPS speakers, along with how grouse that fly out of the grass synopsis of this movie, but I can on price alone, I’m not sure you can musical it was (especially with the directly behind the viewer), the tell you that from nearly its very find another speaker at the $1K price cello on Entendre), I auditioned a subtle soundtrack is actually one of beginning, this was obviously going point that sounds anywhere near as perennial favorite of mine: Linkin the main characters. to be a thrill ride. Here again, the fantastic as the Invisa SPS in-wall Park’s “When They Come for Me” For a movie like Walking Out, it’s matching of the MPX surround does—whether it’s for a two-channel (A Thousand Suns). The transition vitally important that the speakers in speakers (and the four HTR 7000s or multichannel system. Once again, at 80 hertz was imperceptible, and your system perform as a seamlessly in the ceiling for the height channels) GoldenEar has set a new high for both the tautness and the depth integrated single component—and with the front SPS speakers was the performance-to-cost ratio. of the drum- this is exactly what the Invisa system marvelous. This was clearly demon- More important, they’ve done beats were became. For starters, although I was strated in a scene where a stolen something extremely rare: They’ve amazing— initially a little concerned about how Stasi car, its trunk in flames, flies created an in-wall loudspeaker that even more the SPS speaker mounted hori- overhead from the rear to the front, just might convince a die-hard amazing when zontally for the center channel would where it slams into the Berlin Wall in-room speaker fan. you consider perform, it turned out that the LCR and explodes. Later, when MI6 agent that the trio was spectacular at smoothly Lorraine Broughton (Charlize SuperSub X handling sound that panned across Theron) is having a conversation is basically a the front. Just as important, the in a local bar, initially with a male cube that’s horizontal SPS didn’t have any of and then a female Stasi agent, less than 14 the boxy, constricted character that the horizontal center speaker’s inches in any you can often get with in-wall openness and extremely close dimension. center-channel speakers—an match to the vertical left and right speakers maintained intelligibility of the dialogue regardless of its position across the front. Meanwhile, the ’80s

The SPS’s planar magnetic •tweeter can be removed and rotated 90 degrees for horizontal use. soundandvision.com 49 FTEST ceREPORT Time

By Rob Sabin

AT A GLANCE Royole Moon 3D Mobile Theater Plus Q Excellent video and audio PRICE $800 Putting aside the, um, fashion quality my wife, she walked by dismissively statement you’re bound to make Q Smart ergonomics without even pausing. “That’s a wearing something like this, the Q Solid build quality QUICK STORY: BACK IN THE MID good look for you,” she said. manufacturer of those glasses— ’90s, I was the editor of a gadget About a week later, I turned up Sony—wasn’t wrong in wanting to review magazine. As long as a with one of the first rudimentary create a truly immersive, portable Minus product was geeky enough and ran attempts at the product we’re home theater experience. But the Q on AC or batteries, it was fair game reviewing here, a pair of virtual home technology at the time didn’t permit Potential for viewer fatigue Q for a test. This led me to bring home theater glasses. By nature, these are the required display resolution, nor Battery gets hot a variety of doodads that had clunky devices that hang on to your were we all carrying mobile smart- Q Propensity toward video nothing to do with audio/video— face with a big headband. I put them phones and tablets to serve as video noise with low-bitrate a self-cleaning litter box, a sports on to show my wife, unable to see source components. It was a matter streams radar gun, et al. One day I walked her reaction. This time, she paused in of years before the time was right to in with what was claimed to be a front of me and, I can only assume, properly bring the concept to fruition. “personal air conditioner,” basically spied me through raised eyebrows. Now, someone has. I’ll spoil the and sensor technology that it a black beanbag neck wrap that had “That’s great, honey,” she dead- suspense and tell you here that the showed at CES in 2016. Royole has an imbedded metal cooling strip; panned. “Now all you need is that Royole Moon 3D Mobile Theater committed a $1.7 billion investment the idea was that applying the neck thing and you is a thoroughly thought-out, well- for a flexible display factory in band to your neck would can be a executed piece of kit that was clearly Shenzen to supply screens to the keep you chilled total conceived with the videophile and industry. Along with the Moon, which in hot weather. loser.” audiophile in mind. And it works. Royole introduced in 2015, the com- When I tried Royole is likely unknown to our pany has one other consumer it on for readers, but the firm’s website product called the RoWrite Smart suggests it is as much techno- Writing Pad, which digitally captures logical think-tank as traditional handwritten drawings and notes from manufacturing concern. The a traditional paper-and-ink tablet. company was founded by Stanford engineering grads in 2012 Portable Projection with representation in Given that it’s easy today to board an Fremont, California, airplane or commuter train with a Hong Kong, and pair of headphones and an iPad Shenzhen, China loaded with a movie or TV episode, (known today you may wonder why anyone would as a worldwide need home theater glasses. It’s manufacturing hub). a matter of perspective, both Its stated mission is “to figuratively and literally. When you improve the way people interact wear glasses like this, you are with and perceive the world,” and presented with the equivalent of its research is focused primarily sitting relatively close to a large on developing “next-generation projection screen, with your human-machine interface tech- peripheral vision essentially filled nologies and products such as by the image. Royole suggests that advanced flexible displays, flex- the Moon provides the equal of an ible sensors, and smart devices.” 800-inch curved screen (about 66 Company firsts include the intro- feet) viewed from about an equal duction in 2014 of the world’s distance away. That’s close to thinnest full-color AMOLED (active standard IMAX territory. The matrix organic light emitting diode) experience is akin to watching my flexible display and a curved car 92-inch projection screen from a dashboard based on flexible screen fairly tight 10 feet away, if not closer.

The Moon delivers a remarkably immersive theater experience in places where it’s otherwise impossible.

50 MAY 2018 soundandvision.com THE VERDICT HOME THEATER GLASSES Royole Moon 3D Mobile Theater Royole’s Moon successfully pulls off a ROYOLE MOON MOBILE THEATER Performance serious home theater experience in a por- PRICE: $800 Features table, wearable package. Royole • royole.com/moon Build Quality Value

In other words, the same highly cancelling (undefeatable) whenever immersive quality we attribute the unit is switched on. to the front projection/cinema Industrial design and build quality experience is apparent in spades are excellent. The headband and here and is made all the more so by earcups, and the visor ring that the addition of some good-quality surrounds your eyes, are well earphones. padded and encased in a supple The Moon is packed with whiz- leather-like material. To provide bang technology and thoughtful ventilation and prevent fogging, features. The dual displays are there are air vents in the visor, and its AMOLEDs that deliver 1080p cushion is perforated. Construction resolution to each eye, via a claimed is mostly of high-impact molded 3,000 pixels per inch of device size. plastic, but the Moon has a solid feel, Since they’re OLED, they’re said to and metal parts are used in key areas provide excellent contrast and fast of stress, such as the click-action image response time, something sliders that fit the headband and that was quickly borne out in my visor to your face. The device comes auditions. in three color schemes: black with The unit plays both 2D and 3D brown ear- and eyepads (as with my content, automatically detecting the sample), white with black pads, and type. It is Wi-Fi capable and includes gold with black pads. The headband wall charger, but it also allows you’re down to 10 percent power. a browser that lets you connect to folds down to the top of the visor for hook-up to a computer for file Note that the battery pack can get your streaming services, and it has fitting the Moon into its supplied transfers to the internal memory, or very hot to the touch in extended an HDMI input for attaching to travel bag. Nitpick: The thin felt bag connection to a USB source via a use, something Royole warns about traditional video source compo- provides neither any real protection supplied micro USB-to-Type A USB in the manual. It needs ventilation nents and game consoles, or to for the Moon nor any place to safely dongle. (The Moon is Android based and won’t do well in a pocket or mobile devices via an adapter (not store the battery, charger, or cables in and allows simple drag-and-drop file enclosed in a carry bag. supplied). Alternatively, you can load a way that would not potentially bring transfers from Windows PCs; Mac The controls are extremely well content directly onto the Moon’s 32 them into contact with the lenses. users require Android file transfer thought out and simple to use. gigabytes of internal memory from a That was a disappointment given software.) The same dongle can be Besides the large power on/off hard drive, or via download from one the obvious requirement and the used to connect a mouse to the switch on the battery pack (whose of the video services. For playback of product’s price point. Moon to assist navigation of its surround glows blue when the Moon audio, the integrated closed-back As alluded to, a supplied battery onscreen user interface and browser is powered up) there are just two headphones use 1.6-inch dynamic pack feeds power to the Moon. It’s (more on that below); this was mechanical buttons on the visor unit. polyethylene (mylar) drivers and are about the same size if a bit thicker exceptionally handy for inputting One is a small 2D/3D button under assisted by active and heavier than the average passwords for Wi-Fi and video the visor in case the device fails to noise smartphone. There are services. (Bluetooth is on board for automatically recognize your 3D three connectors. A connection of a wireless keyboard content. At the bottom of the right micro-USB port as well, but not for audio-only earcup is a Home button that will accepts the streams from mobile devices; a take you back to the Moon’s supplied promised firmware update will sophisticated onscreen user eventually enable this capability.) A interface. second connector is a micro-HDMI The home screen you see when port that takes a standard HDMI you first boot up offers a horizontal cable via a supplied dongle. Finally, row of icons that allow access to a proprietary jack accepts the 4-foot things like network and display cord from the headset. settings, input selections, stored Royole claims 5 hours of battery content, etc. You scroll horizontally life for its power pack. I typically got through the icons with a forward or around 4 hours of continuous use on backward swipe on the right earcup a single 2-hour charge—still more that’s picked up by a touch sensor. than enough to get through most Tap once to enter and navigate the feature films. Four tiny LEDs on the submenus with an up/down swipe battery indicate charge level, and as needed; tap twice to back your during viewing you get way out; or hit the Home button an onscreen twice to return to the main menu. warning when After a short learning curve, I was

The Moon is available in three color •schemes, including black/brown, white/black, and gold/black.

soundandvision.com 51 TEST REPORT

A pair of thumbwheels •beneath the visor adjust interpupillary distance and focus.

Fortunately, it adjusts to your face other virtual glasses to cause fatigue Smulders) running side by side at full with two effective mechanisms. First, or other side effects. Product lit- speed across the Washington, D.C. the well-padded headband has 1.5 erature recommends taking periodic Mall. All the action was rendered inches of height adjustment on either breaks, and the operating system has crisply, and even the actors’ pumping zipping around just fine. You can side and can be swung forward or an option to set onscreen reminders arms as they ran showed minimal swipe the same touch sensor for back nearly 180 degrees, allowing at 1- or 2-hour intervals if desired. I’m smearing. I’m not a gamer, but transport control (play/pause, track you to find the exact angle to allow sensitive to motion sickness and Royole advertises the Moon as forward/back) of content played from your noggin to best support the have been triggered at least mildly by console-ready, and I have no reason the internal hard drive. glasses and take the pressure off most virtual reality demos I’ve done, to doubt them. Volume changes are handled your nose. This won’t likely be directly though these involve visuals that An abundance of natural color with another circular touch sensor atop the crown of your head at the track head movements. In this case, and punchy highlights was evident embedded behind a curved recess spot a regular headphone band the image stays put no matter how in a viewing of Planet Earth II about around the right earcup’s perimeter; might fall, but more forward toward you move your head. I was pleased mountain wildlife streamed from in the photos, that’s the space the forehead. Finding the sweet to find that, for me personally, the Netflix off my iPad app. I marveled at between the gold inner ring (on the spot didn’t fully eliminate the nose combination of high resolution and the detail in the sandy brown crags of black model) and the earcup’s outer pressure for me but reduced it to finely tuned optics allowed for hours peaks in the Arabian Peninsula, and in edge. My finger found and rode the where I could go movie-length of pleasant viewing. Though I noticed close-ups of the Nubian Ibex goats sensor perfectly every time, and the periods without discomfort that a touch of eye fatigue at the end of a that fearlessly scale the cliffs as rubble Moon responded instantly with a would have encouraged me to 2-hour feature, I was so thoroughly falls away beneath their hooves. A circular graphic superimposed over abandon viewing. The occasional engaged in the viewing that I never meadow in the Rockies showed gray my content that visually tracked the minor adjustment was all that was felt the need to take a break. sky behind the distant mountains with change as volume rose or fell. Very needed if the visor started to slip some dusty storm clouds brewing, an easy, and very cool. down a bit. Viewing appropriately natural dark green mat Similarly, a pair of sliders allow I watched content on the Moon from of grass on the floor of the valley, and Setup fine-tuning of the distance between sources including movie downloads brighter green highlights along with Engineering a pair of expensive the front visor and the earcups. Given to my iPad Air 2, 1080p Blu-rays via magenta flowers on the blooming home theater glasses that doesn’t that these are closed-back, sealed direct connection to my Oppo plants in the foreground. instantly generate buyer’s remorse headphones designed to lock out player, and streaming content from The integrated headphones did the moment you place them on your environmental noise, it’s critical to Netflix via the Moon’s built-in brow- a good job with the dynamics and face takes serious effort across a position them directly over your ser and my iPad. The iPad viewing textures in this episode’s occasion- range of design criteria. Even before pinna and fully isolate the ear. Once required an Apple Lightning-to- ally swelling orchestral scoring. After you can worry about the video or adjusted, the headband and earcup HDMI adapter to which I added an doing some additional listening with audio quality, a product like this has sliders work together to keep the HDMI cable and the Moon’s familiar music tracks off my Tidal to be comfortable and stay firmly Moon firmly in place. supplied micro HDMI-to-HDMI playlist, I’d characterize the sound of in place for long periods of view- With the Moon comfortably dongle. Apple’s adapter is a $40 the headphones as fairly balanced, ing. Then, it needs to allow fine situated on your head, there are two add-on that needs to be purchased with a polite but reasonably detailed positioning and sharp focus of the optical tweaks performed with a pair separately. Similarly, a third-party top end, a neutral midrange, and eyepieces to minimize the potential of thumbwheels beneath the visor. MHL/USB-to-HDMI adapter must naturally rolled-off bass. The ’phones for headache or eye fatigue. Beyond Sliding these left or right allows the be purchased for Android mobile are well voiced for movies, deliver- this, controls should be accessible eyepieces to be independently devices. ing clearly discernible dialogue but and easy to use so the unit is not a aligned directly over your pupils. I began with a pair of flicks never getting edgy or hard, even burden to operate. If you get those Fine-tuning this “interpupillary” downloaded to my iPad from at loud volume with effects-laden things right, you’ve got a distance eliminates parallax errors Amazon, xXx: Return of Xander Cage action soundtracks. Gunshots, car shot at adding top-notch that might exhibit as ghosting. After and Jack Reacher: Never Go Back. crashes—no problem. Bass was video and audio to deliver that, you can independently spin Putting aside the thin plots and the solid, though I’d have welcomed a the ultimate in-your-face the thumbwheels to fine-tune the treasure trove of inane dialogue in touch more contouring that might theater experience. focus. Thoughtfully, these focus Xander Cage, I couldn’t have asked I’ll issue a strong warning adjustments have a wide enough for more fast-paced action. The to start out here so potential range to allow most users to skip Moon easily lived up to its claim of buyers won’t be surprised: their prescription eyeglasses. freedom from image lag; at no time The Moon headset is fairly Even with the attention paid did I see anything even remotely heavy—just under 1.5 by Royole to physical and visual close to trails or other distracting pounds—and starts out comfort, the company is cognizant motion artifacts. One Reacher with the potential to be of the potential for this or any chase scene composed of a lot of uncomfortable, partic- fast-cut handheld shots starts out ularly because the on foot, moves to a car chase, bridge of your nose and ends with Reacher must help support (Tom Cruise) and Major the glasses. Susan Turner (Cobie

Touch sensors in the right earcup• provide menu navigation and volume adjustments.

52 MAY 2018 soundandvision.com HOME THEATER GLASSES

SPECS Display: 1920 x 1080 resolution AMOLED (2); virtual screen size 800-inch curved at 66 feet viewing distance (adjustable); inter- pupillary distance 58mm-70mm; diopter focus adjustemnt –7.0 to + 2.0; 24-bit RGB color; 60 Hz refresh rate • Headphones: 1.6-inch dynamic driver (2); active noise cancelling (22 dB) • Inputs: Micro-USB, micro-HDMI, Wi-Fi (802.11 b/g/n), Bluetooth • Battery Life: 5 hours video play time on 2-hour charge • Dimensions (WxHxD, Inches): 8.66 x 8.46 x 8.78 (extended); 3.85 x 8.46 x 8.78 (folded) • Weight (Pounds): 1.44

surprised given the AMOLED display devices, but nothing I’d seen to that point suggested quite this level of quality. Black backgrounds behind white credits and black bars on widescreen movies disappeared into the frame beyond the edges of the screen. White objects on black backgrounds, such as credits or spaceships, had an almost three- finest details. Tim Burton’s stop- dimensional quality. They exhibited action animated movie Coraline may some haloing that you wouldn’t see be the creepiest and scariest “kids” on today’s top OLED TVs, but I’d movie ever made, but it’s filled with have delivered additional impact to (when Netflix and the ISPs apply the score the Moon way better in this stunning visuals that feature fine, low-end effects; tone controls to greatest compression) due to regard than most edge-lit LCDs I’ve moving vertical objects that exhibit adjust for content would have been massive amounts of undulating encountered. ghosting with many 3D displays. nice. The active noise-reduction mosquito and block noise in the Along with striking contrast, bright The snake-like tail of a black cat, functioned well and seemed par- many dark scenes. The next day, I colors looked true and just popped the undulating antennae of a giant ticularly tuned to airliner cabin noise, had much better luck streaming the off the screen, and fine details were grasshopper, a pair of lit candel- which it nicely filtered out on a same episode during off hours— remarkably sharp. While watching abras on the dinner table that reveal couple of flights I took with the most of the noise disappeared, and Oblivion, I was taken with accurate themselves as the camera quickly Moon. I learned that I could reduce the and highly natural fleshtones, not to pans back—all of it remained in Getting back to the video: visibility of the pixel lines by setting mention the crisp detail, in the Tom perfect focus. Even the live-action Critically, I did notice that the Moon the Moon’s three-position brightness Cruise close-ups that show all the Terminator: Genisys looked equally didn’t fare well with low-bitrate control to its lowest Soft setting stubble and cuts/bruises on his face. crisp and ghost free on both static downloads and live streams. Many of (versus High or the default Normal, The aforementioned video noise and action scenes. these programs, even my fairly decent which I preferred for most content cropped up rarely on some dark Jack Reacher download, suffered due to its added punch). scenes but was extremely subtle Conclusion from digital compression artifacts on Of course, you can’t judge a here; it would have been missed in The Royole Moon isn’t for everyone. darker scenes or in darker portions of display’s ultimate quality on its the action if I’d not been looking for it. Some may find the headset just too mixed scenes. For example, when handling of poor video files, but When I switched over to Gravity, heavy or cumbersome for comfort; Turner is seen at her office desk at some users may plan on doing a another great transfer, I saw the same others may find themselves more night talking on the phone, with a lot of live streaming and should stunning contrast and colors in the prone than me to eye fatigue or desk lamp illuminating her front and know that the Moon was not kind opening scene when the astronauts headache. At the end of the day, darkness behind her, she looks to sub-par content. Fortunately, are doing their space walk before using it means stringing a few things stunning, with superb color and egregious video noise was never a disaster hits, but I never saw a hint together with cables and dongles bright highlights on her face, crisp distracting issue with other streamed of any noise anywhere in the movie. if you’re hooking up to an outside white formal shirt, and multi-colored serials generally shot in brighter To get a look at some earthbound source device. And it sure ain’t uniform decorations. But the back- environs, such as the aforemen- scenes, I pulled out Draft Day, which cheap, either, at its $800 list price ground took on a veiled and busy tioned Planet Earth II. I love to use as a reference for its or the $600 promotional pricing quality in this shot from subtle Eventually, I rigged the Moon to overall bright lighting and mix of announced by Royole as we went mosquito and block noise. Further- my Blu-ray player to see what it could familiar NFL team colors. The Moon to press. more, the fine horizontal grid lines do with some reference-quality disc passed the test with its aerial flyovers But at even the higher price, I’d still separating the pixel rows revealed transfers. Wow—what a difference. of various NFL stadiums and their call the Moon a great value. It’s a themselves here—and in many other Blacks and shadow detail took on surrounding buildings and greenery, brilliantly engineered device that scenes from this and different that inky quality we like to see and its natural renderings of interior shots gets almost everything right, programs when there was a were near-equivalent to the best in the sun-drenched team offices and it gives the user a remarkably consistently smooth backdrop. (The OLED flat-panel displays I’ve seen. around the league, and again immersive home theater experi- vertical pixel lines were never I shouldn’t have been in its beautiful fleshtones, ence in places where it’s otherwise visible at any time.) all delivered with utterly impossible. I watched xXx and Jack The observance and grainless clarity. Ryan while traveling coast-to-coast degree of digital noise Furthermore, the Moon on a jetliner, and the absence of was quite dependent also delivered some of cabin noise, the Moon’s “giant” on the quality of the file the best 3D video I’ve image, and its good sound made and content of the scene. At one ever seen. Images these two of the best flights I’ve ever point, I abandoned watching a were super bright and taken. For a couple of hours each Netflix stream of a Stranger engaging and showed way, I truly forgot I was on an airplane Things episode during the absolutely no signs of and thoroughly enjoyed myself. prime-time viewing hours ghosting on even the What’s that worth to ya?

The Moon comes with a baery pack, charger, •and a variety of HDMI and USB adapters.

soundandvision.com 53 TEST REPORT Modulr Dirc

By Mark Fleischmann

knob and navigation rocker, with its NAD T758 V3 A/V Receiver menu button, the only other buttons provided are source up/down and listening mode. They are almost PRICE $1,300 you’ll probably agree it’s more than puritanically small, but the NAD ethos AT A GLANCE a fair trade. [Editor’s Note: OK, so is to put the good stuff under the WHY ON EARTH WOULD A the purging of FM tuners I’ve long hood, where you can manipulate it magazine devoted to the latest and Plus predicted begins. Should we still call via remote control or the new control greatest in surround sound review a this a receiver? I suppose it’s still app. The remote is sensible looking, receiver that made its debut in 2011? Q Modularity allows receiving radio signals, just via the with controls well differentiated by Seven years in receiver years is— upgrades internet, right?—RS] size, shape, color, and layout. A well, a lot of years. But the NAD T758 Q Dirac room correction second, smaller remote is supplied V3 is not some old wheezer on its Q BluOS audio streaming Affordable High End for Zone 2 operation. way out. The company’s Modular Q Atmos 7.1.4 capable with For the few readers unacquainted Rated power is 110 watts times Design Construction allows the external amplification with NAD, this British-turned- two and 60 watts times seven, NAD addition or swapping of slide-in Canadian audio brand first became being among the few manufacturers modules offering new connections Minus famous for the legendary 3020 to provide an all-channels-driven or features. “Instead of planned stereo integrated amp. Now part spec. (As always, you can check that obsolescence,” the company says, Q Only three HDMI inputs of the Lenbrook Group, which against our Test Bench specs.) Those “we have planned evolution.” Q No DTS:X (yet) also markets PSB speakers and seven amp channels are enough to The combination VM130 video Q Dirac execution more Bluesound streaming audio run a 5.1.2-speaker configuration with and AM230 audio module that complex than most auto products, it has a healthy line of two front height channels for Dolby pushes this model from V2 to V3 adds room EQ two-channel and surround products. Atmos or, not as much fun in my Ultra HD video, Dolby Atmos, USB, Among the surround products, the opinion, a 7.1-channel configuration and—via USB dongle—plug-ins for only other model to get a V3 with back-surrounds. You can add Wi-Fi and Bluetooth, thus accommo- a set-top TV box, a Blu-ray player, upgrade so far is the brawnier T777 rear height channels to achieve 5.1.4 dating a control app and NAD’s and either a streaming video player receiver; both the T758 and T777 with connection of two channels BluOS, a grab bag of wireless audio (Roku, Apple TV, etc.) or a game have seven amp channels. NAD’s of external amplification to the streaming and multi-room features. console—but not both. However, expertise in bringing high-end appropriate line outputs on the back, The V3 also swaps out the previously your streaming hub might be values to affordable price points or also add back-surrounds for this used Audyssey room correction integrated today within your game makes it a friend to thrifty audio- unit’s maximum 7.1.4 configuration (which was pretty spiffy and con- console, or in your TV or Blu-ray philes. with an additional two channels of venient to begin with) with player. In keeping with the times, The T758 V3 is classic NAD, with bleeding-edge-but-nerdy Dirac Live legacy composite video inputs are a plain faceplate and minimal LE, making this one of the few absent altogether, having been front-panel controls. Other receivers to have it. To accommodate eliminated in the V2. than the volume the new board, the V3 loses one With TuneIn internet radio added HDMI input, leaving only three in total via the BluOS functionality, NAD has for the receiver (plus one output), also decided to avoid duplication as well as two digital audio inputs and cut costs by eliminating the FM (choose optical or coaxial for either). tuner. While that eliminates your local Having just three HDMI inputs is a radio stations, you get them back notable limitation to be aware of, again in streaming form along with but probably not a deal breaker for stations from all over the world. most systems. Three is enough for Unless you have an analog-FM fetish,

•The relatively unadorned faceplate is in keeping with NAD's classic aesthetic.

54 MAY 2018 soundandvision.com THE VERDICT A/V RECEIVER NAD T758 V3 A/V Receiver NAD’s modular-upgrade strategy endows V3 of the NAD T758 V3 A/V RECEIVER Audio Performance T758 with bleeding-edge room correction and audio PRICE: $1,300 Features streaming without impairing its excellent sound. NAD Electronics • (800) 263-4641 Ergonomics nadelectronics.com Value

external power (though in that case ensures an orderly copyright hand- you might be an 11-channel receiver shake with UHD sources. or even separates guy). DTS:X was absent at press time but planned in a Doing Dirac future software update. But the biggest story here is the The VM130/AM230 upgrade addition of Dirac, from the 15- module contains all the aforemen- year-old Swedish company that tioned video and audio connections offers room correction for high-end plus a USB jack. Out of the latter home theater systems as well as hangs an included USB hub with four audio processing for mobile and ports. I filled three of them with the automotive use. NAD has not just Wi-Fi and Bluetooth thumb antennas/ adopted Dirac Live LE but also dongles, plus an included micro- gotten PSB’s speaker-designing phone preamplifier for the Dirac room eminence grise Paul Barton to tweak correction. it. Barton created microphone If you want full frequency response messages, as occurred for me initially Ultra HD passthrough runs at a calibration curves and a “Room- correction, you can download the until I got things straightened out maximum of 60 frames per second Feel” target “that is informed by his standard Dirac software for $99 extra. with a little help from NAD. with 4:4:4 color sampling (in other extensive research into acoustics Most receivers have a combined Even without this hitch, setting words, no color compression) and and human perception of sound.” auto setup and room correction up for a Dirac run proved less with HDR10 picture-optimizing He also made the potentially program. Dirac works differently, straightforward than running the metadata (but not Dolby Vision—so valuable suggestion to keep the full leaving speaker settings to be software in most AVRs. It involves far). The company says that “Because impulse response correction of Dirac manually input by the user and linking together a chain of four the ARM processor we use for Live (which deals with time and performing only room correction. included items. You end up with the Bluesound and its BluOS High Res phase anomalies) but also limit its Note that this receiver requires you to microphone plugged into a barrel Network Streaming operating system frequency response corrections (i.e., specify your speaker characteristics adapter, plugged into a USB mic also has extensive video processing equalization) to frequencies below in the Speaker Configuration menu preamp, plugged into a USB hub, capabilities, we were able to use this 500 hertz. This bass range is where and then assign amp channels to plugged into the USB jack of the processor to manage the video and most rooms have the largest impact either height or back-surround duties VM130 module on the back panel. also allow BluOS network streaming, on performance. Many audiophiles in a separate Amplifier menu. That's The USB mic preamp can also be a major new feature upgrade.” NAD prefer to avoid electronic tampering somewhat unusual and not well plugged directly into a PC, though provides no video scaling, saying with their system’s midrange flagged in the manual. Failing to set your firewall and antivirus software that job is better left to the video character and instead tweak the both menus properly could result in might have to be disabled to allow display—a tack also taken lately by listening experience with acoustic the Dirac software not "hearing" your the receiver to be recognized by other AVR makers in all but their most treatments to the room. There is a height or back-surround speakers Dirac—potentially leaving you open premium models. HDCP 2.2 DRM camp that advocates for doing both. and result in error to criminal hackers during testing. Mac users must also select the USB Microphone in sound settings. Additionally, both the AVR and computer must be on the same local network. Once the setup was properly configured, I then used the soft- ware in the computer to measure the room acoustics from nine listening positions, loaded NAD’s proprietary RoomFeel target onto each group of channels, ordered the program to optimize settings, saved the project, and finally exported the settings to the AVR. You can save up to three versions in the software and select them in the receiver’s interface. The target-loading and optimizing steps share the same Filter Design tab on the PC-app user interface, and the app doesn’t step you through them sequentially—I needed a bit of extra hand-holding from NAD to get it

Front-panel connections are •hidden by a clean-looking cover.

soundandvision.com 55 TEST REPORT Test Bench • The main remote has small but well-laid- NAD T758 V3 A/V Receiver out buons.

below, were excellent. correction is concerned, But be advised that, subtlety is not a bad thing. compared with the Imaging improvements plug-and-play were minor, but everything simplicity of most from top to bottom auto-correction seemed a little snappier. schemes, the learn- The Guy Ritchie bomb ing curve for this one King Arthur: Legends of the is steep. Sword was a Dolby Atmos Associated feast, giving the height equipment included channels a good workout. five Paradigm Even with only one pair Reference Studio of Atmos speakers sup- 20 v.4 speakers, two ported by the seven- Klipsch RP-140SA channel receiver, the elevation modules, soundfield was big, airy, THIS graph shows the T758v3’s left channel, from Audio1 input to speaker Paradigm Seismic 110 and not terribly speaker output with two channels driving 8-ohm loads. Measurements for subwoofer, Oppo bound, especially in front. THD+noise, crosstalk, signal-to-noise ratio, and analog/digital frequency BDP-83 universal disc What my notes call an response were all within expected performance parameters. Full details player, Micro Seiki “EZ tonal balance” didn’t available at soundandvision.com.—MJP BL-51 turntable, Shure prevent a finicky approach M97xE cartridge, and to detail, especially in the 0.1% THD 1.0% THD Denon PRA-S10 serving score’s buzzing trombone Two Channels Continuously Driven, 8-Ohm Loads 100.6 watts 113.6 watts as phono preamp. All movie and cello flourishes, souped up Two Channels Continuously Driven, 4-Ohm Loads 139.9 watts 164.3 watts demos were on Blu-ray Disc. in the mix for maximum menace. Five Channels Continuously Driven, 8-Ohm Loads 86.0 watts 95.3 watts Well-measured bass rounded out Seven Channels Continuously Driven, 8-Ohm Loads 66.3 watts 77.8 watts Tighter and Snappier the package. Desultory break-in listening, before The Zookeeper’s Wife (DTS-HD room correction, revealed a Master Audio) is a true story about SPECS Power Output: 110 watts (8 ohms, 2 channels driven); reasonably neutral amplifier with no zookeepers who provided escape 60 watts (8 ohms, all channels driven) • Auto Setup: Dirac Live LE • Video gross flaws or additive character. and refuge for people from Warsaw’s Processing: 4K passthrough, HDR10, 4:4:4, 60 fps • Dimensions (Wx- NAD is good at that. With Dirac, the Jewish ghetto during World War II. HxD, Inches): 17.13 x 6.81 x 15.81 • Weight (Pounds): 33.9 • Video Inputs: most obvious difference was the The Nazi bombing of the zoo was HDMI 2.0a (3) • Audio Inputs: Coaxial digital (2), optical digital (3, 1 front), improvement in bass response, all too forceful and evocative. This stereo analog RCA (4, 1 front), 7.1-channel analog (1) • Additional: Ethernet which zapped my room’s standing soundtrack had a warmer, softer feel (1), USB (1) • Video Outputs: HDMI 2.0a (1) • Audio Outputs: Stereo ana- wave and tightened rhythm sec- and a slightly less vivid soundfield, log (1), 11.1-channel preamp (1), ¼-inch headphone • Additional: RS-232 tions. Leaving the basic midrange though the receiver didn’t allow the (1), 12-volt trigger (1), IR (1 in, 2 out) character of my room and speakers softening to impair dialogue intact was no burden—the room’s intelligibility. balance of frequencies is agreeably The finale was Game of Thrones, right. NAD does offer a step-by-step tweaker’s paradise; it’s great to see listenable, if not unflawed, and the season seven, episodes one to three, video on its website and context- how your system measures in your speakers are pretty neutral. The an even more vigorous celebration of sensitive help in the Dirac app. room and how the program corrects impulse response correction was Dolby Atmos. As the White Walkers Ultimately, Dirac is an audio it. And the results, as you’ll read more subtle, and where room rose out of the mist in “Dragonstone,”

• The NAD provides a total of three HDMI inputs and does away 56 MAY 2018 soundandvision.com with the FM tuner. NAD provides a second, smaller •remote to operate Zone 2. the mix threw a beautifully recorded brothers and the late guitarist John WiMP). Pandora was not among surprisingly large multichannel hybrid Abercrombie. I compared the room- them, so I wasn’t able to access my proportion of the SACD from the Swedish corrected stereo mode to analog free account, but Radio Paradise was orchestral score into label Bis. (Vänskä’s bypass and tried to listen beyond the an adequate substitute. It describes my up-firing Klipsch Beethoven cycle is my obvious sub-on, sub-off distinction. I itself as “a unique blend of many elevation modules. The go-to hi-res surround was well into side two before realizing styles and genres of music, care- battle of two naval fleets version.) The soundfield that the soundstage was getting a fully selected and mixed by two real in “Stormborn” became was extremely airy— little extra focus from Dirac, though human beings.” NAD gives it special more of a medieval battle scene as probably because the receiver was again, it was subtle. prominence, along with TuneIn, on armed men crossed between boats receiving multichannel PCM from Once I got used to tight, fast the streaming home screen. and attacked hand to hand, filling the disc player and upmixing it to rhythm sections, I couldn’t resist NAD’s Modular Design Construc- the soundfield with mayhem—this Dolby Surround, with its simulated going for more. Stewart Copeland’s tion makes V3 of the T758 a special was perhaps the only scene where height effects, by default. But even prodigious playing on the second occasion as one of the small but I would have liked to have been with Dolby Surround switched Police album, Reggatta de Blanc (LP), growing number of surround pro- running at least four height channels. off in the GUI, the soundfield was never sounded more disciplined and ducts with Dirac. Putting aside the It became abundantly clear in this fine-grained and colorful, with satisfying. But the room correction aforementioned challenges with scene that the net effect of Dirac notably clear, sumptuous, and also excavated several distinctive learning to use it, it's an empow- room correction and height effects well-integrated decays, especially high-frequency textures from his ering tool for the questing audio was greater than the sum of its parts, with a solo clarinet part in the cymbal work. Andy Summers’ Tele- tweaker who wants the flexibility to the room correction sharpening second movement. There was also caster was also a feast of spidery experiment with room correction perception of numerous fast-moving a strong spatial sense of the venue, tone as he worked his way through parameters. Coupled here with this objects rioting throughout the possibly a mixture of the RoomFeel tremolo, phase shifter, and other fine-sounding receiver, the audible wedge-shaped soundfield. target and information embedded in effects. Dirac rocked this album hard results are beautiful. the recording. yet subtly. Bliss of Bis Billy Cobham’s second solo album The Bluesound app was easy to Audio Editor Mark Fleischmann is Sibelius’s Kullervo and other works Crosswinds (LP) harnessed his install and trouble free, not balky or the author of Practical Home Theater: featured Osmo Vänskä leading tireless and sometimes explosive buggy as some are. The 16 supported A Guide to Video and Audio Systems, the Minnesota Orchestra and YL drumming to a percolating jazz- streaming services included some now available in both print and Kindle Male Voice Choir on yet another funk groove, serviced by the Brecker new to me (Calm Radio, Murfie, editions. TEST REPORT Projection TV By Al Griffin Hisense Laser TV 4K DLP Projector PRICE $10,000 AT A GLANCE review of Sony’s VPL-VZ1000ES 15-watt amps, and a wireless sub with (Sound & Vision, February/March a 6.5-inch woofer powered by a HISENSE HAS BEEN SLOWLY Plus 2018 and soundandvision.com). In 60-watt amp. The built-in speakers making headway in the U.S. TV this case, however, the screen arrives are mechanically isolated from the market over the past few years, Q Bright picture with fully framed and intact—no assembly projector chassis, so there’s no mostly through its lineup of excellent uniformity required. Screen Innovations’ ST interference between audio and affordable big-screen LCD sets. Q Crisp detail with 4K screen is an ambient-light-rejecting video components when movies get Another product that the company sources material designed specifically for use played loud. has teased at trade shows, and is Q Powerful built-in audio with UST projectors. The ST has a The specs for the Laser TV cite now actively selling, is Laser TV, a system gain of 0.6 and a 170-degree viewing light output at 3,000 lumens (typical). flat-screen alternative that consists cone, making it a good alternative to Lifespan of the laser light engine is of an ultra-short-throw (UST) Minus big-screen LCD TVs, many of which 20,000 hours in Standard mode, and laser-driven DLP projector paired have a considerably more limited 25,000 hours in Eco mode—long with a 100-inch screen. While other Q So-so contrast ratio viewing angle (typically 30 degrees). enough to last for two decades companies including Sony and Q Occasional banding Hisense’s strategy with its Laser viewing 5 to 6 hours daily. Hisense Epson offer their own UST solutions, artifacts TV was to make it indistinguishable also plans to supplement the Laser Hisense seems especially bullish Q No extended color gamut from a regular smart TV. To that end, it TV’s smart GUI with Alexa integration. on the category: At last CES, the coverage has wired Ethernet and Wi-Fi connec- The upgrade, which will require a company announced a second tivity, plus a smart TV GUI that serves firmware update and new remote Laser TV offering that incorporates up apps including Netflix, Amazon, control with a built-in microphone, is a dual-laser DLP light engine and happening fast enough that the Vudu, YouTube, and Pandora. Both expected sometime this spring. comes with a 150-inch screen, and eye perceives a full 4K resolution Netflix and YouTube provide 4K Though the Laser TV’s design isn’t there’s also an 88-inch version in image. Since the pixel array that and high dynamic range support as swanky as Sony’s $25,000 UST the works. creates the image is generated (Amazon is 4K, but no HDR). There’s projector, effort was put into giving it While there’s no information yet using a single-chip solution, it also a built-in tuner for viewing over-the- a living-room-friendly appearance. concerning price or availability for appears onscreen with perfect color air digital TV broadcasts—another The 24 x 8.1 x 15.7-inch (WxHxD) case those next-gen Hisense Laser TVs, alignment. unusual add for a front projector— is fronted by a black mesh speaker the 100-inch version can be bought The screen that Hisense bundles and a Harman Kardon–designed 2.1 grille. A metal-hued strip swoops now for $10,000. The Texas with its projector is a 100-inch version audio system consisting of two 1-inch diagonally from top to bottom, giving Instruments Digital Micromirror of a Screen Innovations Zero Edge ST, tweeters and 2.5-inch midrange the chassis an aerodynamic look. Device (DMD) used in the projector the same type used in our earlier drivers, each separately powered by Connections on the rear panel is the same chip found in other 4K DLP projectors that Sound & Vision has tested, including the Optoma UHD65 (December 2017 issue and soundandvision.com) and BenQ HT9050 (soundandvision.com). In contrast with “4K Native” projectors, like certain models sold by Sony and JVC, this solution achieves 4K image resolution using XPR pixel-switching technology. Here’s how that works. The new TI DMD has a native resolution of 2716 x 1528 pixels. Using a combination of video processing and physical shifting of the display chip via an optical actuator, a full 8.3 million discrete pixels (approximately the same number provided by native Ultra HD displays) are flashed onscreen for each video frame, with the shift

The Laser TV is an unob- •trusive 24 inches wide by 8 high.

58 MAY 2018 soundandvision.com THE VERDICT PROJECTOR Hisense Laser TV 4K DLP Projector Hisense’s Laser TV strikes a good balance HISENSE LASER TV 4K DLP PROJECTOR Performance between performance and price for a 4K-res PRICE: $10,000 Features Ergonomics ultra-short-throw projector-and-screen package. Hisense • hisense-usa.com Value include a LAN port, an RF antenna input, and two each USB and HDMI 2.0a (one with ARC) ports. There are also optical digital and analog RCA audio outputs for routing audio back to a receiver. Hisense supplies a sturdy, metal-encased remote control with the Laser TV. Its main feature is a directional touchpad that’s used for navigating menus and selecting items from the set’s GUI such as inputs and picture modes. There’s a quartet of buttons at the top that take you directly to the big four streaming services: Netflix, Amazon, Vudu, and YouTube. Buttons to adjust volume and change channels are located on the bottom half, where they can be easily accessed with your thumb—a good thing for a projector where you’re likely to be using the built-in sound system and OTA digital tuner. same distance spanned the Calibrated HDR mode for Ultra HD/ values for grayscale and color points projector’s top surface and the high dynamic range programs. averaged an impressive 1.2 and 2.3, Setup screen’s bottom edge. Although the TV is only capable of respectively. Gamma also closely Setup of the Laser TV is made Tweaking image geometry displaying images in the Rec. 709 tracked the 2.2 target with the somewhat easy by the fact that it involves calling up a test pattern from (HDTV) color space, I still selected Gamma 1 setting active. After ships with a preassembled screen. the setup menu and leveling the the Enhanced HDMI 2.0 format notching down the Laser TV’s Light Most of the work involves mounting height of the five adjustable feet on option in the Picture menu, which Level adjustment from the default the screen on your wall, and Hisense the projector’s bottom. The Screen enables passthrough of 4K/60-hertz maximum to the 17 setting, contrast provides adjustable, heavy-duty setup menu provides settings for signals with 10-bit color encoding. ratio measured 1,354:1—not exactly hardware mounts to help make floor, ceiling, and rear-projection The other adjustments I made a great native contrast reading, but that process go smoothly. Once installations; Screen Type (in this were to switch off Motion Enhance- better than both the Optoma UHD65 mounted, I positioned the projector case, ALR); Geometric Correction ment and Overscan (both turned 4K DLP projector and the Epson on a 20-inch-high table beneath the (not recommended since it’s an on by default in the Theater picture LS100 LCD UST projector, two related screen. The distance from the electronic adjustment that reduces mode), select the Gamma 1 preset, models that Sound & Vision has projector’s back surface to the picture resolution); and Focusing. and turn off Active Contrast. Picture recently reviewed. With contrast set screen plane was 6 inches, and the Once powered up, the projector’s modes with names like Active fan noise proved relatively low and Contrast on projectors was easily masked by movie and TV typically engage some soundtracks. Adding the wireless form of dynamic subwoofer to the setup involved contrast adjustment, a visit to, confusingly, the but on the Laser TV Network menu, where a they merely changed Bluetooth pairing process picture gamma in a could be initiated that manner that made required pressing a button faces look bright and on the sub. The Audio flat, with absolutely no menu provides Total Sonics, effect on contrast ratio. Total Surround, and Total Calibrating the Volume options. I experimented Laser TV’s grayscale a bit with Total Sonics, which added and color points for some clarity to dialogue and SDR/Rec. 709 display increased bass punch, but I ulti- proved to be a snap mately found that I didn’t need it with using the adjust- most programs. ments in the White To calibrate the TV’s picture Balance and Color settings, I used its Theater mode Tuner menus. Post- for standard high definition and calibration, the Delta E

•Under the front grille, the A narrow-form-factor wireless Laser TV rocks two Harman •subwoofer rounds out the audio system. Kardon woofers and one tweeter.

soundandvision.com 59 TEST REPORT Test Bench • The decorative diagonal metal strip Hisense Laser TV 4K DLP Projector gives the Laser TV a space-age chic.

BEFORE Calibration

AFTER Calibration to the highest level in Vivid mode, maximum light output was measured at 36.7 foot-lamberts. That’s about half the light output that the Epson UST projector managed when I and there was also plenty of reviewed it, but I never had a detail. When I compared the FULL-ON/FULL-OFF Contrast Ratio: WITH the 1 Gamma preset selected, sense during my testing that the upconverted 4K output of an 1,354:1 the Delta E for gamma in Theater mode Laser TV’s picture was insuffi- Oppo UDP-103 Ultra HD Blu-ray averaged 3.9. Post-calibration, gamma ciently bright. player with the same upconverted PRE-CALIBRATION measurements improved substantially, closely track- Adjusting the picture for HDR image on the Hisense, I didn’t were made with the Hisense Laser TV’s ing the 2.2 target for most of its range presented more of a challenge. notice any serious differences: Theater preset active. Post-calibration with a high of 2.4 at 90 IRE. The projector tracked the HDR’s Both pictures for the most part measurements were made in the same EOTF (the specified “gamma” for looked solid, detailed, and clean. mode. All measurements were made UHD/HDR UHD) relatively closely, but its Switching to a Blu-ray of the using the 100-inch-diagonal Screen WHILE it’s technically an Ultra HD grayscale Delta E averaged out black-and-white “Noir” version of Innovations Short Throw screen that’s display, the Hisense Laser TV’s color to 4.5 post calibration. Peak HDR Logan, the most recent entry in the included with the projector. reproduction capability only extends light output, meanwhile, measured X-Men film series, the Hisense’s to the Rec. 709 (HDTV) gamut. The 130 nits on a 10 percent picture displayed excellent HD/SDR set’s Gamma 1 setting provided the white window uniformity—the range AFTER calibration in Theater mode, closest match to HDR’s EOTF pattern (about 38 of gray tones in the the projector’s black level measured (Electro-Optical Transfer Function, ft-L), and it remained image showed little 0.020 ft-L and peak white 27.08 ft-L for a which is the specified “gamma” for consistent across a variation over the full contrast ratio of 1,354:1. An Advanced UHD), while its grayscale Delta E range of window expanse of the Picture Options menu provides vari- averaged out to 4.5 post-calibration. sizes plus full- 100-inch screen, and ous Active Contrast presets, but none Peak HDR light output in the Calibrated screen white. While contrast remained of these had any effect on picture HDR mode measured 130 nits on 130 nits is hardly solid even when contrast; instead, they appeared to alter a 10% white window pattern and sufficient to deliver viewed from a far picture gamma with negative results. remained consistent across a range a full-scale HDR off-center seat. I did Maximum light output was measured of window pattern sizes, along with experience, that notice a bit of banding at 31.76 ft-L with contrast set to full-screen white. measurement isn’t noise in streaks of light maximum in Vivid mode. PICTURE uniformity was excellent: unusual for a typical coming through the BEFORE calibration in Theater White full-field test patterns showed projector. ceiling of an aban- mode with Low color temperature only minimal brightness drops doned structure in a selected, the Laser TV displayed between the center and edges of the HD/SDR scene where Logan mostly good grayscale tracking, with screen, and there was no visible color Performance administers medi- the Delta Es averaging out to 3.2. shifting. Off-axis uniformity was also When I watched cation to Charles Calibration in the User mode improved excellent. Our suite of video proces- the Blu-ray Disc Xavier, but similar that average to 1.2, with a high of 1.8 sing tests revealed mostly good version of Pas- artifacts popped up at 10 percent brightness. (Delta E is performance, with the projector only sengers on the only rarely during the a figure of merit that indicates how tripping up on HD and SD 2:2 pulldown Laser TV in dark film. closely a display adheres to the Rec. patterns, a not uncommon result.—AG room lighting The dynamic visual 709 HD color standard. Experts conditions, the impact of the Laser generally agree that levels below 3 are picture displayed TV’s 100-inch screen visibly indistinguishable from perfect SPECS Dimensions excellent color really kicked in when I color tracking.) (WxHxD, Inches): 24 x 8.1 x 15.7 accuracy and good viewed a Blu-ray of WITH the Theater mode’s default • Weight (Pounds): 42 • Video contrast. Skintones Dunkirk, a movie settings active, the projector’s Inputs: HDMI (2, one ARC); VGA looked natural and that was shot using measured color points were somewhat computer • Audio Inputs: Minijack showed a decent a combination of inaccurate, with the Delta E averaging analog stereo (1) • Audio Outputs: level of variation, IMAX and 65mm out to 6.3. Post-calibration, the Delta E Optical digital, RCA analog stereo for color points averaged out to 2.3— • Other: LAN (1), USB Type A (2), a notable improvement. RS-232C (1) The remote has a •unique directional touchpad.

60 MAY 2018 soundandvision.com Connections include two HDMI •ports (one with ACR) and both Toslink and RCA audio outputs.

U-boat hits a British HDR, and forthcoming Amazon rescue ship, I noted good Alexa integration. Yet another feature contrast between the that makes the Hisense projector black ocean that the TV-like out of the box is its built-in soldiers dive into and the Harman Kardon audio system, which light from fires rippling is capable of delivering dynamic on the water. Here again, sound and clear, unstrained however, it wasn’t a dialogue. dramatic improvement Moving to the minus column, over watching the same though HDR-compatible, the Laser sequence minus HDR TV delivers only minimal extra vis- on regular Blu-ray. The ual impact when displaying HDR set’s inability to display content, and its color coverage only greater-than-Rec. 709 extends to the Rec. 709 (HDTV) color large-format film stock. Watching the episode, there was plenty of detail color was yet another factor that space. It exhibits occasional band- film’s opening scene, I saw a wide to be seen in the scaly hides of a pair contributed to its minimal wow factor ing noise artifacts, and its contrast range of subtle colors in the seaside of dueling Komodo dragons. The with HDR sources. ratio isn’t nearly as impressive as village where the British soldiers get streamed 4K image looked solid projectors designed for dim home shot at. When Tommy, the lone army and mostly noise-free, and it had Conclusion theater viewing environments, as well private from his group to escape the satisfactory brightness. Coming into this review as a movie as pricier UST projectors like Sony’s barrage, arrives at the shore where the Watching Ultra HD versions of the fan who strongly prefers viewing in VZ1000ES. rest of the army is desperately await- same Blu-ray Discs I had watched a room with little to no ambient light, Adding up the plus and minus ing rescue, the blue and green hues earlier, I also noted a boost in picture I’m inclined to be more critical of the points, I’d say that for many viewers of the ocean came across as vivid, yet detail, especially with Dunkirk. The Hisense Laser TV’s shortcomings the Hisense Laser TV would come completely natural. I did notice some addition of HDR didn’t seem to make than its strengths. But let’s look at out on top: It’s a very good option for banding noise in the clouds over the much of a difference, however. For both. In the strength column, the watching in a bright room, and it also ocean, especially in the aerial fight example, viewing a scene from Laser TV can claim excellent 4K performs well when you dim the lights scenes between the British and Passengers where the two premature detail and picture uniformity, along for movie time. The projector’s German planes, but it was mostly risers conclude their date by donning with spot-on post-calibration color preassembled screen, streaming limited to scenes that showed a vast spacesuits and floating outside the accuracy. Its picture is bright enough apps, and built-in audio system also expanse of sky. (Generally, banding ship, the blackness of space, and the to compete with daylight in a well-lit make it a complete out-of-box noise was more pronounced on shadows in the recesses of the ship’s room, and its contrast ratio is slightly solution, one that you could easily programs that were originally shot exterior, didn’t appear any deeper, above average when compared with install yourself. If you’re looking for on film.) and I only noted a slight boost in the competing solutions. It also offers the largest flat-screen TV possible Dunkirk also proved to be great brightness of highlights. In a night- the smart functionality viewers have and your budget maxes out at demo material for the Hisense’s time scene from Dunkirk where a come to expect from their TVs, with $10,000, you might want to consider sound system. In a scene where torpedo unleashed by a German apps that support 4K streaming and a Laser TV instead. German planes attack the beach, for instance, the detonations as a line of bombs aggressively made their way toward the camera perspective had a powerful bass impact. In another scene where German planes attack a mass of British soldiers lining a pier leading to a rescue ship, the scream- ing sound of planes descending, and the spray of bullets raining on the pier, was surprisingly immersive for a 2.1 system. Dialogue in this scene and others also sounded consistently clear and unstrained.

UHD/HDR Viewing When I streamed the BBC nature documentary Planet Earth II in 4K from Netflix, the boost in picture crispness delivered by Ultra HD on the Hisense’s screen was easy to appreciate from my 10-foot viewing distance. Watching the Islands

The Hisense Laser TV is a complete out-of-box solution. TEST REPORT Go Tubulr!

By David Vaughn

AT A GLANCE SVS PC-4000 Subwoofer Plus Q Outstanding bass PRICE $1,800 response Q Onboard parametric EQ Q Useful remote and smartphone app SVS HAS BEEN A STAPLE IN THE Q Uncommon form factor home theater industry for 20 years now, and I’ve been a proud owner of one of the company’s PC-Ultra Minus cylindrical subwoofers for the past Q 13-plus years. When I was Lacks auto-calibration Q introduced to the brand, I remember Uncommon form factor taking a lot of heat from my wife for puing a “scratching post” in our family room. When she heard it for Still, there are tradeoffs for gaining the first time, though, she realized some floor space with the PC-4000. that no cat in its right mind would Its rated output is slightly less than ever go near the beast! that of the PB-4000. The laer sub The majority of people seem to goes a few hertz deeper (according prefer their subwoofers to come in to the spec sheet, 3 Hz deeper in the shape of a box, not a vertical tube, Extended mode than the PC-4000’s for various reasons. On the other rated 16 Hz), and it provides a few hand, if floor space is an issue, a more decibels of output overall. cylinder (depending on its height) can provide similar cabinet volume in An Old Friend a smaller footprint. The PC-4000, As noted below, I now use multiple with a 13.5-inch driver, has a diameter subwoofers in my system. But I lived of 16.5 inches. But it’s just under 47 with a cylindrical model as my inches tall, so unless you hide it singular, primary sub for a long time. behind a potted tree, it won’t exactly In my room, the sweet spot for sub disappear into the room. placement is in the front le corner. The PC-4000 is among SVS’s This location provides the most recently released 4000 series output, due to room gain—and in subwoofers, which take some my case, the coverage is acceptably technology developed for the even. Unfortunately, there’s a PB16-Ultra and SB16-Ultra flagships I fireplace hearth that infringes on reviewed in late 2016 ($2,500 and that floor space, and geing a $2,000 respectively, February/March boxed sub in that particular corner is 2017 issue and soundandvision. impossible without unreasonable com). The PC-4000 has two room modifications. However, a box-shaped siblings, the sealed cylinder fits perfectly, with room to SB-4000 ($1,500) and the PB-4000 spare. ($1,900), which, like the PC-4000, is The PC-4000 arrived with the ported and houses the same shipping box looking like it had been hardware. The PB-4000’s footprint to hell and back. I was nervous to measures a considerable 20.5 crack it open, but the well-packed inches wide x 27.7 deep, and it sub had survived without a hint of weighs 60 percent more than the damage; SVS certainly knows how to PC-4000 (153 pounds versus package their wares for the long 92)—so moving the tube is much journey to a customer’s home. easier on the back! Although the sub is heavy, most of its

•An LED readout and control buons are located near the base of the unit.

62 MAY 2018 soundandvision.com THE VERDICT SUBWOOFER SVS PC-4000 Subwoofer If floor space is an issue but you still want SVS PC-4000 SUBWOOFER Performance subterranean bass response, the PC-4000 is PRICE: $1,800 Features the perfect choice. SVS • (877) 626-5623 • svsound.com Build Quality Value

the SPL (dB) boost or output below 20 Hz but less aenuation of the filter maximum output versus Standard band, and adjust the mode. If you seal all three ports, the bandwidth (Q factor) to response below 35 Hz is reduced in tailor the sub’s output to level, but the bass is a bit tighter and fit your particular room. more controlled. If I were using this Furthermore, there are sub for music only, sealed would be three user presets my preference. For movies, however, (Movie, Music, and it would be a toss-up between Custom) to save your Standard (more output) and seings for various Extended (deeper bass extension). listening scenarios. You Bear in mind that every mode works can select these from well with all types of content, so the app at the push of a which you choose is a maer of your buon. environment, preferred listening My reference system levels, and how you like your bass to has four subwoofers: sound. the SVS PC-Ultra, a 15-inch Hsu Research Ain’t That a Kick VTF-15H MK2, and dual Auditioning subwoofers is among weight is in the base, where the Sledge STA-1200D amplifier, rated at 10-inch JL Audio Fathom f110 my top things to do. (I’ve found, driver and amplifier reside, so 1,200 was RMS and providing more cabinets, all of which have been however, that my wife and dog don’t maneuvering it into that tight corner than 4,000 was peak power (cue painstakingly calibrated using a seem to appreciate deep-bass- was easy. Tim “The Tool Man” Taylor’s grunts). miniDSP along with the freeware pounding scenes played back at Compared with my vintage The amp has both balanced and soware Room EQ. For this review, I reference levels. I just don’t get it.) PC-Ultra, the PC-4000 has a fresh unbalanced inputs/outputs, a 3V-12V initially ran the PC-4000 by itself with Fortunately, there’s a plethora of look. First, the top ring is finished in a trigger input, and a detachable no equalization applied, but I movies offering demo-worthy piano gloss black, which is a nice grounded power cord. ultimately employed the Anthem moments that highlight a sub’s touch. Also, the fabric wrapping Room Correction (ARC) from my ability to dig deep and play loud. around the tube isn’t as fuzzy as that There’s an App for That AVM 60 pre/pro. Since my room is By far my favorite Michael Bay film of my reference sub, giving it a For the initial installation, there are treated, the before and aer graphs is 13 Hours, which tells the story of slimmer, more refined quality. The three options for seing up the were quite similar, but the room the survivors from the Benghazi PC-4000 comes standard with SVS’s various controls. Just above the SVS correction helped with a slight dip in aack. Whether or not you agree SoundPath Subwoofer Isolation logo near the base of the cylinder is the 35-Hz range. [Ed. Note: Readers with the movie’s subtle political System (reviewed on our website), an LED display, along with control should observe that our quasi- undertones, the Blu-ray is well worth accessory feet that I added buons. If you don’t want to bend anechoic measurements showed a watching for its kick-ass Dolby aermarket to my PC-Ultra. In my down, you can make all of the dip in output for the sub in this range Atmos soundtrack. Sure, the home, these amazing elastomer adjustments from the money seat that may have contributed, though it overhead effects are great, but the props provide a bit more punch to the using the IR remote (line of sight should be easily corrected with the bass response is what really sets it sound while removing room rale needed). Or beer yet, download the sub’s onboard EQ. See Test apart. The final assault on the CIA and bass bleed to the rest of the SVS app from the iTunes Store or Bench.—RS] annex has it all: gunshots, including house. Another design change Google Play and use your phone/ I performed all involves the cabinet’s base. The one tablet to connect to the sub via of my testing in on my older sub has a wood plinth Bluetooth. This is the most the sub’s approximately 2 inches below the convenient of the three options, Standard mode, woofer (with the feet aached to the since you don’t have to learn to but SVS provides boom of it). The PC-4000 lacks this, navigate the somewhat complicated port plugs that let so I’m curious to see how it will menu tree. you adjust the balance when siing on carpet. In addition to controlling volume, tuning to your The technical details are extremely the app lets you set the low-pass liking. Plugging impressive, highlighted by the new filter, phase, polarity, and room gain one port—and 4000 series driver, which is a beast. compensation (a much-needed changing a Besides its 13.5-inch diameter, it feature for rooms where the lowest parameter in the weighs 49.6 pounds, and it features frequencies are exaggerated), and it SVS app—places an eight-layer aluminum flat-wire even includes a parametric EQ (PEQ). the sub in edge-wound 3-inch voice coil, along PEQs are handy because they let you Extended mode. with two stacked ferrite magnets. set the desired frequency of the filter This means it will Powering this impressive woofer is a (20 to 200 Hz), increase or decrease have greater

If floor space is an issue, a cylinder can provide a smaller footprint. •SoundPath Isolation feet come standard.

soundandvision.com 63 TEST REPORT

See soundandvision.com/ Refined cosmetic touches With the SVS app (iOS and ON THE TestBench for full lab results and •include a piano gloss black top • WEB Android), your tablet or phone can technical definitions. ring and a sleek fabric wrap. operate the PC-4000 via Bluetooth. Test Bench SVS PC-4000 Subwoofer

Two Are Better Than One As you can tell, I really like the PC-4000. Of course, it’s about 8 inches taller than my reference subwoofer—and with the upgraded PC-4000 (blue) Close-miked response in Extended mode, two ports internals, its output is greater, and it open, normalized to level @ 80 Hz: lower –3 dB @ 17 Hz, –6 dB @ 15 Hz, can dig deeper. This was particularly upper –3 dB @ 190 Hz with Crossover set to Off. noticeable on tracks that dip below Please note: Response is –5.05 dB @ 39 Hz, making the crossover and 18 Hz—bass that’s felt, not heard. level seings required for proper integration tricky at best. There are And seing up this sub is much internal EQ adjustments provided to flaen the response in your room, easier, given its remote and its handy and they should be utilized.—MJP phone/tablet app. My only gripe is that I wish SVS would have supplied a mic and SPECS scores, including excerpts from soware (or app) to allow use of the 13.5 in paper-composite cone woofer (1); Class D Gladiator, Inception, and the Pirates of built-in PEQ without having to tap a amplifier, 1,200 was (4,000 was peak); stereo RCA input/passthrough, the Caribbean series. “What Are You third-party soware solution or to stereo XLR input/passthrough; 47 x 16.5 in (H x dia), 92.4 lb Going to Do When You Are Not manually build your own curves with Saving the World?” from Man of Steel the assistance of an SPL meter and a is one of the best tracks on the disc, spreadsheet. Granted, this would add both small arms and pulsating It’s the story of a true American hero as it engages the full orchestra, to the cost, and it may not be neces- 50-caliber weapons, and mortar who put his life in harm’s way to save especially the bass section. The sary for many users, given how good rounds, which generate the most 75 men in World War II during the PC-4000 mated the room correction bass response. The PC-4000 met Bale of Okinawa, while never perfectly with my soware is in most every expectation I had for this carrying a firearm, due to his religious M&K Sound S-150 AVRs these days. movie. I could not only hear the beliefs. Before his company’s initial satellite system as That nitpick aside, impact of the bass but also feel it as foray, baleships off the coast launch the Blu-ray dipped this is one fantastic the subterranean sound shook my a barrage of shells from their massive below 80 Hz. subwoofer, and if room on its raised foundation. 16-inch guns in order to soen up the Zimmer loves his floor space is an Hearing a 50-caliber machine gun is well-fortified Japanese units. Once drums, cellos, and issue for your system, impressive enough, but feeling every again, the PC-4000 flexed its muscles bass, so a sub- it’s well worth audi- shot as if you were there is what with deep, pounding bass response. woofer that’s up to tioning using SVS’s makes watching movies in a capable Every cannon blast hit with such force the task is a must- 45-day in-home trial. home theater truly special. The that I could literally feel the impact in have. The bass Beer yet, get two to pounding mortars were icing on the my chest. Man, I love bass! response here was enjoy effortless- cake. Hans Zimmer: Live in Prague is the taut; drum notes sounding output and Keeping the bale theme alive, I newest addition to my Blu-ray library, didn’t linger, and more even coverage watched the Ultra HD Blu-ray of and its bass-infused Dolby Atmos mix their natural reso- in your listening Hacksaw Ridge, which was my is outstanding. The concert features nance was repro- environment. Highly personal pick for Best Picture of 2016. various selections from his movie duced faithfully. recommended.

SVS includes a The SVS PC-4000 is well worth auditioning. •small IR remote.

64 MAY 2018 soundandvision.com September 4-8, 2018 San Diego, CA

20,000 home tech pros. 500+ exhibitors. The event that’s making smart homes genius. Live life connected.

Save 66% on Expo only pricing when you register before May 4. Get your badge for $100!

Registration Opens mid April 2018. Learn more and Register at CEDIAExpo.com PTEST REPORTower Plus

By Al Griffin

AT A GLANCE Parasound Halo A 52+ Amplifier Plus Q Ample power for all PRICE have a silver option.) Still, the slightly $2,995 channels that was left in 2012 when Parasound curved, anodized front panel lends it Q Dynamic sound discontinued the $2,500 A 52. Since a degree of flair. Optional brackets Q WHILE ATTENDING THE 2017 that time, anyone looking for a five- are available for rack mounting. The Affordable CEDIA Expo in San Diego, I channel amp from the company power button is located at the lower happened upon a small European had to step up to the A 51, a $4,795 left, and there’s a row of five blue Minus audio electronics manufacturer model that, at 250 watts per chan- LEDs, which light up when the that was showing a prototype nel, is more than is needed in many amp is turned on and operating Q Signal-sensing power-on five-channel amplifier. When I asked systems. properly. The rear panel provides mode can be fussy why the company was planning to You don’t get a plus sign after your both gold-plated unbalanced RCA release a multichannel amp after name for nothing, and the Halo A 52+ inputs and balanced XLR inputs for many years of making stereo-only earns that distinction by delivering a all five channels. Speaker outputs components included an Anthem gear, I was told matter-of-factly specified 180 watts to each of its are gold-plated five-way binding AVM 50v preamp/processor and that home theater was “making five channels (all channels driven, post connectors. A set of controls an Oppo UDP-203 Ultra HD Blu- a comeback.” A comeback? To continuous, into 8 ohms), compared located above the main on/off ray player. I also spent some time me, home theater had never gone with the 125 watts per channel of its switch and IEC power cord jack listening to music in a two-channel anywhere, so I found the response predecessor. The new amp also offer a variety of power-on options, system with the A 52+ driving a pair surprising. features a larger toroidal transformer including manual, Automatically- of MartinLogan Motion 20 tower It was only later in the discussion to facilitate the boost in power. 12V trigger, and Automatically- speakers. that the deeper meaning of the According to Parasound, multiple Audio. For that last mode, a trim It took some time playing with statement became clear: Home secondary windings within the control lets you dial in a threshold a number of Automatically-Audio theater is making a comeback at the transformer provide each channel level for incoming audio signals to turn-on settings to find one that entry level. By “entry level,” I don’t with an independent power supply, automatically turn on the amp. After would reliably power up the amp. mean $200 soundbars. Instead, which lets the amp easily meet 8 minutes with no input signal above Eventually, I fixed on one near the the growth of Netflix, Amazon, and performance requirements under a that threshold, the amp then auto- side of the dial, labeled Quieter, Vudu is fueling interest in afford- range of conditions. As always, see matically turns off. which let it turn on consistently from able, high-quality audio gear. our Test Bench for measurements. a moderate volume. Once it’s on, How? Streaming services are giving The input stage uses discrete Setting Up the color of the blue LED behind people who maybe wouldn’t have JFETs arranged in a differential I carried out most of my testing the power button changes briefly partaken in the past an opportunity configuration to reduce noise. The of the A 52+ in my home theater to red as the amp’s internal circuits to experience surround sound. driver stage has a matched pair of with the amp driving a GoldenEar stabilize. After that’s complete (the They might not own a collection of MOSFETs, which Parasound says Technology system comprising process takes a few seconds to Blu-rays, but by simply streaming, were “selected for their tube-like Triton Two powered towers for the come out of protection mode), the they now have access to loads of sonic qualities,” while three pair of front left/right channels, a SuperSat five blue channel-indicator LEDs movies with 5.1 soundtracks, and 15-ampere bipolar transistors are 50c for the center, and Triton Five light up, and the amp is ready for even some with Dolby Atmos or employed for each channel’s output towers for the surrounds. Other action. DTS:X mixes. stage. According to the company, the Parasound may have been input and driver stages operate in thinking along these lines when they pure Class A mode, and the output engaged the well-known amplifier stage is Class A/AB. designer John Curl to create their Parasound opted to give the new five-channel amp, the Halo A 52+ a basic, black look. (Unlike A 52+ ($2,995). It fills the hole other products in the Halo line, it doesn’t

• The sizeable Parasound A 52+ measures 20 inches deep.

66 MAY 2018 soundandvision.com THE VERDICT AMPLIFIER Parasound Halo A 52+ Amplifier Parasound’s new five-channel amplifier PARASOUND HALO A 52+ AMPLIFIER Performance is a versatile performer, delivering clean PRICE: $2,995 Features power with ample headroom for both Parasound • parasound.com Ergonomics Value movies and music. Test Bench Parasound Halo A 52+ Amplifier

Performance up the intense dynamic contrasts in a Getting the chance to see manner that literally caused me to sit Christopher Nolan’s World War II film up straight on my couch. Dunkirk in my local IMAX theater Multichannel music was also was a visual treat. But I found the handled well by the Parasound. soundtrack to be just as engaging, When I played “Hey Boy Hey Girl” mostly due to Hans Zimmer’s score, from the Chemical Brothers’ live which is equal parts stirring and performance Blu-ray, Don’t Think, unsettling. At home, I cued up the the beats sounded tight and had a film on Ultra HD Blu-ray in DTS-HD powerful envelope. The squelchy Master Audio 5.1. In a scene where synths displayed a solid trajectory as a British rescue ship is torpedoed they drifted from the front to the rear THIS graph shows the A52+’s CH1 amplifier channel, with two channels by a German U-boat, the resulting of the room, and there was a vivid driving 8-ohm loads. Measurements for THD+noise, crosstalk, signal- explosion—and the sound of water sense of being surrounded by a to-noise ratio, and analog/digital frequency response were all within sloshing from front to rear and back cheering festival crowd. I also heard expected performance parameters. Full details available at soundand- again as the interior cabin floods— impressive dynamics in the buildups vision.com.—MJP ripped across my room, calling all and drops where the song would 0.1% THD 1.0% THD channels into action. The amp’s climax, cut to silence, and then immersive rendering of the puls- aggressively lurch back into a beat. Two Channels Continuously Driven, 8-Ohm Loads 210.2 was 279.9 was ing electronic noise in this scene Moving the A 52+ over to my Two Channels Continuously Driven, 4-Ohm Loads 384.2 was 429.4 was also helped convey the sense of stereo system with the MartinLogans, Five Channels Continuously Driven, 8-Ohm Loads 172.1 was 203.8 was desperation. I listened to a Tidal stream of The Parasound’s ability to “Guinnevere” by Crosby, Stills & Nash. SPECS Power Output: 5 x 180 was (8 ohms), all chan- effortlessly unleash its reserves The vocals came across as intricately nels driven; 5 x 255 was (4 ohms); 0.05% THD, RMS continuous served it well in another scene from layered, and the acoustic guitars had power, 20 Hz to 20 kHz • Dimensions (WxHxD, Inches): 17.25 x 5.9 Dunkirk, where British Spitfires a clean, upfront quality. Although x 20 • Weight (Pounds): 55 • Audio Inputs: Gold-plated RCA (5, engage in an intense aerial battle there was some warmth to the mid- single-ended), balanced XLR (5) • Audio Outputs: Five-way binding with German fighter planes. In this range, I wouldn’t say the sound was posts (5 pair) • Additional: 12-volt trigger input and loop output sequence—yet another where the tube-like, whatever Parasound meant film’s soundtrack blends music and by that. I mainly heard excellent clarity effects—eerie layers of strings are and image depth. track shine: “Good on the by my reference amp on this track, but punctuated by loud blasts of fire from The control and immediacy Ground” by the Vijay Iyer overall I was impressed by the bass the planes’ guns. The A 52+ served of the A 52+ made another Sextet. In this freeform control I heard with most music. jazz cut, the saxophone and piano struggle for Conclusion dominance over a Listening with the Halo A 52+ in my driving layer of standup system was a pleasure. Parasound’s bass and drums. When I new five-channel amp delivers clear, listened with the Parasound dynamic sound and has plenty of and MartinLogan combination, headroom to handle the explo- all instruments were distinctly sive effects in movie soundtracks. conveyed, and the drums in Stereo and multichannel music also particular had a muscular pre- sounded great with the A 52+, mak- sentation. The standup bass ing it a versatile all-around performer seemed a bit softened in attack for entry-level and advanced home compared with the sound put out theaters alike.

Unlike other Halo models, •the A 52+ is only available in basic black, not silver.

soundandvision.com 67 E Rntertinment

eviews in High Definition RATINGS Good Excellent Reference Poor Fair PICTURE UHD BLU-RAY 3D-NESS SOUND Terminator 2: Judgment Day EXTRAS

Backgrounds oen display an unpleasant twitch, while smooth surfaces such as big, oily muscles can take on a mushy, artiicial look. hat a perfectionist like Cameron approved this new edition is surprising. he implementation of HDR enhances the 2.4:1 image somewhat, the bright elements in nighttime scenes showing noticeably more pop. Colors are strong throughout. he 4K disc carries the theatrical cut only, while the Blu-ray ofers that plus the Special Edition Version (Sarah’s full dream sequence!) as well as the Extended Special Edition Version (the future coda!). hese reinstated scenes have not been restored, and so the transitions are somewhat jarring. Curiously, a German DTS-HD Master Audio 7.1 track is supplied, but English (and French) are 5.1 channels. he English track doesn’t disappoint, how- ever, with tremendous, controlled bass for the meaty explosions, Arnold’s throaty Harley Fat Boy, and everything

Lionsgate in between. Voices and the minutest cues have outstanding clarity and ine reso- B K T T nance when needed, celebrating the etter illing hrough echnology creativity of the sound efects. (his soundtrack won Oscars for both Sound It’s time to remind everyone what a big deal Terminator 2: call attention to the much-touted and Sound Efects Editing.) Brad Fiedel’s Judgment Day still is. he action/adventure genre under- 3D conversion bankrolled by musical score feels more evident in this went a serious evolution in the ’80s, and by 1991, to be StudioCanal and released in mix, while the canal chase remains a taken seriously, T2 had to be bigger and better than theaters last year. Vexingly, no surround home run. anything that had come before. home 3D version is available, but All of the extras reside on the Blu-ray. And it was. a new 4K master was created, and he T2 laserdisc was once a landmark Filmmaker James Cameron’s budgets have the results are good but could for supplemental materials, and among grown exponentially, and this sequel was have been better. Adam Green- the ported content here are a making-of staggering in its scope and complexity. berg’s crisply focused, Oscar- and two commentary tracks: Cameron Building upon the computer-generated nominated cinematography is a with co-writer William Wisher plus imagery pioneered for he Abyss, he was ine it for 2160p, highlighting a cast/crew jam with 23 participants. able to tell the story of a relentless liquid individual hairs and threads and Matthew Field’s 54-minute documentary metal assassin sent from the future to end pores, even the increasing accum- “T2: Reprogramming the Terminator” all of mankind by killing the boy who would ulation of dirt on Arnie’s leather is an excellent new bonus, its exclusive grow up to be our last hope. With only jacket. Many stark close-ups serve interviews bringing a perspective that his bad-ass mother Sarah Connor (Linda BLU-RAY to ground this fantastic story in was simply not possible before now. he STUDIO: Hamilton) and last-year’s-model über-robot Lionsgate, 1991 humanity. he movie was shot in Digital Copy is the theatrical cut only, in ASPECT RATIO: 2.40:1 (Arnold Schwarzenegger) standing between AUDIO FORMAT: DTS-HD Master the Super 35 ilm format and so HD, with no extras. him and certain doom for us all, Judgment Audio 5.1 should have a distinctive grain Judgment Day (8/29/97) may have Day blended science-iction and action in a LENGTH: 137/153/156 mins. structure, but that appears to have come and gone, but Judgment Day’s MPAA RATING: uniquely thrilling way. R/Unrated been purged by overzealous inluence can still be felt across modern- DIRECTOR: James Cameron O Text bookends the feature presentation to STARRING: Arnold Schwarzenegger, digital video noise reduction. day blockbusters. Chris Chiarella Linda Hamilton, Edward Furlong soundandvision.com Not like me. A T-1000, advanced prototype.”

68 MAY 2018 soundandvision.com UHD BLU-RAY

AMERICAN MADE DUNKIRK FLYING HIGH AGAIN Universal ON THE BEACH Warner

he dramedy action ilm American Made from director Less than three weeks aer the Germans invaded France Doug Liman (Swingers, Edge of Tomorrow) is based on in May 1940, the British Expeditionary Force found the true story of airline pilot Barry Seal (played here by themselves backed up against the English Channel. he Tom Cruise), who in the late 1970s was recruited by the evacuation that followed sought to rescue over 300,000 CIA to become a drug runner for the Medellin cartel in Central British and French troops using a combination of British warships and America. Seal eventually became a key igure in what would turn hundreds of “little boats.” out to be one of the biggest political scandals in the following decade, No one expected this efort, dubbed Operation Dynamo, to succeed. the Iran-Contra “gate.” While this might sound like heavy material, But it did, and the remarkable events from late May to early June 1940 American Made is far from a heavy ilm. Liman and screenwriter Gary are brilliantly re-created in Dunkirk, one of the best ilms of 2017. Spinelli infuse the story with a major dose of comedy, giving it more Director Christopher Nolan’s approach, to blend three diferent time of a “Big Short with action” feel. Cruise slides right into the role of lines for the action on the beach, in the air, and at sea is a bit confusing rapscallion Seal with charisma to spare, while Liman’s direction is taut at irst, particularly when the scene shis abruptly from day to night and quick-paced throughout. and back. he actual evacuation took nine days. If you just go with the American Made was shot in 2.8K resolution on various Arri digital low, however, it isn’t diicult to follow. I could also quibble a bit about a cameras and arrives on 4K Ultra HD in an HEVC 2160p encodement few technical details here and there. But that’s beside the point; Dunkirk framed at 1.85:1 with HDR10 high dynamic range. he overall image is truer to actual events than are most historical ilms. could easily pass as being shot on ilm thanks to what are apparently he movie was shot with large-format cameras (including Panavision some excellent ilm grain efects added in post-processing. he and IMAX) on ilm (not digitally). As in the theater, the aspect ratio implementation of HDR on this ilm is the irst I’ve seen that’s geared on this video release alternates between 2.2:1 and 1.78:1—though it’s more toward playing up the vividness of the color palette than the pop mostly in the latter. he 4K image is nearly impeccable though just a of the highlights, and there are only a few moments when the latter hair short of reference quality. he colors are oen subtle and intention- comes into play. Compared with the also-excellent Blu-ray, the colors ally subdued, apart from occasionally too-rosy leshtones (as viewed on here are almost psychedelic, itting for a ilm that starts out in 1978. two diferent displays and both the HD and Ultra HD versions), and the American Made gets a pretty solid DTS:X immersive mix on 4K 4K resolution was hard to fault. he blacks are rich, and while the HDR Ultra HD. It’s not as aggressive as some other mixes, but it’s full of isn’t particularly dramatic, it was used efectively on bright highlights, atmosphere. he overhead channels are used judiciously to help with particularly in the darkest scenes. the sound of airplanes lying overhead, and they spread out the sound he DTS-HD Master Audio 5.1 sound will knock you of your chair. of the period musical track. Low end is Be careful in the opening sequence; the ilm begins so quietly that beefy, while dialogue comes through plainly. you’ll be tempted to turn up the volume— American Made isn’t overlowing with until the irst gunshots tear through your must-see special features, but there are a speakers and hit you in the gut. he roar of few that are entertaining, all located on the aircra engines, the crack of their guns, and Blu-ray Disc. Top of the list is “he Real Hans Zimmer’s relentless score also ratchet Barry Seal,” in which Seal’s son reminisces up the tension from beginning to end. about life with his father while old family he reference-quality extras are all in photos and movies meander by. here superb HD on a separate Blu-ray. While are also six deleted scenes with optional they can be watched as a selection of commentary. Universal packs this set with outstanding making-of shorts covering a Movies Anywhere Digital Copy, allowing BLU-RAY everything from the special efects to the you to watch the ilm digitally on practic- STUDIO: Universal, 2017 BLU-RAY score, they’re best when viewed in a single ASPECT RATIO: STUDIO: ally any device across multiple providers, 1.85:1 Warner Bros., 2017 sitting. But be sure you have the time; AUDIO FORMAT: DTS:X ASPECT RATIO: 1.78:1 and 2.2:1 including Vudu, Google Play, Amazon, LENGTH: 115 mins. AUDIO FORMAT: DTS-HD Master they run a total of nearly two hours— iTunes, Fandango, and the Movies MPAA RATING: R Audio 5.1 longer than the ilm itself! Anywhere service itself. DIRECTOR: Doug Liman LENGTH: 106 mins. OThomas J. Norton STARRING: MPAA RATING: OBrandon A. DuHamel Tom Cruise, Domhnall PG-13 Gleeson, Sarah Wright DIRECTOR: Christopher Nolan STARRING: Fionn Whitehead, Barry Keoghan, Mark Rylance soundandvision.com

soundandvision.com 69 UHD BLU-RAY

WESTWORLD SEASON ONE – SPIDER-MAN: HOMECOMING THE MAZE ONLY ONE THING BUGS ME... Sony DEAD OR ALIVE Warner

Following his introduction to Marvel’s well-established In a not too distant future, the wealthy plunk down “Cinematic Universe” in Captain America: Civil War, the big bucks to enter Westworld, a Disneyland for adults beloved Spider-Man has been fully rebooted (again) in populated by “hosts”—human-like A.I. androids capable the wildly enjoyable Homecoming. Decked out in a new of fulilling their every desire. With a cast of A-list names high-tech costume, he’s eager for big adventures, but until then, he such as Evan Rachel Wood, Anthony Hopkins, Jefrey Wright, and Ed occupies himself as a local do-gooder in his Queens neighborhood— Harris, this psychological, character-driven drama series goes beyond when not attending high school. Young star Tom Holland is a perfect the gimmickry of its 1973 original to ofer up a well-craed exploration it for Peter Parker and his alter ego, an agile dancer/athlete with an of what it means to be human as well as the blurred lines between good irresistible wide-eyed enthusiasm. and evil and past and present. Could it be a replacement for Game of A ruthless criminal is selling devastating weapons, however, built hrones? Only time will tell. from the scraps le by the invading Chitauri in he Avengers, and only Westworld is the irst TV series to get a 4K Ultra HD release, and Spider-Man is willing to stop him. And that’s my sole gripe: Iron-clad oddly enough it’s also one of the dwindling number of series to be shot genius Tony Stark is Spidey’s mentor, but a lousy one, dismissing deadly on ilm. he Super 35 (3-perf) production was done on various Arri serious reports of major criminal activity and leaving this green teen to cameras with a 2K DI utilized in post-production. his 4K release from go it alone. And so a true hero is born. Warner arrives in a 1.78:1-framed 2160p (4K) HEVC encodement with At 4K, the limits of some of the generally great special efects begin to Dolby Vision. he results are varied. he image can look grainy, but strain, but for the most part, the CGI Spider-Guy is virtually indistin- there are some moments where detail on faces smoothes almost as if guishable from the real thing, right down to the almost suedey look of heavy-handed DNR has been applied. he pop in highlights of the the red-and-blue tights. he minuscule readouts of his heads-up display indoor control center is excellent, but the outdoor setting lacks the are insanely sharp. here’s some rare strobing in fast action, and I noted stunning color variations we’ve become used to with the wide color just one instance of some wonky stripes. Homecoming is Sony’s irst gamut on HDR releases. here are also issues with black crush. he live-action movie with Dolby Vision high dynamic range. I watched Man in Black and Dr. Ford sufer the most, their suits oen dissolving in HDR10 and found the wide color gamut to be rich and inviting into amorphous blobs. he included Blu-ray, while not as crisp in detail, throughout, while the glowy alien artifacts were distinctly more so here. provides a more consistent viewing experience. Available separately, a Blu-ray of the quite-good 3D conversion is he Dolby Atmos (compatible with TrueHD 7.1) soundtrack for highlighted by the Washington Monument rescue sequence. Westworld is atmospheric with a few moments of aggressive mixing and I tuned to the Dolby TrueHD mix lurking within the Ultra discrete, solid efects in surrounds and HD-exclusive Dolby Atmos track (the heights. his mix works well for this bundled Blu-ray is DTS-HD Master Audio material even though it isn’t as enguling as 5.1) and was promptly struck by the ine use some of the other mixes we’ve had from of subtle of-camera cues. Focused bass HBO’s lagship series Game of hrones. It adds genuine menace to the otherworldly provides clean dialogue and wide efects. weapons. Dialogue is clear, with an From the opening title sequence, you can interesting array of tones, such as the hear that the piano has more height and distinctive character of the Spider-suit’s width than in its DTS-HD Master Audio 7.1 built-in digital assistant, voiced by a Blu-ray counterpart. melliluous Jennifer Connelly. Packaged in a limited-edition tin, this Superb but infrequent optional trivia/ BLU-RAY set is brimming with features. here’s the insight pop-ups enhance repeat viewings, BLU-RAY STUDIO: Warner Bros., 2017 excellent “Craing the Narrative,” in which ASPECT RATIO: while a gag reel and a mixed bag of fea- STUDIO: Sony, 2017 1.78:1 executive producers Jonathan Nolan and ASPECT RATIO: 2.39:1 AUDIO FORMAT: Dolby Atmos turettes can be found over on the Blu-ray. AUDIO FORMAT: Dolby Atmos / (Compatible w Dolby TrueHD Lisa Joy provide commentary on the inal he deleted/extended scenes are must- TrueHD 7.1 core 5.1/7.1) episode; “Reality of A.I.,” where cast and see, although many memorable moments LENGTH: 133 mins. LENGTH: 619 mins. crew ofer thoughts on the existential threats MPAA RATING: glimpsed in the trailers are still notably MPAA RATING: PG-13 TV-MA of A.I.; and more. An UltraViolet Digital DIRECTOR: Jon Watts DIRECTORS: Jonathan Nolan, absent. A 4K UltraViolet Digital Copy is STARRING: Tom Holland, Michael Lisa Joy Copy and Blu-ray also tag along. also included. OChris Chiarella Keaton, Marisa Tomei STARRING: Evan Rachel Wood, OBrandon A. DuHamel Jeffrey Wright, Ed Harris soundandvision.com

70 MAY 2018 soundandvision.com ENTERTAINMENT MOVIES

KINGSMAN: THE GOLDEN CIRCLE YOUNG MR. LINCOLN KENTUCKY-FRIED BRITON Fox PRINT THE LEGEND Criterion Collection

England’s super-secret civilian intelligence agency, Young Mr. Lincoln is a biography that avoids dramatizing Kingsman, is dealt a devastating blow by a myster- any major achievements or historical events that make up ious new enemy. It’s been one year since ballsy-yet- a person’s destiny. Instead, they are alluded to by visual compassionate Eggsy (Taron Egerton) and his crew saved metaphor, audio clues, or pieces of Civil War music. At a the world from an eccentric criminal mastermind, but with their local fair, we see Lincoln judging a pie contest, having to choose resources and personnel all but eliminated, they must now seek the help between a Georgia peach and an American apple pie, winning a log- of Statesman, their American counterpart. Together, this unlikely team splitting competition by dividing the body in two, and helping a tug- travels the globe to uncover the truth behind the recent attack, as well as of-war team succeed by hitching their end of the rope to a wagon; all the details of another ruthless plot that could soon kill millions. subtly stand in for Lincoln’s moral struggles with slavery, justice and Working from his own script (with Jane Goldman), director rule of law, and the coming Civil War. he central story involves him, as Matthew Vaughn spins a story that’s bloody, funny, and full of surprises, a young lawyer, irst saving from a lynch mob two brothers accused of although possibly a bit too long. he cast is crammed with Oscar murder and then defending them in court, trying to avoid sacriicing winners, so there are a great many characters and subplots, some of one to prevent the death of both. Even personal experiences, such as which remain underdeveloped as a consequence. he action set pieces, loss of family that helps create the melancholy that pervades, aren’t however, are both plentiful and ambitiously executed, an entertaining shown but only talked of or, in the case of his irst love, Ann Rutledge, blend of credible peril and exaggerated, almost superhuman heroics to presented through a poetic scene at her graveside. Yet the ilm gets meet it head on. across the whole life, personality, and times of the future great president. Fox’s Ultra HD disc is simply gorgeous. he 4K, 2.39:1 image displays his new digital restoration was done from a 4K scan of an original outstanding depth of focus, most demonstrably in early scenes as we 35mm nitrate print and, in damaged sections, a ine grain safety print. peer down the London streets. he Golden Circle has a rich color palette he resulting high-def black-and-white transfer is free of all scratches, throughout: Eggsy’s orange tuxedo is appropriately eye-catching. Blacks fading, and other wear and tear of time. Contrast is perfect, with are deep and solid without any unpleasant video harshness despite the deepest blacks to Lincoln’s frock coat, boots, and top hat, bright whites movie’s digital origins. A variety of complex visual efects is employed in shirts and snow, and a beautiful sea of grays. Detail is plentiful rather aggressively, and HDR10 adds extra punch to the already throughout, even in shadows, with grass, grain in the ever-present impressive picture. fences, and texture in surfaces of rivers all tactile, along with patterns in he Dolby Atmos soundtrack is reined as well as formidable. (his corduroys, tweeds, and ine lace all visible. review discusses the Dolby TrueHD 7.1 at its core.) Phasing between he uncompressed monaural soundtrack taken from 35mm the speakers is smooth and realistic, a challenge considering the shiing magnetic tracks has had all clicks, hiss, and assorted audio issues camera angles during frenetic action repaired and rebalanced. Music and sequences. Subtle room tone is preserved, dialogue are exceedingly full, vibrant, and the presentation of the music beneits from clear so that during courtroom scenes a thoughtful mix, and many small cues are silences resound as much as the marvelous, meticulously placed in the surrounds. Bass homespun-wisdom speeches. is sharp and efective but never over the top. A new commentary by scholar Joseph For those seeking a sonic alternative, the McBride analyses the ilm with knowledge Blu-ray ofers DTS-HD Master Audio 7.1. and insight. An episode of the British TV All of this set’s extras can be found on show, Omnibus, has Lindsay Anderson that Blu-ray, chief among them “Kingsman: examining fellow director John Ford’s pre– Inside the Golden Circle,” a two-hour World War II work, career, and personality program covering just about every facet BLU-RAY BLU-RAY with informative intelligence illustrated STUDIO: of the production. here’s also a separate Fox, 2017 STUDIO: The Criterion Collection, with plentiful clips. here’s also a talk show ASPECT RATIO: 2.39:1 1939 featurette speciically about the opening AUDIO FORMAT: Dolby Atmos / ASPECT RATIO: 1.37:1 appearance by Henry Fonda, audio inter- car chase/ight scene, plus a still gallery of TrueHD 7.1 core AUDIO: Linear PCM mono views with him and Ford, and a radio photos and artwork. A Digital Copy is also LENGTH: 141 mins. LENGTH: 100 mins. dramatization of the ilm. All are entertain- MPAA RATING: supplied, compatible with the new Movies R MPAA RATING: R ing, adding to a wonderful experiencing of DIRECTOR: Matthew Vaughn DIRECTOR: OChris Chiarella John Ford OJosef Krebs Anywhere service. STARRING: Taron Egerton, Colin STARRING: Henry Fonda, Kenneth a masterpiece of cinema. Firth, Jeff Bridges Macgowan, Alice Brady soundandvision.com

soundandvision.com 71 Courtesy Legacy Recordings soundandvision.com ENTERTAINMENT Project. mid-’70s,hiscollectivein the work wasdubbed heAlan Parsons Ambrosia—inally ventured out on hisown asatitular recording artist likesthe of Pink Floyd, heBeatles, heHollies, AlStewart, Pilot, and producer and enviable engineer whose behind-the-board C.V. includes It’s quite itting that Alan when Parsons—the well-respected English Michael Jordan–era Chicago Bulls—but Icosmically digress. its international sports-arena ubiquity—most notably stateside viathe upliing, rif-driven instrumental “Sirius,” iseven better known given APPthe canon. Some, however, may argue album’s the track, the lead as sung by Woolfson, haslong most the sincebecome popular track in and reverence for religious-deity oversight. heever-sparkling title track, of sense the paranoia surrounding of ideas the clandestine surveillance mid-road pop sensibilities, not to mention penchant their for capturing intersection of Parsons’ progressive production leanings and Woolfson’s goes forward.goes humming ensuing the and melody illing blanks lyrical inthe ashe aroundlyrics hisrepetition of key the “I phrase can read your mind,” It’s fascinating truly to hear Woolfson piano the behind and building four “songwriting diaries” chronicling evolution the of title the track. family members. hey’re choices allwise indeed, especially irst the of Woolfson’s curtain the behind process, songwriting aschosen by his among its supremely contents. rich an of-era promo and lexidisc, an extensive 60-page hardback book CDs, one Blu-ray, two half-speed-mastered LPs at 45rpm, areplica of a mondo anniversary edition 35th special consisting box set, of three albums into partnership the with 1982’s will for whatever asong mood required. golden-throatedhigh-caliber vocalists whom could from they cull at such awidenetinstocking themselves with of deepbench atruly and Woolfson away passed (who 2009)were inDecember able to cast deinitely on born atwo-way street. pre-existing weight, but group’s the overall sonic presentation wasmost mainly Parsons’ because résumé quite carried afair amount of Woolfson.songwriter Eric heAPP collective’s the became name push-pull partnership between Parsons (above le)and Scottish of amisnomer, ashe Alan Parsons Project wasreally deinedasa 72 MAY 2018 Actually, using Either way, quite the prescient Disc 1holds sixadditionalDisc 2isa47-minute Disc cuts, while peek he pinnacle of APP the pyramid came ahalf-dozen theme-oriented One of deining the tenets of APP the washow shrewdly Parsons THE EYE

IN ALAN soundandvision.com

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ANNIVERSARY , an almost perfect , an almost perfect

vocal/lyrical showcase, “Silence and I,” drama indshigh thanks to an throbbing guitar backline. loadinthe the Woolfson’s rifage carrying programmed synth front linesinthe channels and swelling strings and proceedings infull-channel glory, its signature opening Fairlight- music.”cinema, not modern AndIhavethem. center the belief airm channel hasits roots inthe consumersaid, “he pays for hemight sixspeakers, so aswell hear in2006,IaskedBack Parsons about his5.1mixing philosophy and he Dream/he Raven” isapersonal favorite of 5.1-mixsequence mine.) of breadth Imagination and Mystery of APP’s the 1976debut, recent anniversary 40th edition treatment, aswell aswith more the getting invigorating respective 5.1 On Air latter-era albums solo such as2001’s proponent of surround sound, with Blu-ray. Parsons haslong a been round mixdone by Parsons on MasterDTS-HD Audio 5.1sur- most excitedly to 96-kHz/24-bit the COLLECTOR PRODUCERS: 2 LPs, 16:18on1Flexidisc) CDs, 42:27on1Blu-ray, 42:27on LENGTH: 4 on1Flexidisc) CDs, 10on1Blu-ray, 10on2LPs, NUMBER OFTRACKS: Surround (Blu-ray) Master Audio5.1&LPCM (Blu-ray), DTS-HD 96-kHz/24-bit 192-kHz/24-bit LPCMStereo PCM Stereo (CD, LP&download), AUDIO FORMATS: LABEL: CD, BLU-RAY &LP mastering) mastering) mastering); MilesShowell (vinyl Dave Donnelly(bonusmaterial Tony Richards (originalalbum); ENGINEERS: Salmieri (box set) Sally Woolfson, Colin Rice, Darren Parsons (5.1mix);AlanParsons, Woolfson (originalalbum);Alan Parsons stays to his5.1word true here, with “Sirius” opening the Naturally, our eyes (and ears) turn Arista/Legacy 4:52:04 (3:10:52 on 2 4:52:04(3:10:52on2 and 2006’s AlanParsons, AlanParsons, Eric Tales and presented. barthe for how historical compiled box should be sets collection’s three CDs shows keeps raising how Legacy Once again, depth the of material the contained on this harmony break on ashelved for idea vocal “Old and Wise.” proud; and Rainbow’s Chris Boys–esque stacked, Beach of “Psychobabble” that would doBernard Herrmann fadeout);the isolated, the swelling orchestral snippet band-style snare-drum break song the to carrying dramatic, 28-second marching- Moon” features also (which a version of “Children of the with 12-string the acoustic edits. I’m most enamored bonus tracks and single aurally mesmerizing 44.1-kHz/16-bit Disc 3 is chock-full of 3ischock-full of Disc 86 (62 on 3 86(62on3 ’ “A Dream Within a A Valid Path ’ S Tales of of Tales . (he . (he

EDITION O the rears. the full-on brass/orchestral support combo in Mel Collins’ outgoing solo and sax Powell’s frontthe stage and properly supported by breathyweary vocals spread wideacross Blunstone’sColin full-life-lived, world- and Wise,” builds dramatically around Andrew Powell, inaltrack, the while “Old enveloping orchestral washoverseen by hands-on mulitrack-driven care. 1978’s tohopefully fete be anniversary 40th the of valid path for Parsons and company would kind, and Iknow we jointly project next the I can read your mind, sincewe’re two of a  Mike Meler Here’s looking at you, each Pyramid with the same amount of Eye in the Sky . And . And Instant Information for Our Readers...

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If you’re easily intimidated, McIntosh’s lagship XRT2.1K the sound. he impressive column of drivers can be easily concealed by towers probably aren’t for you—assuming you could even a black-knit grille with magnetic fasteners, but why would you want to aford them in the irst place. Two of these mini sky- do that? (McIntosh doesn’t even show the grilles in its brochure.) scrapers will set you back $130,000, but they are the Bass extends down to a thunderous 12 hertz thanks to the use of stuf audiophile dreams are made of: 162 custom drivers meticulously multiple long-throw woofers in a spacious cabinet expertly tuned to arranged in a pair of 7-foot aluminum towers inished with seven layers accommodate the lowest of low frequencies and supported by an ele- of high-gloss piano black paint. gant aluminum-and-glass pedestal. he critically important crossover Each speaker is a four-way design network—engineered to ensure an even frequency response with six 8-inch woofers and two 6.5- across the audible spectrum—uses high-current, low-loss inch lower midrange drivers housed in capacitors and inductors, carefully chosen for their linear- a large ported cabinet and capped of ity, even at high power levels. with a magniicent line array consisting he McIntosh monoliths are built to handle up to 2,000 of 28 2-inch upper midrange drivers watts of power but deal with that power in a superbly ei- and 45 0.75-inch tweeters—all perfectly cient way, as evidenced by the speakers’ 90-decibel SPL (1 aligned on a panel suspended in front watt/1 meter) sensitivity rating. of the main enclosure on four steel spi- I had the pleasure of hearing the XRT2K, predecessor ders, each inished to mimic the silver- to the XRT2.1K, at the World of McIntosh Townhouse ringed control knobs that in New York City last year when Giles Martin was have adorned McIntosh in town to preview his stunning remix of he ampliiers for decades. Beatles’ masterpiece, Sgt. Pepper’s Lonely Hearts he vertical line- Club Band. I was blown away by the enormous source arrangement of soundstage and detailed imaging and can only high-frequency drivers— imagine how much grander the presentation all made of aluminum- might be on the XRT2.1K, which amounts magnesium—is designed to a complete ground-up redesign executed to disperse sound evenly with the assistance of McIntosh sister company throughout the listening space Sonus faber. while producing exceptional he company that powered Woodstock and stereo imaging and clarity, in the Grateful Dead’s legendary “Wall of Sound” part by eliminating loor and has, indeed, brought the concert home. ceiling relections that muddle —Bob Ankosko

Sound & Vision (ISSN 1537-5838) (USPS 504-850) May 2018, Vol. 83, No. 4. COPYRIGHT 2018 BY TEN: Publishing Media, LLC. All rights reserved. Published 10 times a year (January, February/March, April, May, June, July/ August, September, October, November, December) by TEN: Publishing Media, LLC., 1212 Avenue of the Americas, 18th Floor, New York, NY 10036. Periodicals postage paid at New York, NY and additional mailing offices. Single copy price is $5.99. Subscriptions: U.S., APO, FPO, and U.S. Possessions $23.94 for 10 issues. Canadian orders add $10.00 per year and international orders add $20.00 per year (for surface mail postage). Payment in advance, U.S. funds only. POSTMASTER: Send all UAA to CFS. (See DMM 707.4.12.5); NON-POSTAL AND MILITARY FACILITIES: send address corrections to Sound & Vision, P.O. Box 420235, Palm Coast, FL 32142-0235. 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 TEN: Publishing Media, LLC., 831 S. Douglas St., El Segundo, CA 90245, An: Privacy Coordinator. Subscription Service: Should you wish to change your address or order new subscriptions, you can e-mail [email protected], call (800) 264-9872 (international calls: 386-447-6383), or write to: Sound & Vision, P.O. Box 420235, Palm Coast, FL 32142-0235.

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