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- "Women on the Verge of a Nervous Breakdown"
- Audeze iSine10 Earphones
- Delbert McClinton & Self-Made Men: "Prick of the Litter"
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- Science, Belief, and Audio
- Music Everywhere: JBL Charge 3 Bluetooth Speaker
- Axiom Audio AxiomAir N3 Wi-Fi Loudspeaker
- Beyerdynamic Amiron Home Headphones
- Music Everywhere: Altec Lansing MZX300 Bluetooth Headphones
- Paradigm Reference Signature S6 v.3 / C3 v.3 / ADP3 v.3 / Sub 1 / PBK Home-Theater Speaker System
- Monitor Audio Silver RX6 / RX Centre / RXFX / RXW-12 Home-Theater Speaker System
- Anthony Gallo Acoustics Nucleus Reference 3.5 Loudspeakers
- Paradigm Reference Signature S6 v.3 Loudspeakers
- Paradigm Reference MilleniaOne / Seismic 110 Home-Theater Speaker System
- Explaining HDMI while Solving the Cause of Blue-Screen Nightmares
- Jienat: “Mira”
- Peter Gabriel: "Scratch My Back"
- Back Cover
- Anthem Performance MRX 710 A/V Receiver: King of the Sonic Frontiers
Just when you thought you had a state-of-the-art video system, along came 3D. Now we hear regular rumblings about 4K video. It’s hard to keep up, so many of us turn to black boxes to tweak our systems into something a little better than they were starting out. Of course, the best thing you can do is to have your set professionally calibrated -- or purchase one of the excellent calibration Blu-ray Discs and do it yourself.
Through having my various monitors professionally calibrated over the years, I’ve learned to back off on the sharpness control. In fact, my current Mitsubishi 65” DLP screen has the sharpness backed off completely. I’ve learned to be wary of video processors. But I’d heard such good things about DarbeeVision’s Darblet DVP 5000 ($349.99 USD) that I was finally temped to try it. After a month with it, I’ve decided that I very much appreciate what it does, yet I see how a purist videophile might find objectionable what its maker calls “an HDMI accessory that will add intense depth and clarity to any video -- enabling ultra-immersive visuals.”
In 2006, when the Blu-ray Disc was introduced, the player of choice for many A/V enthusiasts was Sony’s PlayStation 3, for its many features, frequent firmware updates, and reasonable price. That all changed when Oppo Digital released their first Blu-ray player, the BDP-83, which built on the reputation of their universal DVD players. For $499, the BDP-83 offered a speedy and stable user interface (something that couldn’t be said for many early BD players), support for SACD and DVD-Audio, and state-of-the-art video processing. Ever since then, Oppo players have been the standard for high-performance BD players at reasonable prices.
Oppo has continually advanced the performance standards of first their DVD players and now their BD players. Their latest product, the BDP-105, is the premium offering in their third generation of Blu-ray products. Priced at $1199 USD, it costs a little more than its predecessor, the BDP-95, but adds some useful and unique features, including upgraded video processing.
Usually, when signing up to evaluate audio products, reviewers know what to expect in terms of how to integrate a new component into an audio system. A pair of speakers? You set them up and listen. A power amp? Pretty straightforward stuff.
Then along comes a product like Arcam’s rBlink ($250 USD). I’d read all the information about it that Arcam had sent me before I received the review sample, so I had a general idea of what it was. What I didn’t know was how I would interact with it from day to day, and how it would change some of my listening habits.
What it is
The rBlink is actually two components. First, it’s a wireless device that connects to compatible partners via Bluetooth. For technology-deprived souls, Bluetooth is a wireless protocol developed in 1994 by Ericsson, the Swedish telecommunications giant, that permits the exchange of data between equipped devices, fixed and mobile, over short distances. The rBlink allows products such as smartphones and computers to connect to it using BlueCore, the latest Bluetooth-embedded technology from CSR. The result, without getting too technical, is that the rBlink uses the very latest hi-fi-friendly tech for better connection between audio devices, the improvement due, in part, to lower noise.
A few years ago, loudspeaker manufacturer Axiom Audio began making electronics. Their first model was the A1400 class-D power amplifier, in two versions: the eight-channel A1400-8 ($3850 USD) and the two-channel A1400-2 ($2620). Although those amps, both since discontinued, offered a lot of performance for the money, they were a little on the expensive side for A/V enthusiasts on a budget. They also didn’t seem to be budgetary matches for Axiom’s speakers -- their most expensive speaker at the time, the M80, sold for about $1300/pair.
Axiom’s new line of amplifiers, the ADA models, have been designed from the ground up by the company’s new chief designer, Andrew Welker. While there were only two A1400 amps, there are 21 ADA models. The new line is actually based on three “power supply platforms” -- the ADA-1500, ADA-1250, and ADA-1000 -- which deliver different levels of power and can be configured with from two to eight channels. While the ADA-1500 amps are priced similarly to the A1400s, the ADA-1000s start at only $980 for the two-channel version, and $1340 for the five-channel version provided for this review.
And so it begins . . . again. For decades, system- and component-tuning products have been offered to enhance our listening experience without directly touching the audio signal being reproduced. With computers replacing more and more conventional source components in high-end audio systems, it was inevitable that we’d see products directly aimed at the unique needs of computers. Atomic Audio Labs (AAL) enters the coliseum to do battle with other gladiators trying to survive in a society where the dollars of patrons are as hard to come by as fresh Twinkies or Suzy-Qs.
AAL’s George Chronis got started as a manufacturer of FireWire 800 cables. The concept of the Mac Platform was born, as are so many good ideas, from a coincidence. Chronis placed his Apple Mac Mini computer on his turntable platter and noticed an immediate improvement in the sound. That sent him on a quest for the best combination of materials he could find to boost the sound quality enough to justify his product’s anticipated retail price. The result is the Mac Platform ($349 USD), machined from handpicked 4’ x 8’ sheets of cast clear acrylic.
MartinLogan is a loudspeaker manufacturer based in Lawrence, Kansas. Founded by Gayle Martin Sanders and Ron Logan Sutherland, the company is best known for their extensive line of electrostatic speakers. In 2005, ShoreView Industries, a private-equity firm that also owns a stake in Paradigm, bought MartinLogan. Although the design staff is still based in Lawrence, much of the manufacturing has been moved to Paradigm’s facility in Mississauga, Ontario, Canada.
Electrostatic (ESL) speakers are renowned for the lightning-fast transients that audiophiles crave. To the non-audiophile, electrostatic speakers simply look cool. However, they’re expensive to make -- it’ll cost you about $2000 USD to take home a pair of the cheapest ESLs made by MartinLogan. MartinLogan recently introduced its Motion line of entry-level models, with traditional cabinets and conventional cone midrange-woofers. What sets the Motions apart from most entry-level speakers is their tweeter, MartinLogan’s Folded Motion Tweeter (FMT), said to sound similar to electrostatic drivers. For this review, MartinLogan sent me a 5.1-channel system based on the Motion SLM, a thin-profile on-wall speaker.
Unwrapping the Harmony Touch, Logitech’s new beauty of a universal remote control ($249.99 USD), got me thinking about the history of remote control, and of how far things have advanced in my lifetime. When my folks bought our first TV set, the closest thing they had to a remote control was me. When my dad wanted the channel changed or the volume lowered, he’d ask me to do it. I would dutifully get up, walk to the set, and fulfill his wishes. Ten years later, our audio and video gear finally began to come with remote controls. At first these were connected to the components by wires and controlled only very basic functions. But very rapidly, or so it seems now, remotes added more and more buttons and were able to control all of the functions available on the front panel of the components they commanded. Later, when remotes began to control functions omitted from those front panels, it became a case of “lose the remote and lose control.”
By this time, remotes were included with virtually every audio and/or video component. We’d gone from no remotes to way too many -- at one time, six were lined up on my coffee table. In 1985 came the first universal remote, from Magnavox, and in 1999 the formation of Intrigue Technologies, which marketed Harmony remotes. Intrigue was bought by Logitech in 2004; since then, “Harmony” and “universal remote” have become synonymous.
Although the Harmony Touch differs in many ways from earlier Harmony models, the basics are unchanged: With it, you can control all of your audio and video equipment, put your five or more manufacturers’ remotes in that catchall drawer, and forget about them. But do save them, in case you need to teach the Harmony a new command.
It’s fair to suggest that the Bowers & Wilkins brand borders on the legendary. B&W loudspeakers have been around since 1966, and the company has pioneered both innovative construction materials (Kevlar cone drivers) and novel -- indeed, groundbreaking -- designs (the Nautilus). Now B&W has put its considerable technical muscle behind a mini home-theater speaker system that throws as muscular a sound as any I’ve heard lately. And here’s the catch -- it’s all done with one speaker design and a subwoofer.
The MT-60D comprises five M-1 speakers ($250 USD each) and one PV1D subwoofer ($1699), for a total system price of $2949. The M-1 houses a 1” Nautilus-inspired, tube-loaded tweeter, and a 4” woven-glass-fiber midrange driver in an enclosure that measures 9.8”H x 4.6”W x 6.4”D and weighs all of five pounds. The aluminum housing is generously curved, as is the grille -- it looks like a big taco shell stood on end. The lack of straight lines and corners of course minimizes internal and external reflections, while the rear port enables the modest drivers to reach depths one would not expect from so small a speaker. B&W offers a dedicated stand, the FS-M-1 ($150 pair), which lifts the speaker 35” above the floor. The stands are so designed that the only wire you see is the one entering the floor plate. B&W also supplies wall-mounting hardware.
A few years ago, a friend’s 16-year-old son would sit on the couch with his laptop and play songs from his iTunes library through the machine’s minuscule speakers, even though his mother’s better-than-respectable stereo was only three feet away. Occasionally he would play something snatched out of the air through his iPhone’s speaker. We all hailed the return of the transistor radio, and laughed.
I wonder: If he’d been able to insert a simple USB transmitter into his laptop, which would have sent the sound to a set of graceful speakers, would he have done so? Or, if he could have kept his seat and jacked his iPhone into the same-style USB transmitter, in order to hear sound infinitely superior to what’s possible from a 2cm speaker, would he have done that?
PSB Speakers, based in Pickering, Ontario, and headed by the legendary Paul Barton, is a highly respected manufacturer of loudspeakers and headphones. Although Lenbrook Industries has owned PSB for a number of years now, Barton still oversees the design and testing of PSB speakers at the National Research Council (NRC) in Ottawa, Ontario, a world-class facility for measuring and testing speakers in which he and many others refine their designs. In fact, the SoundStage! Network’s own founder and publisher, Doug Schneider, often runs into Barton at the NRC, where Doug gets exclusive measurements of the performance of many of the speakers we review.
The subject of this review is PSB’s Imagine Mini home-theater speaker system, which includes the new Imagine Mini C center-channel speaker. When our editor, Jeff Fritz, asked if I was interested in reviewing this system, I answered with an emphatic Yes! -- I’d read Roger Kanno’s rave review of the Imagine Mini two-channel system. Additionally, at $759 USD per pair, the Imagine Mini is the least expensive speaker in our list of Recommended Reference Components. I also wanted to hear how the Imagine Mini C center-channel would measure up to the Imagine Mini, and, given these speakers’ small size, whether the system could handle the dynamic range required of a good home-theater system.