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SVS Prime Bookshelf Speakers and SB-2000 Subwoofer Arrive for Review

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I recently covered SVS' new Prime Series Loudspeakers that were announced at the Rocky Mountain Audio Fest (RMAF).  SVS has now begun shipping the first batch of speakers.  My review set arrived on Tuesday of this week.

My review setup consists of the SVS Prime Bookshelf speakers in high grade piano black finish ($599.98/pair) and an SVS SB-2000 subwoofer ($699.99) for a 2.1 configuration.  It should be noted that the high grade piano black finish, which I cover in more detail below, commands a $100 premium over the standard black ash finish.  In black ash finish, the Prime Bookshelf speakers cost $499.99.

The SB-2000 is SVS' mid-range model and was an existing product.  It's a step below the SB-13 Ultra sub I previously reviewed.  Thus, the total cost for the review setup is $1,299.97.

When you look at the specifications and potential performance of this package, it's an utterly incredible value.  You have a system with the potential to reach down to 19 Hz +/- 3db for about $1,200 (black ash) or $1,300 (high-gloss piano black).  That's unreal.

Ultimately, however, we'll have to see how this setup performs once the review period is over.  Nevertheless, here are some of my first impressions of the Prime series speakers.

My review pair arrived via FedEx.  Before accepting the delivery, I noticed that the box containing the Prime Bookshelf speakers had been punctured on one side.  As you can see in the photo below, the damage was pretty severe and I was worried that one or both of the speakers had been damaged.

The Prime Bookshelf Speakers came with significant damage to the outer box from FedEx.  Even though the speakers weren't double-boxed, the spacing, internal padding, and packaging prevented any damage to the speakers.
The SB-2000 subwoofer box was intact.  To make sure everything was OK, I opened up the Prime Bookshelf box with the FedEx deliveryman there to make sure that the speakers hadn't suffered any physical damage.

The SVS SB-2000 Subwoofer arrived without any external damage.
Thanks to SVS' packaging, the speakers themselves were in pristine physical condition.  I accepted the deliver but notified the folks over at SVS just in case I notice something post-setup during the review period.

The Prime Bookshelf speakers are covered in protective cloth and again covered by a plastic bag.
My Prime Bookshelf speaker review set came in SVS' spectacular piano black finish that I raved about during my SB-13 Ultra subwoofer review.  This finish is like a mirror.  It's simply beautiful and can only be appreciated in person.  Photos just don't do it justice.

The Piano Black Gloss finish of these speakers is mirror-like and will rival and even beat the finish on speakers costing $10,000 or more.
Let me be clear, SVS didn't cut any corners in the finish of these speakers.  I'm very hard-pressed to tell any difference at all between the finish in the Prime series loudspeakers and SVS' top of the line Ultra Towers (see the pic below comparing the two).

The finish on the $599/pair Prime Series is the same quality as their $1,999/pair Ultra towers.
I've stacked the SVS Prime Bookshelf on top of an SVS Ultra Tower and there's no difference in the finish.

The finish on these $599/pair speakers will put to shame speakers costing upwards of $10,000.  Yes, it's that good and it's not a hyperbole.

These speakers are of modest size and are definitely WAF or Wife Acceptance Factor-friendly.  They don't have the size and heft of more expensive monitors.  You can easily and discreetly put them on a stands, in a bookshelf, or on a countertop without issue.  They are not an eye-sore.



At the same time, they don't feel cheap by any means.  Each Bookshelf speaker weighs in at 19 pounds.  I did a knuckle rap test on the enclosure to see how solid it felt.  Knocking on the speaker cabinets didn't produce the same deadening "thud" that I had experienced with SVS' ultra series.  I therefore decided to inquire about any differences in the cabinet design and bracing.

Gary Yacoubian, SVS' president was kind enough to provide some insight into the cabinetry construction between the Prime and Ultra lines.  Gary said:
Across both the Primes and Ultras we use the same high quality MDF material for 25mm (1²) thick front baffles, and 18mm (3/4²) MDF on the other sides and braces.  The one model that is different is the Prime Satellite, which still uses a thicker 18mm Front Baffle, and 12mm (1/2²) on the other walls. 
Both the Ultra and Prime series have extensive internal bracing, well beyond what one might expect at their respective price ranges.  That said, the Ultra series as a whole uses more extensive bracing through each model.
I'm appreciative to Gary for answering that initial question.

Moving on to some other general observations.  The tweeter is protected by a non-removable perforated metal cover and there's a port on the rear of the speaker.  The tweeter's cover cannot be removed.




The grille isn't magnetic and is held on with traditional pegs.  While magnetic grilles would have been a really nice touch, if this is one area where a cost compromise was made, that's a trade-off I'll take every time.



The grille mesh is highly transparent as you can see in the picture below and should pass plenty of air nicely.  The grill itself was extremely rigid and thick.  I've owned and reviewed speakers costing far more than these Prime Bookshelf speakers that have had inferior grille designs and were made of thin, cheap plastic.




The binding posts on the Prime Bookshelf are solid and no-frills.  Their solid look and feel reminds me of the binding posts Madrigal would use on their high-end $3,000+ Proceed amps back in the day.    For those who recall, Madrigal also made Mark Levinson electronics before they became part of Harman International.



While the binding posts certainly aren't the same as those on the Ultra series speakers, I'm extremely impressed at the attention to detail and quality that SVS has packed in here for a $500/pair of speakers.  It seems to me that where they've made compromises, they have taken the higher-road and used the best quality parts at the price point they were targeting.

There are no feet on the bookshelf speakers nor are there any screw holes for mounting to custom stands.  SVS includes some 3M elastomer stick-on rubber feet in case you choose to place the speakers on a table or bookcase.  It should be noted that SVS isn't taking any shortcuts here either, this is exactly what they do with their Ultra series bookshelf speakers.



If you want to use these with stands, SVS sells high-quality Sanus stands on their site. I suggest high-quality, sturdy third party stands to prevent these monitors from tipping over.

Initial impressions of the SVS Prime Bookshelf Speakers and SB-2000 subwoofer continue to live up to the high standards I've come to experience with various SVS products.  Having the ability to compare the build quality of the Prime review samples with the SVS Ultra Towers and the SVS SB-13 Ultra subs directly, it's apparent to see the potential value that the Prime series offers to the serious audiophile on a budget.

Stay tuned for my full review of the SVS Prime Bookshelf speakers and the SVS SB-2000 subwoofer setup.



MartinLogan Neolith Speaker Tour Continues Wednesday & Thursday in North Carolina

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The design elements of the Neolith are classic MartinLogan but with added styling.
On Wednesday November 12th and Thursday November 13th,  MartinLogan will hold a free event to demo their new flagship loudspeaker, the Neolith.  The series of events, called "Truth in Sound," are geared towards showcasing the new speaker.

Both events will take place from 5:30-9:00pm  Wednesday's free event will be at Audio Advice's Raleigh location and Thursday's will be at their Pineville location.

Full contact details for both events are located at the end of the article.

If you come to the event, you can bring your own music and hear it played through the Neolith—a very cool opportunity! Come early, however, because the ability to play your own music on the new flagship speakers will be on a first-come-first-served basis.  Light snacks and a selection of hot and cold beverages will be served.

The MartinLogan Neolith Loudspeaker


The event will likewise be an opportunity to meet and talk with some of the MartinLogan team.  The "Truth in Sound" event will feature members of the MartinLogan sales, marketing and engineering team, along with Overture’s founder Terry Menacker, who will all be available to answer questions, perform demos and provide an exclusive behind-the-scenes look at the intensive development process that created Neolith.



MartinLogan says that the built-to-order Neolith loudspeaker is the result of an ambitious 3-year-long development process. The Neolith combines the innovations of MartinLogan's legendary Statement Evolution 2 loudspeaker with the iconic simplicity of the original Monolith loudspeaker.



Detail of the integrated subwoofer that forms the base (and bass) of the Neolith.  From the looks, this full range electrostatic speaker will have some serious low-end authority.

According to MartinLogan, Neolith features their largest-ever electrostatic radiating surface. MartinLogan says that the Neolith's proprietary curvilinear electrostatic transducer delivers an enveloping 3-dimensional soundstage. Unique Controlled Dispersion Technology gives each transducer the ability to reproduce nearly the entire audio spectrum in any room.   For MartinLogan, this allows the Neolith to achieve "living sound"—revealing audio as it was originally performed.

Audio events like these are a great opportunity to demo the latest speaker designs and technologies.  The  full schedule of all the Sound in Motion events is listed below:







Krell Foundation 4K UHD Processor Begins Shipping - Upgrades Commence

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In the world of high-end audio,  processors and receivers become obsolete quickest due to the accelerating pace of audio (HDMI standards) and video (UHD) technologies.  A select few companies such as Anthem and Theta Digital are known to provide users with solid upgrade paths.  Those upgrades have extended the life their platform ensuring that users can get five, seven, and even stretching to ten years of current technology.

Unfortunately, one area where high-end boutique manufacturers have lagged is providing those latest AV standards in a timely manner.    Krell has just changed that perception.

Best known for their incredible amplifiers, Krell has made a serious technology push with the introduction of their Foundation series.  Now, Krell has announced that it's shipping its $7,500  Foundation 4K UHD processor this week.  It's also commencing upgrades to the previous generation Foundation processors.

The original Krell Foundation processor wasn't cheap at $6,500. However, it came packed with tons of high end features and integration options for custom installations.  The original Foundation was revolutionary with its lightning-fast, analog-speed-like HDMI switching.

Users who purchased that unit original haven't been left out in the cold.  Users wishing to upgrade from the original Foundation to the 4K UHD version were given an introductory upgrade price of $1,000—bringing the total cost equivalent to the current retail.  Users who didn't take advantage of the introductory upgrade, can still upgrade their older unit for $2,500.

Price aside, what impresses me about Krell's offering is that it fully supports HDMI 2.0 and even more importantly HDCP 2.2.  HDMI 2.0 is the latest HDMI specification and HDCP support is equally critical since devices passing 4K/UHD content will need to support HDCP 2.2.

HDCP 2.2 is the digital copy-protection protocol for ultra high definition content.   If your pre-pro, receiver, or HDMI switch doesn't support both HDMI 2.0 and HDCP 2.2 then you will only get a blank screen with UHD content.  Some of the mass market AV receivers or pre-pros being sold right now tout HDMI 2.0 support but do not support HDCP 2.2.  Simply put, purchasing one of those units may be a wasted investment because those units will likely leave users high and dry when UHD content is released.

Krell is touting that the Foundation 4K UHD has One Wire Support for Sony 4K media Servers. With a Krell Foundation 4K UHD processor, only a single HDMI connection is needed from the Sony FMP-X1/10 to the Foundation 4K UHD processor and then to the TV. A separate HDMI cable connected directly to the TV for video and another one to the processor for audio is not required as with other processors.

The Krell Foundation 4K UHD will also support two independent HDMI zones so that you can pass Zone 2 video via HDMI with both Zones supported at 4K/UHD.  The Krell Foundation has all the other bells and whistles such as support for:
  • Up to 1080p 60Hz signals including 24/30/36-bit RGB/YCbCr 4:4:4/xvYCC, and 16/20/24-bit YCbCr 4:2:2 video formats.
  • Up to 4K x 2K signals @ 30 Hz with 24-bit RGB/YCbCr 4:4:4/YCbCr 4:2:2, and up to 4k x 2k @ 60Hz with 12-bit YCbCr 4:2:0.
  • 3D video format up to 1080p @ 60 Hz.
  • High resolution VESA mode video format up to QSXGA @ 60 Hz
One can certainly criticize the Foundation for lack of Dolby Atmos support.  Nevertheless,  I have to applaud Krell for supporting a relatively new platform and giving it significatntly new life with an upgrade path that puts it ahead of the curve.  There are low end and high-end manufacturers that have left customers high and dry.   Krell's support of the Foundation deserves applause and it's a call for other manufacturers to do the same for their customers.

If you have the funds, don't require Dobly Atmos, and want a stellar audio and video performer, the Krell Foundation 4K UHD processor should be on your short-list to audition.

50% Off Marantz SR7007 Receiver

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Music Direct in Chicago is offering Marantz's SR7007 receiver at 50% off. The list price for this unit is $1,800 and you can now pick it up for $899. This is a band new unit and not B-stock or refurbished. If you want to save even more, you can purchased a refurbished SR7007 unit from Accessories4Less and save 58% for a final price of $749.99.

Both Music Direct and Accessories4Less are authorized dealers and the units come with full warranties.  However, the brand new Music Direct model comes with a three year parts-and-labor warranty. The Accessories4Less refurbished model carries only a one year warranty.

The SR7007 comes loaded with legacy and HDMI inputs.  It also features 7 Fully Discrete 125Wpc Amplifiers, Built-In Phonostage, Headphone Amplifier, Front-Panel USB Input, 7 HDMI Inputs, and 3D Pass-Through and 4K Video Capabilities.  The SR7007 also features 3 HDMI outputs with an independent HDMI Zone2 output.



This unit is an HDMI 1.4 model and does not have either HDMI 2.0 HDCP 2.2 or Dolby Atmos support.  In other words, this model isn't a future-proof investment but will deliver the goods with the best of today's technologies.  If you're looking for a great value, solid-performing, high-end receiver that delivers on its built in features then you should add the SR7007 to your short list to check out.

That Old Time Radio and Music

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I've always preferred local coffee shops to the large chains.  Part of the charm, I will confess, is the more laid back, no rush-European-style and the ambiance. 

When I stopped by a favorite, local shop early this morning, my eye caught sight of an accent piece that I hadn't given much thought to: an old time Zenith radio.




I stopped and admired the wooden accents and craftsmanship of the piece including the Zenith branded knobs, the "Z" branded dial, the routed woodwork, etc. Where this piece fell in their product line didn't matter.


Craftsmanship: Each of the dials are branded with the Zenith "Z" logo.
It was and is furniture. Such a piece, and the tens of thousands like it, graced homes around the world.  Families would gather around such pieces for news, shows, music, and more. 

Ultimately to me, such a piece represents music as community.  It stands as a testimony to music as an experience shared

Contrast that with today's portable music players.  Some are sleek, well designed, and are beautiful examples of superb craftsmanship.  I own one.

Yet, size and placement of those devices connotes a personal experience. Say what we want, such devices by design are almost a Berlin Wall around the individual.

With my iPhone and B&W headphones as constant companions throughout my day, I can appreciate the opportunity to carry my music with me as I go.  As an audiophile, I'm passionate about the fidelity and emotive qualities of the music I carry.  However, as a human being, I wonder aloud if such an evolution comes at the expense of our humanity

Music to me reaches its fullness when it is played in a shared, communal experience.  Music,  I feel, is an essential component of what it means to be human. The great liturgies of both Eastern and Western Christendom demonstrate this truth by incorporating music as an essential, shared, part of the liturgical experience.  If you think about it, the theology of music mandates that music is to be lived, partaken of—together.  Isn't there a difference between listening to a live concert alone and listening to the exact same performance as part of an audience, a community?

It's amazing what thoughts a simple old Zenith radio in a coffee shop can engender!

Ironically, there was no music playing in the coffee shop this morning.  I had forgotten my B&W headphones.  Music would not be relegated to the background. Music defiantly refused to assume an inauthentic form.

The old photographs on the wall stood there like a communion of saints.  One by one, each harkened me to remember: "Preserve the Tradition of music.  If we don't preserve the Tradition of music, then it too will die and remain as only an image of it's true self."




 

As audiophiles and even more so as human beings, I think that we strive for an authentic experience of music.  That authentic experience can only be discovered through an authentic Tradition of music.  The church historian Jarolav Pelikan put it best when he wrote, "Tradition is the living faith of the dead. Traditionalism is the dead faith of the living."

Thanks, Zenith, for the Tradition you shared with me this morning.

Emotiva XPA-1L Class A Monoblock Amplifiers Arrive for Review

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The Emotiva XPA-1L monoblock amplifier can be run in either Class A or Class A/B mode.

Emotiva turned many heads with the release of their XPA-1L monoblock amplifier. On paper, the specs of the unit are impressive. The XPA-1L is a fully balanced, fully discrete, quad differential design with a high current, short signal path.   The XPA-1L will put out an incredible 250 watts into 8 ohms at 0.1% THD and double down to 500 watts into 4 ohms at 0.1% THD.  If you ask Emotiva directly, the XPA-1L is supposed to be stable into speaker loads that dip below 4 ohms but it is not explicitly listed in the specs.  The power supply is stated to deliver 90,000 uF of storage capacitance.  Weighing in at 35 pounds each, the amplifiers have significant weight and heft.

The Emotiva XPA-1L Monoblock amplifier has two huge internal heat sinks and a massive toroidal transformer and a power supply stated to deliver 9,000 stated to deliver 90,000 uF of storage capacitance
In addition to the rated power output, the real buzz around the XPA-1L was the ability to run in pure Class A mode for the first 35 watts—for under $699 (note: Emotiva has just launched the XPA-1L Gen2 models and dropped the price to $599 each).  After 35 watts, the amps would transition into Class A/B and deliver their full-rated power.  Choosing to run the amplifiers in Class A mode or completely in Class A/B is accomplished via a front switch.  If you choose to run the amplifier in Class A mode, it will run at 35 watts for 8 or 4 ohms.  It will not double its class A power into a 4 ohm load like it does for Class A/B.

A toggle switch on the front of the amp lets you choose to run it in Class A or Class A/B mode.

The XPA-1L monoblock accepts both balanced and unbalanced inputs.  You chose between balanced and unbalanced inputs by flicking a toggle switch.

There's both an input and output trigger inputs allowing you to daisy chain multiple units (more on that later).  There's also a status LED on and off switch. This only affects the status LED on the main panel and not the LED that illuminates the ring around the power button.  This may be a problem for some users as I'll go into further detail below.

The rear panel also features high quality binding posts.  The distance between the binding posts is significant.  Such a wide layout of the binding posts is uncommon with monoblock amplifiers—even in high end brands and exotic designs.  

Some, if not most users, may find that their current speaker cables will be unable to reach the positive and negative terminals.  I have custom 14/4 cabling in my setup and I had to re-terminate my speaker cables to make them able to reach the two ends of the XPA-1Ls.   They just would not reach with their initial termination.  






ARRIVAL AND UNBOXING

My two units arrived with shipping carrier wear including signs of distress on the outer boxes.

My pair of Emotiva XPA-1L monoblock amplifiers came with shipping distress on the outer boxes.

The XPA-1L is double-boxed and the shipping distress transferred a bit to the inner box.
The amplifiers come shipped double-boxed with ample molded protection—enough to withstand significant shipping abuse. The XPA-1L monoblock amplifiers come wrapped in a black, static-resistant bag that attempts to give the impression of a premium product unboxing experience. It's a nice touch.

The Emotive XPA-1L comes wrapped in a branded, black Emotiva covering 
The XPA-1L monoblocks come with an accessory box that is oddly labeled, "Spare Parts." But this wasn't spare parts!  It was the power cord, trigger cable and a pair of extra fuses.  I don't know why Emotiva chose to do that.  Logically, it should have been labeled "Accessories".


Labeling aside, it's a nice touch to include a trigger cable with the unit and I appreciated the inclusion of two —not just one—spare fuse.

The power cord, however, was a problem. It had a strong, terrible, rubber "plus something" smell to it.  This was the case with the power cord included with both units. Even after a day plus the smell was there and it lingered.  For my review period, I chose to replace these stock power cords with others because of the smell.  To have such a stink from something as basic as a power cord is unacceptable—even in a product that is targeting a value-conscious audiophile audience.

SET UP AND INITIAL IMPRESSIONS

The XPA-1L mono blocks are straightforward to set up.   I set up my pair with balanced cabling from my Anthem preamp.   As I previously mentioned above, the only complication came when I needed to re-terminate my 14/4 cabling to fit the width of the Emotiva XPA-1L binding posts.   I set both monoblocks to start up with the trigger and daisy chained them together from the Anthem.  Daisy chaining the XPA-1Ls to each other causes a 3-5 second delay between the first and second XPA-1L powering up.  Because I'm using all the trigger ports from my Anthem, I kept it in this configuration.

I did, however, notice a very bizarre behavior with the trigger function on the XPA-1L.  With all the amplifiers I've owned from Anthem, Lexicon, and Proceed, I'm accustomed to the standby power switch being defeated if you're using the trigger.

Not so with the XPA-1L.

If you trigger on your setup and the XPA-1Ls are powered on with a trigger, pressing the front panel button will turn off the XPA-1L!  Moreover, if you then turn off your preamp, the XPA-1L that you turned off manually will then turn on even though the rest of your equipment is off.  I found this out accidentally and it was something that was characteristic of both units.  

I'm not exactly sure why this behavior exists, but it reminds me of the older pulse trigger standard before 12v was everywhere.  This can be maddening!

I strongly suggest that prospective buyers be aware of this and that the units aren't in areas where little fingers can accidentally press the button.  Again, this is really a non-issue in real world use, but I did find it odd.


The XPA-1Ls are nicely laid out and present themselves as having decent build quality.  When I compared the XPA-1Ls to my much more expensive Lexicon amplifier, however, there was a noticeable difference in the thickness of the faceplate and chassis between the two.

The Lexicon amplifier's faceplate and entire chassis were both thicker, more solid, and rigid when compared to the Emotiva.  How much value one puts on the chassis is a personal preference.  However, I felt it important to note the difference since some make a direct correlation between the chassis and overall build quality.

Placement and planning of the XPA-1Ls is essential:

First, you need to give these amps room to breathe (as you do any amp of course) but they do get very warm even in A/B mode.  The XPA-1Ls got much warmer to the touch than my Lexicon amp.  I strongly suggest that you have ample ventilation and follow the guidelines in Emotiva's manual for ensuring proper air-flow.  

Secondly, these amplifiers have no way at all to dim or defeat the LED status ring around the front power button. Let me tell you, the light is bright.  If you have the amplifiers directly in front of your listening position and you are in a home theater setup, then you will notice them at all times.  The only way to dim or defeat this bright blue LED is to cover it with tape, paper, or a film.

Luckily, I had the Emotiva's in my rack, which is off to the side of my setup. For me, the lights did not become a problem.  However, I did initially set up the XPA-1L directly under my TV and they were a bother during TV and movie watching when the lights were down.  

The XPA-1L status lights are incredibly bright.  I kept them in my rack, which is to the right of my TV and behind a closed, perforated door for ample air-flow. 
I also highly disliked—ok, I hated—the orange-yellow, standby color of the units.  To me the color is ugly and doesn't match the color (normally red) of other devices that are in standby or power off mode.  That's just a personal preference and I know others may like it.  To each his own.

When Emotiva chooses to refresh this model, they need to deal with this LED issue.  

My initial setup also brought one more bizarre anomaly.  This one really drove me crazy.  After powering up the amplifiers, I would hear a loud click--exactly like the sound the amplifiers make during their soft startup.  The sound would normally come anywhere from 5-15 minutes into listening.  I couldn't tell from which amplifier the sound was coming from.  

I decided to contact Emotiva support to see if they had any insight.  To their credit, they were courteous, prompt and spot-on with their diagnosis.  According to Emotiva, there was a small batch of amplifiers that had their heat sink screws adjusted too tightly.  Therefore, when the amplifier was warming up and the metal expanded, it would make this noise.

They assured me there was nothing functionally wrong with the units.  They sent me this diagram below and suggested that I simply loosen the screws slightly and that I would likely find one that was overtightened.  


Emotiva asked that I slightly loosen the screws holding the heat sinks.  Doing so solved the audible anomaly I experienced.
I turned over both XPA-1Ls and proceeded to loosen the screws as instructed.  Sure enough, one screw was distinctly tighter than all the rest.  To be on the safe side, I loosened and then retightened all the screws myself.  

From that point on, I never experienced the audible anomaly again.   Emotiva's support was correct with their diagnosis.  And, while you could argue that you shouldn't have to do that remedy, it was painless and permanently effective.

Initial Conclusion

First impressions of the Emotiva XPA-1L were clearly a bit of a mixed bag.  On the one-hand, there's the promise of unbelievable power, performance, and value.  Class A sweetness for under $600?!  On the other hand, after unboxing,  there were detail-oriented and potential build-quality issues that made me scratch my head a bit.  Once the popping sound was solved, none of these issues were deal breakers.

When put to the test, did the XPA-1Ls disappoint or did they really shine with their performance?  I'll be posting my full review on the performance of the XPA-1Ls soon.  Stay tuned. 




Linn 24-Bits of Christmas returns with Free Music Each Day

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Every day in December Linn will be giving away a different, free Studio Master track - the highest quality available, anywhere.  
Ahead of their annual audiophile treat, Linny is making available Dougie MacLean’s classic, ‘Caledonia’, performed with the award-winning Royal Scottish National Orchestra as a free download.  You can choose to download as FLAC, ALAC, and choose between 192 or 96k master versions.
Check out Linn's special 24-Bits of Christmas at: http://www.linn.co.uk/christmas

CyberMonday Audio Sales

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AudioGurus is holding a special Cyber Monday sale on a variety of items.  Click on the banner below or go to: http://www.audiogurus.com/cyber-monday.html for more info.

Of all the deals mentioned, the 40% off on Atlantic Technology speaker products and the 20% off Martin Logan subwoofers are the most interesting to me.  Atlantic Technology has been making architectural speakers for many years at a good price/performance ratio.  Martin Logan is well-known for their subwoofers.


Best Loudspeakers under $1,000

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For most of us poor audiophiles, spending tens of thousands of dollars on dream speakers isn't within our budgets.  However, just because we can't afford really high end speakers doesn't mean we can't get some serious high-end sound from speakers under $1,000.

In my experience, once you can get past the $500 price hurdle, you start to have some good options available including some different speaker technologies that will offer you a variety of options to fit your speaker tastes.

The toughest thing is really knowing what models to put on a short list and where to look.  I've assembled this list of audiophile-grade loudspeakers under $1,000 to make your life a bit easier.  I've mixed in both full range and bookshelf speakers knowing that in some situations aesthetics or room limitations may dictate one style of speaker over another.

Magnepan MMG ($599/pair): 

Magnepan MMG Magneplanar speakers
Unlike conventional speakers that use a series of woofers and tweeters to create sound, Magnepans use a magneplanar film along with either a ribbon or quasi-ribbon driver, depending on the model.  The Magnepan MMGs are a ridiculous value.  They offer an incredibly life-like soundstage that is deep and wide unlike those traditional "box" speakers.

Magnepans are widely considered some of the best value in all high-end audio—and for good reason.  Listen to a pair of these Magnepan MMGs and you'll experience some elements of really high-end sound for a fraction of the price.

To sound their best, Magnepans need some space to breathe. They don't look like traditional speakers so be sure to get your spouse's sign off ahead of time.

One thing to be aware of with Magnepans is that they like lots of power to sound their best.  While you may be able to get away with driving these things with a traditional receiver,  you are best off with a separate amplifier that is stable into a 4-ohm load.

If you want to learn more about Magnepan's magneplanar technology, you can read more here.

Paradigm Classic Monitor 7 ($950/pair):  

Paradigm Reference Monitor 7 Speaker
Paradigm has a stellar reputation among the audiophile and home theater enthusiast crowd.  The venerable Canadian speaker manufacturer designs all its speakers in Canada and uses the state of the art facilities at Canada's NRC.

The Monitor 7 is a no-frills solidly built 3-driver speaker featuring a 2-1/2 way bass reflex driver and a quasi-3rd order resistive port. Paradigm speakers have a reputation for their solid build quality, exceptional sound for the money, and overall value.

The monitor series is now in its seventh generation, representing refinement and longevity in a series that has been tested through time.

The Monitor 7 will play down to 48Hz and have a sensitivity of 91dB, making them a very easy to drive speaker for a variety of receivers and amplifiers.

If you're looking for a great floor-standing speaker that will give you years of pleasure the Paradigm Classic Monitor 7 may be just the speaker for you.

Focal Profile 908 Diamond ($3,000/pair on sale $999/pair):

Focal Profile 908 Diamond Speakers
Why am I listing a pair of $3,000 speakers in the "best loudspeakers under $1,000? Well, that's because you can now get them for $999. The Focal Profile 908 Bookshelf speakers are nothing short of amazing. They have an incredible soundstage, great dynamics, and feature the inverted tweeter design found in their $5,000/pair towers.  These speakers are by far the best value on this list and will give you some serious, serious high-end sound.

Focal is the renowned French speaker manufacturer and maker of the universally acclaimed Utopia Be series of speakers—regarded by many as some of the best speakers in the world.  Many people also don't know that Focal makes the tweeters for Wilson speakers, which list from $18,000 all the way to half a million dollars.

These Profile 908 monitor speakers are amazing.  They do equally well for music and movies and are incredibly revealing and detailed speakers.

 You would need to spend three times the retail price of these speakers—in other words over $10,000—to get a speaker that will handily beat what these bookshelf speakers have to offer.  If you have $1,000 to allocate, look no further than these speakers (assuming there are any left in stock!).

These speakers appear to be on closeout special at Music Direct in Chicago.  Here's the direct link to the deal.

Wharfdale Diamond 10.5 Tower Speakers ($949/pair)

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Wharfdale Diamond 10.5 Tower Speakers
Wharfdale is a brand well-known in audiophile circles.  Their Diamond 10.5 tower speakers are an exceptional achievement.  You get a three-way speaker with a 2-inch domed midrange and 6.5 inch bass driver all in a package that comes in under $1,000.

These are full-range speakers that will go down to 35Hz, allowing you to play orchestral music with all the impact and power without needing a sub.

The Wharfdale Diamond 10.5s are not the easiest speakers to drive coming in at 86 dB sensitivity and a nominal impedance of 6 Ohms.  You'll need a good quality receiver or amplifier to make these speakers sound their best.   If you're in the market for a full-range speaker that will give you the refinement and a great reputation for build-quality, then you should seriously consider the Diamond 10.5s.

PSB Image T5 Floor-Standing Speakers ($899/pair)

PSB T5 Floor-Standing Loudspeakers
PSB is another venerable Canadian speaker designer.  Named after it's founder and chief designer and his wife (Paul and Sue Barton—hence PSB) PSB speakers have a reputation for solid build quality and accurate sound.

The T5s have a 1" aluminum dome tweeter and two 5.25" woofers.  The Image floor standers are very traditional in their design and lack the sleek cabinetry of their their more expensive cousins in the Synchrony and Imagine lines.

The performance of the T5s is impressive.  They will go down to 35Hz so you can utilize them without a sub and get some good bass performance.  At about 90dB sensitivity, the T5s will respond well to just about any receiver or amplifier.

Like Paradigm, Paul Barton tests his speaker designs at the anechoic chamber at Canada's NRC.   You can find PSB speakers at dedicated high-fi dealers as well as select, reputable high-end online dealers like Crutchfield and Audio Advisor.

To keep the value proposition high and costs down, the Image series is manufactured in China under Paul's supervision. While making high-end speakers in China was unheard of 10 years ago, it's becoming more and more commonplace.

If you are looking for a full range speaker that can play down into the 35Hz range then your choice is really between the PSB, Klipsch (see below) and Wharfdale models.  If you want to stick is a traditional tweeter design and the pair that's easier to drive then you may want to lean towards the PSBs.

NHT Classic Three Bookshelf Loudspeaker ($949/pair)

NHT Classic Three Bookshelf Speaker
NHT's Classic Three Bookshelf speakers are a class-leading value proposition in the sub-$1,000 monitor speaker category.  The speakers feature great build quality, aesthetics, and really deliver in the sound category.

Unlike most bookshelf speakers, the NHT Classic Threes are a three way, sealed design.

For their size, the bass response ranks among the best sub-$1,000 bookshelf speakers you can buy. Because you are buying NHT speakers direct or through a select network of online dealers, you are eliminating the costs and markup typically associated with traditional dealer-based distribution models.

While the Classic Threes won't compete with the Focal 908 Diamonds, if you can't get the Focals and are looking for some of the best sub-$1,000 bookshelf speakers out there, then you owe it to yourself to give the NHT Classic Threes an audition.


SVS Prime Bookshelf Speakers ($499.99/pair black ash finish and $599.99/pair in High-Grade Piano Black Finish)

SVS Prime Bookshelf Speakers
If your budget is $500, then look no further than the SVS Prime Bookshelf Speakers.  These bookshelf speakers are an unbelievable steal at only $499/pair for black ash or $599/pair for SVS' ridiculously gorgeous piano black finish.  These are arguably the best +/-$500 speakers you can buy.  They do lots of things right and give you a nice audible treat of some of the things audiophiles really love.

Build quality is typical SVS—it's fantastic.  Their footprint is also small enough to fit into just about any decor and make they as WAF-friendly as speakers can get.  They do a decent job top to bottom but if you really want to rock the house, then you'll need to pair them up with a good subwoofer.  You can read our review on these SVS Prime speakers here.

If you can afford to go up in your budget, then you should check out SVS' Ultra Bookshelf speakers below.

SVS Ultra Bookshelf Speakers ($998/pair)

SVS Ultra Bookshelf Speakers
The SVS Ultra Bookshelf Speakers are the companion to the $2,000/pair Ultra Tower speakers.  While the SVS Ultra Towers feature an MTM design, the Ultra Bookshelf speakers sport a traditional two-way speaker design.

The bass response on these speakers takes their cue from their larger siblings.  They deliver incredible bass response and a large soundstage and good imaging.  

The piano black finish on these models is something to behold and is almost mirror-like in its polish. 

Like the NHT Classic Threes, you can buy the SVS Ultra Towers direct from SVS, which cuts out the middle-man markup and provides exceptional value.  The Ultra Bookshelf speakers are a fairly easy to drive speaker at 87 dB rated sensitivity and an impedance of only 8 ohms.  In the sub-$1,000 market the SVS Ultra Bookshelf and NHT Classic Threes take the crown for the best price/performance value speakers out there.

Revel Concerta M12 ($648/pair)

Revel Concerta M12 Monitor Speaker
If you've followed my articles then you know I'm a big fan of the folks over at Harman International and their pioneering research into acoustics, psychoacoustics, and speaker design.  While Revel, Harman's flagship audiophile speaker brand, makes speakers upwards of $20,000/pair, their Concerta series offers incredible sound value minus some of the exotic driver materials and aesthetic bells and whistles found in the cabinetry and styling of their more expensive models.  

The Revel Concerta line has been around for several years and is certainly getting long in the tooth.  Nevertheless, good sound quality never goes out of style.

The Revel Concerta M12 Monitor speaker is an exceptional value. You get good, quality, uncolored, accurate sound from a small package.  While some will prefer to the better bass response of the SVS Ultra Bookshelf and NHT Classic Threes, the Revel Concertas will give you a real taste of high-end sound at a fraction of the price.  If you can't afford the higher-priced SVS or NHT's you'll be supremely happy with the Revel Concertas.

Klipsch Reference RF-62-II ($998/pair)

Klipsch Reference RF-62-II
Klipsch is long-known for their horn-loaded tweeter designed speakers.  The RF-62 model is a full-range speaker that goes down to 35Hz.  

It has an incredible sensitivity rating of 97 dB that makes this model able to be driven to loud volumes and exhibit great dynamics with very little amplification power behind it.  Many fans of tube amps love horn-loaded tweeter designs exactly because of the incredible sensitivity that horn-loaded designs offer.

The Reference RF-62 features dual 6-1/2 cerametallic woofers in a ported design.  As with most speakers in this sub-$1,000 price range, you get a no-frills cabinet with a veneer finish.

Horn-designs aren't for everyone.  Yet, those who appreciate horn-loaded tweeters swear by them because of the unique things only a horn-design can give you.  

If you haven't listened to a horn-tweeter then you probably owe it to yourself to sample the Klipsch models. 


Martin Logan Motion 40 ($949.48)

Martin Logan Motion 40 Tower Speakers
As I mentioned earlier, when you can look at speaker options between $500 and $1,000 it opens up the opportunity to explore different speaker designs.  Martin Logan, the company best known for it's electrostatic speaker designs, is now a subsidiary of Paradigm.  While you won't get true electrostatic model options at the $1,000 price point, you will find Martin Logan models that feature their folded motion tweeter design.  

Martin Logan's folded motion tweeter is a special diaphragm that handles the high frequency notes that then crosses over to traditional woofers.  To some, the folded motion tweeter design is more akin to a ribbon tweeter in its ability to react quickly and move lots of air when compared to a traditional dome tweeter design.

Unlike many of the models listed here, you can audition the Martin Logan Motion series at a local Best Buy that features a Magnolia Home Theater.  A word of caution, if you choose to audition the Martin Logan Motion series speakers make sure they are setup properly.  I've heard several speakers at a Magnolia store that sounded terrible because of how they were setup (improperly) in the store.  

Bowers and Wilkins 685 S2 Bookshelf Speakers ($700.98)

Rounding out my list is the Bowers and Wilkins (B&W) 685 S2 Bookshelf speaker.  B&W is a well known speaker designer—especially for their high end models.  One thing with B&W speakers is that you won't always get the best value.  These 685 bookshelf speakers won't give you the deepest bass (they only go down to 52Hz), they won't give you this feature or that feature but whatever they do within their limits they do well.  

With the lower-end B&W speaker models, you don't get their exotic and well-regarded diamond tweeter but you will get a 6-1/2" woven kevlar woofer and double dome aluminum tweeter.

Like the Martin Logan models, you can also audition select B&W models like the 685 at your local Best Buy featuring a Magnolia Home Theater section.  But like I mentioned earlier, if you do choose to audition the B&W bookshelf speakers, be sure they they are setup properly and driven by a high quality receiver.  The stock setup at Best Buy isn't conducive to giving you an optimal audio auditioning experience.

Zu Omen Dirty Weekend Speakers

If you could get a new speaker cabinet, plus used drivers and a $500 savings then you'd have the Zu Omen Dirty Weekend speakers. These 36" highly-efficient speakers (97dB!) will play from 35 - 25kHz and have a very easy-to-drive impedance of 12 ohm. Zu says that the Omen Dirty Weekend use previously owned or used full-range drivers. These are drivers that customers have returned who have upgraded to their new high-output nanotech drivers. The used drivers have ben fully cleaned, tested, measured, and matched into identical pairs. The used drivers are put into new ew cabinets made from North American high density composite wood plate (Comp-60), machined on state-of-the-art CNC mills. Omen uses real wood veneer laid-up and pressed at the plywood factory and not glued after assembly. Zu says that this ensures your finish will not lift or warp, and it yields the flattest surfaces and tightest seams. The Omen Dirty Weekend speakers are available directly from ZuAudio.

Do Cables Make an Audible Difference and Are they Worth the Cost?

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The Nordost Odin Supreme Reference Cable is among the most expensive cables out there.  Does it make a difference?
The single, most hotly debated item in audiophile circles is cables.  The nay-sayers will tell you that exotic cables are nothing but snake oil.  They will argue that the only audible thing you can hear is a badly manufactured cable. They will argue that there needs to be double-blind testing and that the purported scientific claims of manufacturers are nothing but hogwash.

Proponents of cables will tell you that you can indeed hear a difference: That silver sounds brighter than copper, that you can audibly hear the "skin effect", that the nay-sayers aren't open minded and haven't tested the cables themselves.

Where do I stand on the issue?  Well, simply put I think that anyone who claims that the cable is the most important component of the system is flat out wrong and that's silly.  If I had $500, $2,000 or $10,000 to spend, I wouldn't spend it on a cable.  I'd buy better speakers or a better preamps or amplifier.  Cabling would be last.



On the other hand—crazy as it sounds—I think I've heard a difference between interconnects. The interconnects in question were a pair of balanced (XLR) Nordost Blue Heaven cables.  They replaced a set of Belden XLR cables.  Now, it's wasn't a double-blind test and I wouldn't bet the bank on it.  It could very well have been psychoacoustic or any of a number of differences.  But, any audible differences I thought I heard were very subtle and lent themselves to a bit of overall clarity and openness.

I'll be the first to say that this type of subjectivity is dangerous.  It's anecdotal at best.  I'd rather have some good science behind what may or may not be happening.  I came across this article by Brent Butterworth.  Brent is a veteran in the audio industry and is now heading up a new section on about.com dedicated to stereo and home theater equipment and he's someone I've followed for several years.

In the article, Brent tackles the question of whether or not speaker cables make a difference.  Note that Brent's focus is specifically on speaker cables, not on interconnects.  Brent enlisted the help of Allan Devantier, manager of acoustic research at Harman International and a colleague of Dr. Sean Olive, whose research I've quoted in other articles.    The question posed to Allan was simple: can speaker cables make an audible difference?  By looking at resistance, capacitance, and inductance,

The bottom line is that loudspeaker impedances vary with frequencies and the resistance of the cable can become a factor.  The article goes on and there's a measurement of different 20 foot cables by different manufacturers and different gauges.

The interesting thing is that there were differences between the cables and it was measurable—especially at certain distinct frequencies.  Two cables—a 12 gauge Linn Cable and a cheap 12 gauge Monoprice did in fact have a difference.  There was a +0.4 difference between 4.3 and 6.8 kHz.  The difference was more pronounced when Brent switched to a lower gauge cable.  According to Brent's measurements, the 24 gauge cable cut bass between 50 and 230 Hz by a maximum of -1.5 db at 95 hz and the midrange was affected between 2.2 and 4.7 kHz by a maximum of -1.7 dB at 3.1 kHz.  The treble, he reported, was also reduced between 6 and 20 kHz by a max of -1.4 dB at 13.3 kHz.  You can read the entirety of Brent's article for the full details.

The bottom line is that using thinner/lower gauge cables at longer distances can indeed audibly affect the performance of speakers.

The table Brent points out in his article is a good rule of thumb for anyone purchasing speaker cable.  You want to make sure you don't have cable that's too thin for the distance:

cable        resistance                length
gauge       ohms/foot               for 0.3 dB ripple
(AWG)     (both conductors)   (feet)

12             0.0032                       47.23
14             0.0051                       29.70
16             0.0080                       18.68
18             0.0128                       11.75
20             0.0203                       7.39
22             0.0323                       4.65
24             0.0513                       2.92

As a general rule, you're best bet is to stick with 14 gauge or lower speaker cables.  

Now, Brent's article and measurements don't necessarily prove or disprove that exotic cables make a difference.  What Brent's article does prove, however, is that there may just be something to all those audiophiles' claims that speaker cables make a difference.  If we can nail down the science and measurements behind it, we just might be able to tell the difference between cables that legitimately make a difference and those that have been just selling snake oil.

How to Dump Cable or Pay TV and Get TV Programming to Save Money (Part 1)

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You want to do it, but you just don't know how: get rid of cable or pay TV.  I wanted to do just that last year and spent several months researching options and coming up with a solution that made sense for me.  When I finally cutover last year, it was worth the effort.  Now, I'm documenting what I did to make it easier for you.  If you have any questions or comments please leave them on the blog and I'll be happy to respond.   So here we go: everything you need to know to get rid of cable.

Overview

Even with the so-called triple play, cable or pay TV is just too expensive.  In today's blog post, I'll show you how you can get HD TV programming for free and save yourself dozens if not hundreds of dollars each month.  All it takes is the ability to follow some basic instructions and a willingness to put in a little work.

This blog post will be broken up into three parts.

  1. The technical aspects of getting rid of cable
  2. The choices and sources available for content and how to get them on your TV
  3. The options for DVR functionality even if you dump cable.
So let's get going!

THE PROBLEM OF CABLE TV

Most of us have grown accustomed to having cable television.  We often forget that for decades before cable even existed there TV and TV programming freely available to the masses.  Today, free TV still available and, in fact, there are more options than ever.  However, the problem is that cable has become so entrenched in our viewing habits that if you want to "cut the cable" you may not know what to do or where to turn.

ALTERNATIVES TO CABLE

Today, there are three primary options to getting content for free or cheaper than cable TV.  Those options are:
  1. An Antenna: Believe it or not, an antenna is one of the best ways to get free high-definition TV.    Many people still don't know that all the local and regional TV stations (CBS, ABC, NBC, FOX, PBS, ION, WB, etc) broadcast all their signals for free in high definition.  Not only are the signals broadcast in HD, they are also broadcast in full 5.1 surround sound; and because the signals are sent over the air, they are generally sharper and of better quality than the same channel on cable because the cable providers apply compression that degrades the signal so that they can properly send it over the cable wiring.  
  2. Media Set Top Box: A set top box is a device that connects to your home's Internet connection and gives you access to free and paid programming and content.  There are currently three major vendors and products in this arena:  AppleTV, Roku, and Boxee.  These set top boxes will allow you to install applications and services that provide content.  All of the set top boxes will have the ability to watch programming from Netflix and Hulu and some will also offer Amazon's streaming service and other niche providers.  You will need paid accounts to access any of these premium services.
  3. A Smart TV: A smart TV provides access to some of the same services as a media set top box so that you can have access to additional content and programming by connecting your television to the Internet. Normally, Smart TVs will have the Neflix, Hulu, and Amazon Streaming applications installed.  These applications will then allow you to log into these services and watch the television and movie programming that they offer.  You will still need an account to access these services.
  4. Web Sites: Just about every major content provider today is providing their television programming on their web site.  You can usually watch TV episodes the day after they air in case you missed them. It's really incredible what entertainment is available online.

OVERVIEW TO CUTTING THE CORD

So how does one go about cutting the cord?  It's actually pretty simple so let's dive right into it.  

The first thing that everyone should do is install an antenna.  That's right, let me repeat that.  Install an antenna; but first get out of your mind the notions of those rabbit ears.  Those days are long gone and things have changed.

For those who live in or near a city, the option of an indoor antenna is simple and straightforward and there are some slick, stylish and aesthetic options.  For those who live 70 or 100 miles away, you will need to install an antenna either in your attic, on the side of your house, or on top of your house.

Whether you can go slick and stylish or need to go outdoor, here's what you need to do:
  1. Find out the available channels in your area.
  2. Find out what kind of antenna you need to get the programming you want.  This will determine if you need an indoor, outdoor, omnidirectional, or directional antenna.
  3. Get a solution put together.
  4. Install it.

STEP BY STEP

Step 1: Finding Available Channels in your Area

If you are a do-it-yourself person and don't mind a bit of effort, then read on.  If, however, you want to skip all these steps, call the folks at www.solidsignal.com and they will get you pretty much all the information that I describe below.  While I've found the folks at www.solidsignal.com to be great, I also like to double-check things myself.

So, Your first step is to find available channels in your area and you do this by going to www.TVFool.com.  This is an unbelievable site and resource for cutting your dependence on cable.  

www.TVFool.com has a slick address finder that will show you which stations are in your area, how far away they are, and their direction from your home.

Click on the link to Check Your Location and you will be prompted to enter in your current address.  Yes, it really is that simple.
Enter in the address where you want to watch TV

Click on "Find Local Channels" and you will get back a very colorful circular map along with a table grid.  Don't be intimidated by the graphs that you get back.  They are very easy to understand as I'll explain and give you a ton of cool information.  

These two images show you exactly what channels are available in your area, how far away they are, what direction they are in from your location and what kind of TV antenna you will need to get those stations!  



The chart is color coded to let you know what channels you can get with a certain kind of antenna.
You'll notice from my map here that I'm able to get every major TV network plus many independent and public broadcasting stations with an indoor, multidirectional antenna (those are all the green areas).  If I have an amplified indoor antenna, I can likely get the areas in yellow and if I want to get the red or grey areas, then I'll need a good directional antenna mounted on the side of my house.

Once you have an idea of what antenna you need, you can either put together a solution yourself or call the folks at www.solidsignal.com and they will put together a complete solution for you.  I've personally put together all my over the air solutions with the folks at Solid Signal and I have nothing but high marks to their products and services and don't have any hesitation recommending them.


One important item: there are new kinds of high definition antennas that will allow you to capture high definition broadcasting for free and they are not ugly!  I recommend two:


The first is the Mohu Leaf.  It's available here on Amazon for $39.99. It's a paper-thin (not an exaggeration--think a plastic laminated piece of paper--that's how thin!) antenna and really works and works well.  In fact, it's so thin you can put it right onto the back of the TV.  It even comes with thin velcro so you can do that!  It's reversible and has black on one side and white on the other.
The Mohu Leaf
The Mohu Leaf is paper-thin and reversible.  It's white on one side and black on the other
The second solution is pretty much identical to the Mohu Leaf.   It's the Solid Signal HD-BLADE flat indoor antenna.   You can check it out hereat Solid Signal for $28.99.  As you can see, it's paper-thin and mounts immediately behind the TV.  Like the Mohu Leaf, it's reversible and is black on one side and white on the other.


In my particular case, what I did was a hybrid approach.  I wanted both my local stations, which were pretty close and also I wanted some distant stations.  I therefore installed both an omnidirectional antenna and a high-powered directional antenna and using a splitter/combiner I was able to combine the signal to get the best of both worlds.

I installed this Winegard HD-8200U to the side of the house and I'm now getting TV stations 70-90 miles away.


I used this RadioShack splitter/combiner to combine two antenna signals.  The results are gorgeous!
I used this 2-way hybrid splitter from RadioShack to do the job.  It works flawlessly!  I'm now able to use an omni-directional antenna to get all the channels within a 25-40 mile radius and then I'm able to get channels 75-90 miles away with my directional antenna!

Why two antennas you might ask?  Well, I wanted to setup my solution and be done with it.

What I didn't know ahead of time was that the antenna rotators now come with a remote control.  Thus, you can pre-program the direction of the antenna for a particular station.  You then press a button and presto!  It turns the antenna to the specified direction and you're done.

WAIT!  I miss the programming information!

There are some things that cable is great for.  Remember, I'm not knocking cable.  I doubt you are either.  What we're contesting is the high monthly fees.  One thing that is really great about cable TV is the on-screen guide for programming.  As a general rule, if you switch from cable to an antenna you will lose that ability to scroll through program titles and have an on-screen guide for upcoming programming.

If you want to keep that on-screen guide, all is not lost.  You can still have that feature, but it means buying an additional product: a TiVo.  TiVo is a household name, but in case you are not familiar with it, TiVo is a DVR that really revolutionized television watching many years ago with its features and ease of use.

Today, TiVo sells stand-alone boxes (much like your cable box) that will record one or more programs but also give you an online television guide for programming--even for service through an antenna!  The only drawback is that you need to purchase a TiVo and pay an monthly fee to get this functionality.  For some, adding the cost of the TiVo plus service defeats the reason they are dumping cable (though it's probably cheaper to use a TiVo).  For others, dumping cable and adding a TiVo may be the best compromise of all.  Simply put, if you need the on screen guide, then TiVo will do the trick and it will also give you lots of additional functionality (like DVR) and flexibility (apps and streaming content providers) that may make it a very appealing solution.  You can go to TiVo's introduction here to learn more about the TiVo and the cool things it offers.  TiVo has a specific link and explanation if you want to use TiVo with an antenna here: http://www.tivo.com/products/tivo-walkthrough/tv-source/antenna/index.html

If you have your TV setup as a home theater, with surround sound, or with external speakers, TiVo may be the best solution for you. The TiVo models designed for antennas have a built-in TV tuner.  So the TiVo decodes the antenna signal and then passes it via HDMI.  The TiVo Premiere XL4 is even THX certified and allows you to properly color-correct and calibrate your HDTV signal.

My simple point is that TiVo offers lots of features.  It's a fantastic product and may be a perfect fit for getting DVR functionality, on-screen guides, and more at a reasonable price that beats cable.  It's worth exploring.

Mounting an External Antenna

If you've read this far, you've seen things aren't that bad at all.  In fact you have lots of options.  However, if you need to mount an external antenna, then things be intimidating and you might want to just give up.  Fear not!  

For the average person, it's easier to hire someone to install the antenna.  There's a good article here on Yahoo! about when to hire a professional.  Luckily, there are web sites that act as clearinghouses for installers.  You can check out this one from weebly.com:  http://tvantennainstallations.weebly.com/tv-antenna-installers.html  This site is recommended in the Yahoo! article, but I personally cannot vouch for them as I installed my antenna myself and I had my electrician—who is excellent—help mount and ground the antenna.  It took only about 40-60 minutes in my case.

If you do bring in a professional, be sure to try and get two or three quotes so that you don't get taken the to cleaners.  You can also see what the installers are recommending and why.  You'll know soon enough who is trustworthy and reputable and be sure to ask for references!  If you are using a company like Solid Signal to put together a solution for you, ask them about how to find a good and reputable installer.

Conclusion

As it stands today, the best way to get high quality, live programming is through an antenna.  There's just no other way around it.  Streaming live programming from the Internet is OK, but it's not even close to the quality that an over-the-air HD signal will give you with both audio and video.  Lots and lots of people have transitioned to over-the-air HD antennas.  I did!  

Good luck with your project.  We've all been paying high cable bills for far too long.  It's easy to get rid of those bills and start taking advantage of free HDTV.

In Part 2 of this special, extended coverage (click here for Part 2), I'll be talking about the services that you can use to supplement your antenna to get on-demand movies, TV shows, and more.  In Part 3 (click here for Part 3) I'll be covering the devices you can use to access those streaming services.  Finally, in Part 4, I'll be covering the options for DVR functionality even if you dump cable.







Sonic Studio Announces Amarra sQ Version 2.0 Update

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Sonic Studio, makers of the Amarra music player used in many audiophile circles, has announced the release of Amarra sQ version 2.0 with a new User Interface, new features.   Sonic Studio has positioned Amarra sQ as a product to improve output quality of streaming audio including Tidal™, YouTube™, Spotify™, Netflix™, Qobuz™ and virtually any other streaming source.

According to Sonic Studio, Amarra sQ can now be used to enhance the sound of your favorite computer music player.  By launching your favorite music player and launching Amarra sQ you can customized your listening experience.  

Headphone users can use the headphone presets for many popular brands and listen through your cans the way the manufacturer intended you to.

Amarra sQ is available for $29.99.  There is a 15-day free trail download available.

Questioning Authority in Music: Lamenting the Death of the Penguin Guide to Recorded Classical Music

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I was recently recalling one of my trips to Tower Records. For those who remember, Tower Records was a massive music store. The flagship stores in major cities usually spanned several floors with one floor dedicated to different musical genres.   For many like me, Tower Records was simply the public library of music. It was a sacred collection of recorded works ancient and modern in any listening format you preferred.

I remember one specific occasion when Stevie Wonder and his entourage entered Tower Records late in the evening behind me. They closed the entire store behind me so that Stevie and his company had free reign of the store to explore and sample whatever they wanted.

Aside from the assembled collections and regular celebrity visits, there is another element that I now sorely miss about Tower Records: The Penguin Guide to Recorded Classical Music. Normally, you had to know where to look, but it was unmistakable. This paperback Bible of classical music was usually well worn; and, like a good Bible, it was frequently referenced and used.

If you wanted to explore a particular composer or work, then you'd reference the Penguin Guide first.  The Penguin Guide helped me on many occasions, from Bach's Cello Suites to Holst's The Planets.  The Guide would tell you all the available recordings, who they were recorded by, and gave you an exhaustive rating.

Penguin's rating system was straightforward and gave you an easy way to see how a performance rated.

Ratings were done in the form of stars. One star meant that the work was a fair or somewhat routine performance.  It was reasonably well performed or recorded. You respectfully shied away from those.  Two stars assured A good performance and recording of today's normal high standard. Three stars indicated an outstanding performance and recording of the calibre we now take for granted. Those performances receiving four stars were considered very exceptional issues on every count. Those rare works that exceeded the four stars were put into a category all their own with a rosette. A rosette was a compliment that placed the recording in a very special class.

Other classifications included a star in brackets, which meant that there was some qualification to the performance or recording. A bracket around all three stars usually denoted an outstanding performance in monaural sound.

Performances wouldn't simply get stars or rosettes, they would sometimes be accompanied with a brief commentary that gave you keen insight into some aspect of the performance.  If you wanted to verify if a performance rated in the Penguin Guide met with your expectations, then you could often sample that performance on CD in full via a pair of headphones at a dedicated listening station at Tower Records.
In addition to a rating, the Penguin Guide would give you a bit of information and perspective about the recording.  You could then use the description and the rating as a way to judge which recordings you wanted to consider.
Of course, those days are long gone.  Tower Records is a faded memory as are many venerable music and record stores.  The Penguin Guide to Recorded Classical Music hasn't been updated since 2010.  I daresay that we'll see another updated edition published ever again.  Even its rival, the Gramophone Classical Music Guide hasn't seen an update since 2012.

Instead, we are now being forced to rely on the masses.  Ratings today are baed on popularity and potentially arbitrary votes.  Have you ever stopped to think if JazzyJeff321 or SuperDJ88's opinions and ratings should even be given any weight?  The unintended consequence of the digital revolution is that it has left a void in music authority.  Now, anyone—regardless of their qualifications, taste, expertise—has the same vote and the same voice with potentially the same weight as the expert and the veteran.  

On the one hand, that's not necessarily a bad thing.  In fact, there are many merits to this evolution. However, on the other hand, we've also suffered a significant loss.  I didn't necessarily agree with everything the editors of the Penguin Guide said.  I didn't necessarily prefer all their recommendations.  That's wasn't the point.  

The point was and is that at the guide existed.  At least it was there as a reference.  At least there was  a perspective.  If nothing else, the Penguin Guide was an attempt to solicit and organize such a body of knowledge and reviews from a panel with some experience and expertise.  

In hindsight, we can start to piece through the unintended consequences and social shifts that technology advancement can bring.  I, for one, appreciate the tremendous strides made in music's legal availability thanks to the iPod and iTunes.  At the same time, I also miss hanging out with my friends and colleagues at a music store, sifting through collections, and engaging in wonderful discussions and the memories that came from those encounters.  Perhaps most of all, I'll miss my reading sessions with Penguin.  

Is High-Resolution Music a Farce? The Question of Provenance

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The Mona Lisa by Leonardo da Vinci has resided at The Louvre in Paris since 1797.
Mona Lisa image courtesy of WikiArt.org
In the art-world, the question of provenance (from the French "provenir," which means "to come from.") is key to determining the authenticity, date, and ownership of a work of art. Back in the days of physical media, you could find the musical provenance of a piece of music in the liner notes. In some cases, the musical provenance would give you not only the place and date when a work was recorded but also the equipment used to do the recording.


It was common in the early days of compact disc to see the three-part-chain of recording, mastering, and pressing as either AAD, ADD, or DDD where "A" stood for "Analog" and "D" stood for "Digital" Seeing the DDD surrounded by a rectangle and inscribed on the CD face was assurance that the work in your hands was recorded, mastered, and finally pressed on CD all in the digital domain.


Because CD was limited to 44kHz/16bit the question of resolution never came up. Now that the option of high-res digital media is becoming more and more popular, I personally believe that consumers have a right to know the provenance of the digital file. Why is this important you may ask? It's critically important for a very simple reason: if the original recording or mastering was only done at 44kHz/16bit then selling a "high-res" version of the file at 48bit or 96bit will yield no audible difference whatsoever because there is no recorded data on the file beyond 44kHz/16bit.

The classic holiday album, A Charlie Brown Christmas, is available in two different high-res sample rates.



As the images below show, just because something is a newer release doesn't guarantee that you will get the highest sample rate.

Jimmy Greene's Beautiful Life is available as a 96/24 download. However, not all recently released albums are recorded or mastered at that high of a sampling rate.


Just because a recording is more recent doesn't mean it's available or mastered at the highest resolution.  Taylor Swift's 1989 on HD tracks is only available as a 44.1/24 download.
If you're confused about high-res music then think of the analogy of digital photos. You can start with a high-res photo and reduce the image while maintaining image quality. However, if you start with a low-resolution image and try to increase the size of the image, it will become pixilated. You will start to see the square pixels of the image and they will get larger and larger like the picture is colored squares on graph paper.

I believe that if a company is selling high-resolution music, then they should also provide the digital provenance for that music.


In some cases, that is already happening. For example, if you go to www.HDTracks.com some works are available only in 44kHz/16bit and others are available at 88kHz/24bit, 96kHz/24bit, 176kHz/24bit, 192kHz/24bit. Depending on the download option, you can infer that the highest bitrate available represents the highest available bitrate from the recording and mastering.  But HDTracks isn't consistent and clear.  For example, with The Who's Tommy, the album is listed at a 48/24 bit sampling rate but the individual tracks are listed at 96/24.  You get a lower resolution with the album?

HDTracks lists the sample rate for each track on Tommy as being 96/24.  However, the only available sample rate for the album—regardless of download format is limited to 48/24.  Which is correct?

 HD Tracks inserts even more confusion in their FAQ where they state:
Q: What are the differences between HDtracks and other digital-music services?  A: HDtracks offers music lovers the highest-quality downloads available anywhere on the web. Many digital music stores only offer heavily compressed MP3 files. When you purchase an HDtracks file, it is the same quality as a store-purchased CD. HDtracks downloads will play with no DRM on any device. In addition, HDtracks is the only site to offer full cover art and liner notes in pdf format.
By stating that HDTracks is the same quality as a store-purchased CD, then HDTracks is inferring that all its high-res files are simply 16bit/44.  That's confusing.

iTunes isn't any better.  iTunes gives you no indication whatsoever except that you pay a bit more for a better quality bitrate song at $1.29 vs $0.99.

Linn is clear that you are downloading a 24-bit master and they tell you the resolution of the master.   In some cases, the highest resolution master is only a 24bit/44.1kHz file.


The examples are endless but it's also confusing to the average user.  Just because you are downloading a FLAC or ALAC (Apple Lossless) or AIFF file doesn't mean you are getting a true high-res recording.  Rather, it only means that you are getting the music in that format.

Therefore, in addition to providing customers with the download file format and resolution, I think that customers also have a right to know the original resolution that the music was recorded and then mastered at.  I appreciate a growing trend towards high-res music but if high-resolution music download sites are going to charge a premium for high-res music then customers also have a right to know whether they are truly getting high-res recordings or simply CDs in disguise.

Why do we love bass? Neuroscientists study our love for deep bass rhythms in songs

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Televised around the country on 4th of July is the Boston Pops with their annual concert and the famous 1812 Overture of Tchaikovsky with the deep, pounding bass from those canons at the end of the piece. There's something monumental about those canons, the bass lines in a jazz show, or the subterranean depth charges from U571—a perennial home theater showpiece. Whether it's music or movies, why is it that we just love good, deep bass?

Well, neuroscientists are now pondering our love of bass and specifically why bass instruments handle the rhythm whereas higher-pitch instruments handle melody. According to an article from medicalxpress.com, research by Dr. Laurel Trainor and her colleagues from the McMaster Institute for Music and the Mind did some experiments where Dr. Trainor's team played high and low pitched tones at the same time to their test volunteers. According to the article, the tones were repeated in a sequence. Dr. Trainor and her team concluded that the brain was better at detecting when the lower tone occurred 50 MS too soon compared to when the higher tone occurred 50 MS too soon. They also found that the auditory nerve responded more to the timing errors of the lower-pitched tones than to the errors of the higher-pitched tones.

There are some interesting tidbits in the article and you can read the full article here.

Krell Set to Increase Pricing on Chorus 5200 and 7200 Amplifiers on January 1, 2015

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Krell's iBias Class A Technology Multichannel Amplifiers

The Krell name is virtually synonymous with the best of the best in high end audio.  For over three decades, Krell's products and especially their audio amplifiers have won countless industry awards.  Krell's amplifiers have established themselves across the industry as the benchmark for dynamics and driving just about any speaker on the planet and doing so with the sonic purity of Class A topology.

Because of their performance, materials, impeccable build quality, and customer service, Krell amplifiers have never been inexpensive.  However, as of the new year, their acclaimed multichannel amplifiers are about to get a price bump.

Effective January 1st, 2015, the US retail prices of the 5-channel Chorus 5200 and 7-channel Chorus 7200 200 watt/ch amplifiers will increase by $1,000 each to $8,500 and $10,500, respectively.  If you have been wanting to own some of the best multi-channel amplifiers on the market to upgrade your music and movie listening experience, then now would be a great time to add a Chorus amplifier to your system. 

In addition to Krell's Class A iBias technology, the amplifiers also feature state-of-the-art network interface through which you can easily perform system updates, set system parameters, set display time-out options, and even let the amplifier notify you, your dealer, or Krell if your amplifier should run into any issues.

Krell products are only available through authorized resellers.  A list of Krell's authorized US dealers is available here and a list of international dealers and distributors is available here.  You can also call Krell directly with any questions or to order a Chorus amplifier before the price increase at: 203-799-9954.

Below are some of the specification and highlights of the multichannel amplifiers, courtesy of Krell:

Chorus 5200 and Chorus 7200 Highlights

iBias Class A Technology - Krell Chorus amplifiers utilize our new iBias Class A Technology to operate in Class A to rated power output. The core of the iBias technology is an innovative circuit that measures output current, reflecting the demands of the connected speaker in real time. iBias circuitry then adjusts the Class A bias to the optimum level. In addition, iBias reduces Class A bias when the signal is at low levels minimizing heat generation and power consumption. The Chorus 5200 and Chorus 7200 are the first Class A multichannel amplifiers and deliver dramatic improvements in sound quality, especially midrange richness and purity, to music and movie soundtracks.

Power Supply Highlights - Power supply technology has always been an important contributor to the Krell sound. The Chorus 5200 uses three toroidal transformers and the Chorus 7200 uses four toroidal transformers to feed amplifier modules that include the audio circuitry, rectifier, and power supply filtering mounted to an individual heat sink. This design shortens the electrical path from the power supply to the output transistors, allowing the circuit to respond faster and control the speakers better and more accurately.

Rear view of the Krell Chorus 7200 amplifier
Circuitry Highlights - The new iBias circuitry is built on a foundation of core Krell circuit technologies using only discrete components. There are no generic integrated circuits or prepackaged amp modules used. We are employing a new power output device in the iBias amplifiers that operate at a 73% higher voltage, delivers almost 10% more current, and offers 120 watts of additional power handling capability as compared to other devices. With this combination, the iBias amplifiers deliver substantially more power in a smaller design. Krell iBias Class A amplifiers are the first amplifiers to deliver the unmatched musicality of Class A, classic Krell dynamic output, and the efficiency and low power consumption important for today's installations. It's all the power and control for which Krell has always been famous, with a level of resolution and musicality in the midrange and treble that has simply never been heard before.



Network Connectivity - The new amplifiers include RJ 45 Ethernet connectivity and an internal web page that is accessible from any smartphone, tablet, or laptop. Network connectivity brings convenience, monitoring, and reporting to end users.

Once the amplifier is connected to a network router with Internet access, the amplifier's advanced protection systems are now viewable on an Internet-connected device. Excessive current, output DC, fan speeds, short circuit, and overheating are all monitored in real time. If an issue occurs, the fault is displayed on the front panel and reported on the web server interface. Emails will automatically be sent to as many as three email addresses to notify the end user and/or the dealer of the condition

Best Subwoofers Under $500

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 What are the Best Subwoofers Under $500?  I'm often asked this question and I'm very sorry to tell people that it’s rare to get a serious-performing subwoofer under $500. In general, my experience with subs under $500 has been that they just aren’t worth the investment.  The subs tend to be passive, boomy, sloppy and incapable of delivering anything resembling accurate bass.  The subs that you will find worth considering, are usually within pennies or a few dollars of the $500 price-point.

Don't consider any sub with a retail price of $350 and under.  Anything between $350-$450 price range is usually just low frequency noise and a waste of money. With many companies now outsourcing their lower-end products to Chinese manufacturing, that rule is starting to show glimmers of exceptions.   Nevertheless, I stand by my point. 

I strongly recommend that the audiophile and home theater lovers invest the $500 to get better quality front left and right speakers as opposed to diluting their monies on interior-quality and poor-performing subwoofers in this price range.  I generally recommend that serious audiophiles look to the used market or for dealer demo models to get a high-quality, well-cared for, but older subwoofer within this price-point. In the used market, you can find exceptional deals for used subwoofers that originally sold for $800-$1,200. 

 That being said, there are a few exceptions to the rule that I do feel are worth noting for your consideration. Here are the models I think are worth an audition:

Best Subwoofers Under $500

SVS SB-1000 Subwoofer

SVS SB-1000 (MSRP $499.99)

The little brother of the SB-2000 and SB13-Ultra is no slouch. Featuring a 300W amplifier capable of delivering 720W peaks, the SB-1000 is a model that bucks the trend in the $500 subwoofer market.  The build quality of the SB-1000 is up to SVS' typically high-standards.  The SB-1000 will play down to a ridiculously low 24Hz +/- 3dB making it a great complement to a modest home theater or music environment.  Backed by SVS 5-year warranty and 45-day in-home trial, the SB-1000 is a value-leader and a no-brainer to vie for the title of best sub under $500.


Definitive Technology ProSub 1000

Definitive Technology ProSub 1000 (MSRP $499)

Definitive Technology has long been known for their exceptional speakers and subs. Definitive solidified their reputation with the SuperCube Trinity, specially designed for the electric organ in New York’s historic Trinity Church. While the ProSub 1000 is no SuperCube Trinity, it has all the hallmark and traits of a Definitive subwoofer. The ProSub 1000 has an active 10-inch high excursion woofer pressure coupled to 10-inch bottom mounted low bass radiator that is driven by a 300W amplifier. This design, Definitive claims, produces the net radiating area of the ProSub 1000 is 39% greater than a single 12 inch woofer but with better speed, pitch definition and control The ProSub 1000 is a great value and deserves to be on the audition list for any poor audiophile’s looking at subs under $500.


MartinLogan Dynamo 500 Subwoofer

MartinLogan Dynamo 500 (MSRP $495)

MartinLogan has traditionally been known for their exceptional electrostatic speakers and high performance, high-end subwoofers.  Over the past many years, MartinLogan has been focusing on more moderately-priced products to appeal to the poor audiophile.  For this price-point, the MartinLogan Dynamo 500 is a solidly built, ported subwoofer that features high-density materials to help minimize cabinet resonances.  The Dynamo 500 features two ports which MartinLogan says are a convenient and cost-effective way of increasing low-frequency output while minimizing port induced distortion.  A 120W amplifier capable of 360W peaks drives a 10-inch woofer for performance down to 29Hz. The sub features a phase control with 0° and 180° settings.


Axiom Audio EP125 v4

Axiom Audio EP125 v4 ($480 MSRP)

Axiom audio is a direct-to-consumer speaker manufacturer that offers tremendous bang for the buck by cutting out the middleman.  The EP125 sub features a self-contained 125-watt amplifier capable of 500W peaks driving a pure cast-aluminum basket 8-inch woofer.  The ported design is rated to deliver bass down to 30Hz (+/-3db).  The EP125 v4 features a variable phase switch, output level control and an adjustable crossover. Axiom Audio features a 30-day in him trial so that you can try the EP125 in your own home with your own equipment.

MartinLogan Crescendo Wireless Speaker System $100 Off

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MartinLogan needs no introduction with their legendary hybrid electrostatic loudspeaker and subwoofer lineup.  Recently, MartinLogan got into the wireless speaker system market with the launch of the Crescendo.  




The Crescendo is a sleek-looking, flexible, high-performance all-in-one unit that supports Apple AirPlay and Bluetooth wireless streaming; USB connectivity; Ethernet and WiFi; custom crossover and external subwoofer connection; analog and optical inputs—all of which make this an incredibly flexible system to integrate into any environment.

Right now, Crutchfield has the Crescendo at $100 off the $899 list price, which brings the Crescendo down to $799. In addition, you get free shipping. The Crescendo comes in either a walnut or black finish.

MartinLogan has sent us a Crescendo for review, which we will be posting in the new year.  Until you have a chance to read the full review, let's just say that if you've been looking for a superb-sounding, all-in-one unit, you should take advantage of this deal before its gone and get yourself an early Christmas gift.

Best Subwoofers Under $1,000

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Now that we've covered the best subwoofers under $500, what are the best subwoofers under $1,000?   While we were very careful with our recommendations in the under $500 category, once you get past the $500 threshold and can spend up to $1,000 you start to have some legitimate subwoofer options. In general, subwoofers between the $500-$1,000 price range are high value subwoofers that are generally best suited for small to midsized rooms.

Often, subwoofers in the $1,000 and under category will feature a 10" or 12" woofer with fairly decent amplification. The best subwoofers in this category won't try to do it all. Rather you'll find that they try and do the basics well—they will have clean amplification, quality build materials, variable phase, and variable crossover options.

Subwoofers in this price range will tend to be made overseas--primarily China. The cheaper labor will help keep the price-point down. However, you'll need to make sure that the subwoofer manufacturer and the particular model have a good reputation for ensuring solid build quality for overseas manufacturing.

While you'll typically get decent build, you won't necessarily have the top notch enclosure or driver materials. In other words, the manufacturer will need to make some strategic trade-offs. The subs listed here in the $1,000 and under category will typically be great for home theater, but will leave the serious audiophile somewhat disappointed. If you're a picky audiophile, you may want to play two channel music without a sub, or you'll need to pay particular attention who is particular about their two-channels music, then the subs in this price-range may leave you a slightly disappointed.

Here's a short-list of the best subwoofers under $1,000 that we think are worth your attention.  Each sub listed may be better suited for different applications and environments.  Here they are listed by price:

REL-T7 Subwoofer System

REL-T7 (MSRP $999)


Two REL models made the cut for the best subs under $1,000. The REL-T7 is all REL without the more expensive price tag that REL subs have typically commanded. The Ultra Long Throw (ULT) Bass Engine driver used in the T-Series went through 11 generations of prototyping. The T-Series actually makes use of two drivers; an active downward-firing ULT and a passive forward-firing ULT. Like all REL subs, the T7 is not considered a subwoofer, but a subwoofer system that is intended to work seamlessly with the main speakers. All REL Sub-Bass systems offer two types of connection, a unique High-Level (Speaker Level) connection and a .1/LFE connection (RCA), each with their own volume controls. The T-Series has an additional input, a Low level input (RCA). The High-Level connection is highly preferred as it connects the REL directly to the system’s amplifier, allowing the REL, chameleon-like, to take on the sonic character of the entire system. The REL-T7 features an active, 8", down-firing, ultra long throw woofer, a 10", passive, front-firing woofer powered by a 200W Class A/B amplifier in a sealed design. This is one subwoofer that is at home with both the finest symphonic details or assaults of home theater. This isn't a sub that attempts to do it all but rather focuses on doing its fudamentals exceptionally well. It is only rated at 30 Hz at -6 dB in room so it won't push the lowest octaves of and low frequency effects (LFE) movie channel. However, if you prize smoothness and fitness over brute assault, this subwoofer may be the perfect match for you.

MartinLogan Dynamo 1000w (MSRP $995) 

I’m such a huge fan of the MartinLogan Dynamo that I felt all the models should be considered in this list. Ranging in price from $295 to $995, the Martin Logan Dynamo should be on any poor audiophile’s short list. The MartinLogan Dynamo line has the perfect trade-off of price and performance giving you a taste of what high-end subwoofers will deliver without the high end price tag. Dynamo 1000w and 700w models features a wireless RF receiver that gives you the ultimate in placement flexibility and convenience. The Dynamo 1000w features a 12” high-excursion polypropylene cone and the Dynamo 700w’s cone is 10”. The Dynamo subwoofers can also be configured in a front-firing or down-firing position to aid in your placement options. Many years ago, a MartinLogan Dynamo was my first serious subwoofer. I’ve been a huge fan ever since.  Try one for yourself and you'll understand first-hand.  If you love MartinLogan subwoofers and the Dynamo 1000w is just out of your price-range, then consider auditioning the  Dynamo 700w (MSRP $695).

The Sunfire HRS-10 Subwoofer

Sunfire HRS-10 (MSRP $949)

Sunfire was originally founded by legendary amplifier designer, Bob Carver.  There's always been a direct correlation between a subwoofer's size and it's performance.  However, large subs have always been hard to place and not the most wife-friendly pieces of audio equipment.  If you wanted to make subs smaller, then you needed to significantly increase the amplification to move the surrounding air.  That's exactly what Bob Carver did with Sunfire.  He made ridiculously powered subwoofers in an incredibly small form factor that were able to compete with significantly larger and more expensive subwoofers.  While Bob sold Sunfire many years ago, the HRS-10 continues that legacy.  The HRS-10 comes with a 10" woofer and an amplifier capable of delivering 1000W of continuous power.  It comes with a variable crossover from 30-100Hz and a phase control from 0-180°.  The HRS-10 is rated to deliver bass down to 20Hz in a tiny, wife-friendly, 11.5" cube, sealed design. The HRS-10 is a true David among Goliaths.
The SVS SB-2000 Subwoofer

SVS SB-2000 (MSRP $699)

SVS has done it again.  Well-known in the home theater and audiophile circles, SVS has solidly established themselves as the maker of high-value, premium subwoofers that continue to compete against subwoofers and speakers costing 2x - 3x their price.  The SB-2000 proudly continues that tradition.  The SB-2000 has absolutely no right whatsoever to sound as good as it does at this price point. I shake my head every time I think about it. This sub is a movie-lover’s dream that reaches down to a real, you-can-feel-it 19 Hz +/-3dB.  The SB-2000 features a 12” driver with a 500W amplifier capable of delivering 1100 W peaks. Paired with monitors or full-range speakers, the SB-2000 is an unbelievable value for those in small to midsize rooms. For the record, I was able to get the SB-2000 to seriously pressurize a 24 x 30 foot room. Impressive, most impressive.

REL-T5 (MSRP: $699)

The REL T-5 subwoofer
British audio manufacturer REL Acoustics makes only one thing, subwoofers.  And that one thing they do extremely well.  REL subs are coveted by audiophiles for their musicality and nearly seamless integration with main speakers.  The REL-T5 won't go down as deep as many of the other subs on this list, but, you won't be disappointed in this sub.  The REL-T5 uses a down-firing, steel-stamped 8" Ultra Long Throw (ULT) driver.  Unlike other subs, REL uses Class A/B subwoofers and powers the T5 with a high current 150W Classs A/B amplifier.  Beyond the specs, the T5 conforms with REL's overall philosophy that you're not purchasing a subwoofer but rather a subwoofer system that integrates in as part of your entire speaker setup so that  by connecting at high level, the sub will reproduce exactly the same character of bass as the main speakers. This is an approach and philosophy that has won the ears of audiophiles the world over.  While you won't get the lowest bass with the T5, you also won't get the sloppy or boomy bass that can often characterize so many subs in this price-range.  What the REL T5 does, it does exceptionally well.

Why Audio Isn't Compelling to the Masses: The problem of Speakers and the Audio Experience in Big Box Stores

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I was recently at a BestBuy that didn't feature a Magnolia section. Because I wasn't in a particular rush, I decided to walk around and think about big box stores (not just BestBuy) from the perspective of layout and customer experience with audio.  With audio and home theater dealers declining and the larger, specialty chains (like Tweeter) now a faded memory, the only upgraded audio experience consumers will have is through big box stores like BestBuy. It isn't a good one, unfortunately.


I firmly believe that audio is 50% of the total picture in home theater. Watching Lord of the Rings, Terminator, Tron Legacy, Star Wars, or any Pixar movie with puny speakers lessens the impact of the movie.  If you don't believe me, then why does Hollywood spend time and energy on a musical score? Music and audio move.  In fact, it doesn't even need to be an epic movie.  A romantic movie with a cafe scene or with live jazz isn't the same if the music is tinny or thin. 

If that's indeed true, then we have a problem.  Big box stores aren't allocating 50% of their AV space to TVs and 50% to home theater audio.  Instead, there's usually just one side of a single aisle where you can find loudspeakers.  Here's a picture of the audio section at this particular BestBuy.


There wasn't an option to audition the speakers.  As you can see, all the speakers are laid out in the worst-possible acoustic way.  Customers are left blind.  While you can at lease see a television, you certainly couldn't hear any of the speakers.  How, then, are you expected to know what a difference such speakers could make?  How then is any consumer able to differentiate one speaker from another?  How is such a market supposed to grow?

When I visited a BestBuy that did have a Magnolia store, I went in and they did have the speakers laid out and you could listen via a switcher to a set of speakers and a receiver.  However, much to my annoyance, the speakers weren't setup optimally and to top it all off the room was full of hard, cabinet doors at the first reflection points.   What did this do?  It made a pair of B&W speakers sound like they were playing from the left side of the store when they were straight ahead.  

I was appalled.  

Once again, what are you trying to show your potential customer?  Whoever designed the speaker room was certainly not attuned or sensitive to acoustics.  Why on earth would you put large smooth, reflective cabinet doors in the room at the first reflection point.  And wouldn't you at least train the Magnolia staff to be attentive that speakers should not be pointing to the outside?  

There was no option to listen to or test out streaming speakers.  Sonos—one of my personal favorites and an amazing ecosystem—just sat there with no way for a user to experience the full setup.  There should be an iPad loaded with the apps and music for users to experience the ease of the streaming audio revolution.   Additionally, the Sonos subwoofer and sounder sat to the side in boxes.  The uneducated user would have no idea how you can setup an entire home audio system wirelessly.
Every single big box chain who sells loudspeakers is to blame—BestBuy, PC Richards, etc.  They all fall prey to the same issues.  Because I want my criticisms to be constructive, here is what I suggest:
  1. Retailers need to make a decision whether or not they want audio—not just headphones—in their stores.  If they don't, then remove all the loudspeakers and let them be purchased solely online.  I'd rather have that than the current state of things.  
  2. Section off the store into smaller "rooms" where you can properly setup audio systems with TVs.  Larger stores could have up to three.  Smaller stores could have just one or two.  Have only those rooms playing the audio for the home theater and AV parts of the store.  Don't you think that customers who hear good audio will then be drawn to that section? That section could then be used by floor sales associates to upsell audio systems.  
  3. Have one room that is specifically wife-friendly in design and decor.  Guys want good audio systems and wives want good looking systems.  I suggest the following tier for a three-room option within a store:
    1. Room 1: Wife-Friendly and wireless.  Provide an option for a high-end sound bar and architectural speakers.  This room should also have a wireless audio and home theater option like Sonos.  Customers can then switch between the two to see what they sound like and how easy it is to add incredible audio without the eye-sore or cost of wiring.
    2. Room 2: Entry Level. This room should have bookshelf speakers with a subwoofer and feature a 5.1 setup.  Target a solution that is around $1,000-$1,500 for the speakers and another $800 for the subwoofer.  Show how someone could "grow" into this solution. A deal-breaker for many is doing the math on a 5.1 or 7.1 setup.  Don't fall into this trap.  Make the customer think of this as a 2-3 year grow in period if they can't afford it right away.
      1. Year one in this scenario would be the front speakers
      2. Year two would be the subwoofer
      3. Year three would be the surrounds
    3. Room 3: High End. This room should have floor standing speakers for a 2.0 setup and bookshelf speakers and a sub for a 2.1 setup.  The room should also have a full 5.1 setup so that people can hear the difference between the entry level and high end setup.  Once again, there should be a visible chart on how to grow into such a system over 2 or three years.  I would follow the same grow in period as with Room 2.
  4. Leverage your store credit card.  Put the options into real terms for customers.  For example, with BestBuy you can get deferred financing.  promote this in real terms with monthly payments.
  5. Provide purchasers of televisions with incentives to upgrade their audio.  TV buyers are your prime audience. You know who they are and you likely have them on your marketing list.  Target them with special audio deals and given them a coupon and deadline to redeem their incentive.  For example, if you purchase X television you get 10% off the following speaker setups.  If you purchase Y television, you get 15% off the following speaker setups, etc.  Work with your higher end brands like MartinLogan and B&W to work out such promotional deals.
  6. Provide speaker reviews in the store about the speakers. Work with the manufacturers to have reviews done on your speakers so that you can reprint them. Manufacturers will know if they have a great value speaker or a dud.  It doesn't cost a lot of money to promote a good product.
  7. Consider changing your brands.  Yes, that's right, don't carry terrible products or brands.  Not only are you having lower profit margins and lower potential profit per sales but you are also pushing away potential customers.
  8. Consider offering a speaker upgrade program.  Many high-end stores will allow you to trade-in gear within a year and use that purchase price towards the purchase of more expensive gear.  Earmark certain products like B&W and MartinLogan speakers for this exclusive opportunity.  Then customers can start small and work their way up the product line.  There needs to be a very clear definition of the condition that speakers must be in to be eligible for this upgrade.  The traded-in speakers can then be re-sold as used.  If you stick to high-end speakers then there is value to that.
  9. Train your associates.  One of the great things about BestBuy when it first opened was it's knowledgeable associates.  Due to many factors, the training has taken a nose dive.  BestBuy in has started to bring this back and it's made a difference in the customer experience. Other big box retailers have completely ignorant staff.  If you're serious about staying in the game long-term you need associates who are knowledgeable.  Otherwise, you'll completely collapse to the pressure of online-only ordering.
  10. Leverage your installers.  The Geek Squad with BestBuy is an underutilized service.  It's not just about hanging up televisions. It's also about setting up audio systems and tuning things.  Make the Geek Squad a white-glove-like experience that customers will rave about.  Don't be afraid to offer free Geek Squad installation assistance when it comes to the purchase of certain bundles.  Let customers experience good service first-hand and become evangelists for you.
I may be spot on with what I said or completely off in my opinion.  Nevertheless, I do know one thing: Televisions are getting thinner and thinner and OLED promises a complete revolution in television footprint profiles. The laws of physics can't be changed. Thinner televisions means shrinking, tinny speakers and worse sound.  Either you're going to have everyone wearing headphones or retailers are going to realize that there is an untapped market for home audio.

As a die-hard audiophile who firmly believes that there are exceptional solutions for just about any budget, the death of audio in stores is a sad state.  But here's the real tragedy.  As human beings we love audio and music.  We, however, aren't giving people the opportunity to experience it.  Audio isn't dying on it's own.  We're contributing poison to the mix.




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