D-BOX Technologies designs and manufactures leading edge high-technology motion systems mainly suited to the needs of the entertainment industry. With its unique, patented technology, « D-BOX Motion Code™ » uses motion codes specifically programmed for each film, TV program or video game, which are sent to a motion generating system integrated within either a platform or a seat. The resulting motion is perfectly synchronised with all onscreen action, creating an unmatched realistic immersive experience. To date, D-BOX Motion Code™ is available on more than 850 titles. Accordingly, many prominent Hollywood studios have started embedding D-BOX Motion Code™ on many Blu-ray™ format releases. By reaching agreements with the leaders of both the motion picture and gaming industries, D-BOX’s award-winning motion technology is gradually proving itself as a new global standard in the entertainment world.

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3D Film
The term 3D or 3-D is used to describe any visual presentation that attemps to create an illusion of depth to the viewer. Generally this is accomplished by filming two images at the same time from diferent angles. The images is then displayed in such a way that the viewers visual coretex will interpret the oair of images as a single 3D image.

3D Film Techniques
There are several techniques to produce 3D Film. They all involve projecting stereoscopic images.

•Anaglyphic 3D film (with glasses)
•Polarization 3D film (with glasses)
•Alternate-frame sequencing (with glasses)
•Autostereoscopic displays (without glasses)

3D Film vs 3D Games
3D Film and the technique behind 3D film is not to be mistaken to be anything like the technique behind the term '3D Games'. Today, generally, 3D Games refer to a game that is set in a virtual 3D world where you can move about in all directions. But the eye (or brain) is not really 'seeing' the images as 3D, not more than viewing a 2D photograph of our 3D world. But with most 3D Film techniques available 3D Games could easily be made to generate realistic moving 3D images.

This exciting technology will soon be making its way into your living room!

For the past several years a number of A/V manufacturers, especially those who specializing in products for the custom installation market, have offered a variety of iPod docking systems designed to let users plug their iPods into home audio and/or home theater systems. The appeal, of course, is that such docks let you turn your normally hand-held personal digital playback device into a mini-media server that the whole family can enjoy.
But one thing that has surprised me about many of the dock offerings I’ve seen is that they so often fail to take advantage of two of the iPod’s greatest strengths: namely, its portability and terrific user interface. Happily, Marantz’s IS301 Wireless Dock for iPod addresses both problems in an ergonomically satisfying way.
OVERVIEW
Consider this iPod dock if: you’d like to listen to music (or watch video content) from your iPod, yet would like to preserve as much of the tradition iPod user experience as possible. The IS301 is particularly useful in settings where you might need or want to keep your iPod stationed near your listening chair and away from your main equipment rack. The IS301 also gives you the option—at least for music playback—carrying the iPod with you as you move about the room.
Look elsewhere if: you’re a purist audiophile looking to extract digital audio signals from the iPod that can be routed to an outboard DAC for maximum sound quality. The IS301 provides analog audio and video outputs only, though it is tough to beat in terms of pure convenience.
Ratings (relative to comparably priced iPod docks):
Versatility: 9
Ease of use: 7
User interface: 10
Sound Quality: 9
Video Quality: 9
Value: 9

FEATURES
The IS301 consists of three main units:
an iPod handset (which serves as a carrier for whatever type of iPod you might have),
a base unit (which serves as a stand and charging unit for the handset), and
an extender unit (which connects to the base unit via wires or wireless Bluetooth connections and that provides A/V signal jacks for hooking the dock up to your audio or home theater system).
Interestingly, the IS301 is configured such that it can, when used with compatible Marantz A/V components, provide a limited range of remote control functions such as power on/off, volume up/down, and input switching. The IS301 handset also includes a USB port so that an installed iPod can be synced to the iTunes account on your PC or Mac (a USB cable is included for this purpose).
The system also includes a variety of handy accessories, including:
a small credit card-sized remote controller,
two AC power packs (one for the extender and the other for the base unit, which is used only when there are no wired connections between the extender and the base unit),
two sets of AC adaptors (one set for US/Japanese-type wall outlets, the other for European wall outlets),
a pair of “S-Link” cables (CAT5/LAN straight-type cables) for connecting the base unit to the extender (one cable provides audio connections and the other video),
an A/V cable (composite video and stereo analog audio),
a remote cable,
a USB cable (for connecting PCs/Macs to iPods installed in the IS301 handset), and
wall-mounting screws for hanging the base unit on a wall.
iPod compatibility; the IS301 is compatible with the following types of iPods:
iPod Mini,
iPod nano 1G/2G/3G/4G,
iPod 4G 20GB/40GB,
iPod 4G Photo 20GB/30GB/40GB/60GB,
iPod 5G Video 30GB/60GB/80GB,
iPod classic 80GB/120GB/160GB, and
iPod touch 1G/2G.
Interesting application note: As you can see from the list above, the IS301 is not "officially" compatible with iPhones. But we couldn't resist trying an iPhone in the dock, just to see what would happen. Our findings: when we plugged an iPhone into the IS301 handset, the iPhone displayed a message indicating we were attempting to connect to an accessory not intended for use with the iPhone. But wait: once we fired up our iPhone's iPod application, we found it would play through the Marantz dock just fine. Similarly, the Marantz remote controller had no trouble at all controlling our iPhone. Your "mileage," as they say, may vary, but in our case the iPhone worked beautifully with the IS301...

SET-UP/EASE OF USE
Base Unit
The first decision you’ll need to make when installing the IS301 is whether to use S-Link (wired) or Bluetooth (wireless) connections between the base unit and the extender module—a decision that will be governed partly by the types of media you want to play and partly by matter of convenience. If you intend to use the dock for music playback only then you will enjoy equally good results with wired or wireless connections, but if you plan on playing video content or displaying still photos from your iPod, then wired connections are a must. Once hardwired video connections are in place, a switch on the side of the base unit allows you to choose composite video, S-video, or component video outputs (depending on which of those options are supported by your particular iPod). With wired connections the base unit must be placed within about 5 – 6 feet of the extender, whereas with wireless connections you have the option of locating the base across the room from the extender and near your listening chair—an option many users will welcome with open arms.


IS301 handset, show thumbwheel-style "thickness adjuster"
Handset
With the IS301 system, you don’t plug your iPod directly into the base unit (as would be the case with many other docks), but rather plug the iPod into a Bluetooth-enabled handset that in turn clicks into a fitting on the top side of the base unit. One important point to bear in mind is that, when playing music from the iPod, users have the option of detaching the IS301 handset from the base unit and carrying it with them—relying on Bluetooth connections between the handset and the rest of the system to carry audio signals (again, the Bluetooth option works only for music playback, not for viewing video or still photos). One minor limitation is that, once the handset is removed from the base unit, the handset is powered solely by the iPod’s battery. However, once the handset is clipped back into the base unit, power supplied through the base unit will immediately begin recharging the iPod’s battery.
One very cool aspect of the handset’s design is a clever thumbwheel-style “thickness” adjuster that lets the handset work with a wide variety of iPods, and without requiring any of the little clip-in adapter plates that most docking systems use. If you’ve ever misplaced one of those docking plates, you’ll appreciate how nice Marantz’s “no-adapters-needed” design really is. But the most significant aspect of the handset is that it lets you use the iPod’s own user interface to control playback, which—in my view—is how things should be. (It amazes me that many dock makers attempt to re-invent the “user interface wheel,” so to speak, when the fact is that it very difficult to improve upon Apple’s simple, effective, and almost universally well-loved interface. Happily, Marantz really gets this.).
Extender Unit
The extender unit is simplicity itself, as it provides composite video, S-Video, component video, and stereo analog audio outputs for connection to your audio or home theater system. Additional jacks are provided for the extender’s AC adapter, an external control terminal (for example, for use with a whole-home remote control system), and for remote control signal feeds to associated Marantz A/V components. Naturally, there are two CAT5-type jacks which allow wired connections to the IS301 base unit.

Remote Control
The IS301 comes with a credit-card-sized remote control that serves two functions. First, the remote duplicates most of the control functions provided by the iPod itself, including power on/off, menu, select, play/pause, skip forward/backward, repeat, shuffle, and arrow up/down control. But second, the remote provides functions geared toward controlling associated Marantz A/V components, including amplifier power on/off, volume up/down, and input select buttons. The remote is particularly in settings where users have chosen to use hardwired connections between the base unit and the extender (say to support a video iPod), yet still want an easy way to control the system from across the room.

PERFORMANCE
For both audio and video playback I found Marantz’s IS301 dock virtually indistinguishable from using hardwired analog audio/video connections between the iPod and the main system. In practice, this means the dock offers sufficient resolution to show sonic difference between various types of audio compression you might choose to use (lossless schemes sound better than lossy ones). Interestingly, on music I could hear little if any difference between hardwired and Bluetooth audio connections between iPod and the main system, meaning there is essentially no performance penalty for using Bluetooth, if you wish to do so.
One minor quibble I should mention, though, is that Bluetooth connections between the IS301 handset are not as robust as some I’ve tried (for example, the almost bulletproof Bluetooth connections served up by the Etymotic Research wireless Ety8 Bluetooth in-ear headphones). As a result, you may experience—as I did—occasional losses of signal, especially if you break line-of-sight connections between the IS301 handset and the antenna on the extender module. Happily, it’s easy to re-establish connections with the push of a “pairing” button on the handset (or on the extender module). Still, I’d be even happier if wireless connections were never broken in the first place.
Video presentations from the iPod through the dock offers about the same resolution as a direct, hard-wired connection would. The dock does not offer the near state-of-the-art presentation you might see from certain high-end docking systems that use extensive video processing functions to restore video resolution the iPod itself is missing, but the presentation is otherwise about as good as the iPod’s video imaging ever gets.
One point I’d like to make absolutely clear is the IS301 does not extract digital audio from the iPod as a dock such as the Wadia Model 170 iTransport does. The IS301 provides analog audio and video connections only.

BOTTOM LINE:
Marantz’s IS301 wireless iPod dock gives you a simple and effective means of connecting almost any version of iPod to your audio or home theater system. Through the IS301, you can listen to music or, where your iPod supports these functions, watch videos or display still photos with the greatest of ease. The IS301 is at its very best for music playback, where the IS301’s innovative and portable Bluetooth handset lets you control playback directly from the iPod’s own user interface—an option not all competing docks allow.
A/V outputs: composite video, S-Video, component video, stereo analog audio
Other connections: USB port for syncing iPods to iTunes accounts on PCs or Macs, external control input for use with whole home control systems, remote control output for feeding control signals to compatible Marantz components.
Bluetooth compatibility: version 2.1+ EDR, supports A2DP profile and AVRCP profile
iPod compatibility: iPod Mini, iPod nano 1G/2G/3G/4G, iPod 4G 20GB/40GB, iPod 4G Photo 20GB/30GB/40GB/60GB, iPod 5G Video 30GB/60GB/80GB, iPod classic 80GB/120GB/160GB, and iPod touch 1G/2G.

Most movie soundtracks are digitally split up into five more more channels. In most instances, you’ll find channels dedicated to front, centre (dialogue) and surround signals, giving a total of five main channels, with a sixth bass-only channel dedicated to bass reinforcement. This bass or .1 channel contains approximately 10% of the audio content found on other channels within the 'soundfield' (as it only handles low bass signals), giving rise to the expression ‘5.1 surround sound’. In some soundtracks, an additional sixth channel of audio content has been encoded into the mix to add extra surround spaciousness, giving a 6.1 soundtrack (see our Separates section for more). This can be replayed either by one or two extra rear speakers, giving a total of either six or seven speakers and a sub in the system.

Now, let’s look at the core elements of home cinema systems in more detail. First and foremost, you’ll need a good-quality display and preferably a big one: large-screen plasma and LCD TVs are ideal, while the best, most cinematic results are available with a projector and screen. This will involve watching in a properly darkened room to ensure the best results, but in our view this only adds to the movie theatre experience.

Next, you’ll need a source, which for most buyers, means a DVD player. These have become increasingly disposable items in the modern market, costing as little as the price of two DVDs in some places, but while superficially appealing, these bargain-basement buys will do little for your home theatre enjoyment. A higher-quality player will not only provide a better picture for your screen, it will also deliver superior sonic performance and be built to last.

Then, you’ll require a surround sound processor, amplifier or receiver. This will provide all the amplification needed to drive your loudspeakers plus all the necessary surround sound decoding. Whether a processor (which requires a separate power amplifier) or an amp/receiver, the key audio work is carried out by powerful digital signal processors. These take the digital signals fed to them by your DVD player (games console or satellite receiver) and use them to recreate an enveloping soundfield in the room. Processors can also compensate for the acoustic properties of your room, and the relative placement of your speakers within it.

Finally, you’ll need a speaker system, which will be powered by your amplifier or receiver. There’s a massive variety on offer, from compact satellite systems through to huge floorstanding set-ups, but the key element remains consistent: all the speakers in a home theatre speaker package need to be tonally identical. This ensures that the soundfield remains coherent and is not disrupted by differeing characteristics in one channel or another. The slightest variation in tonality or volume, especially in the centre channel, can ruin the illusion, and with it, your experience. That’s why we produce dedicated centre-channel speakers to suit almost every loudspeaker range we produce.

Whichever size of speaker package you choose to buy, you should also budget for a dedicated subwoofer, or even two. Powered by its own internal amplifier, subs ensure you hear the full theatrical experience, complete with deep, articulate bass.

Invest in all these elements: display, source, amplification and speakers and you’ve the building blocks of a home theatre system. To fine-tune it for the best results, visit our Set-up section.

Yamaha recently added two new models to its Blu-ray lineup. We have not performed a hands-on review of the BD-S1065, but here is an overview of the player's features. This Profile 2.0 player supports BonusView/picture-in-picture playback and BD-Live Web functionality, and it offers both onboard decoding and bitstream output of Dolby TrueHD and DTS-HD Master Audio. The BD-S1065 does not support any type of video-on-demand platform, such as those offered by Netflix and Amazon.
In terms of video connections, the BD-S1065 offers HDMI, component video, S-video, and composite video outputs. This player supports both 1080p/60 and 1080p/24 output resolutions via HDMI. The setup menu does not include any advanced picture adjustments, such as preset picture modes or noise-reduction options. The BD-S1065 has the full complement of audio connections: HDMI, optical and coaxial digital and 2- and 7.1-channel analog. As I mentioned, the player has onboard Dolby TrueHD and DTS-HD Master Audio decoding, and it also passes these high-resolution audio formats in bitstream form over HDMI, for your A/V receiver to decode. You can set speaker size, level, and delay for the analog audio outputs.

The BD-S1065's disc drive supports BD, DVD, CD audio, AVCHD, and JPEG playback, but not MP3 or WMA music files. The back panel features an Ethernet port for BD-Live Web connectivity; this player does not have built-in wireless functionality. The BD-S1065 also lacks internal memory, so the addition of an external storage device is required to download BD-Live features; a back-panel USB port is provided for this purpose. The player lacks RS-232, but it does have remote control in/out ports. The unit is compatible with the SCENE function available in many Yamaha receivers, which automatically launches a series of codes for certain tasks like "DVD Viewing."

Conclusion
Purely from a Blu-ray standpoint, the BD-S1065 has the most desirable features to suit any A/V setup--such as 1080p/24 output, BD-Live, and HD audio decoding with multichannel analog outputs--and would be a logical fit for anyone who owns a Yamaha receiver.

Founded in 1971, Lexicon has become one of the world's premier manufacturers of home theater and professional electronics. Innovative technologies, such as LOGIC 7, have helped Lexicon to push the boundaries of home entertainment. Lexicon audio systems are now available in the Rolls Royce Phantom, and LOGIC 7 in models from BMW, Mercedes and Land Rover.

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The History of Mark Levinson

1972 saw the introduction of Mark Levinson’s JC-1 preamplifier, a concrete, functional symbol of Mark Levinson’s approach to audio reproduction. It evidenced a signature blending of vision and science. It was the beginning of a series of groundbreaking audio components that reinforced America’s reputation in high end audio design.

Indeed, the JC-1 taught even hardcore audiophiles that tube components had no lock on aural truth. As the JC-1 evolved into the ML-1, it was joined by the ML-2 monophonic power amplifier. Mark Levinson then introduced the ML-3 power amplifier, a massive and ultra-stable dual-mono design that precisely controlled even the most difficult loudspeakers of its day.

By the mid ‘80s, despite innovations such as a fully modular preamplifier and extraordinary open-reel tape decks suitable for demanding studio recording sessions, Mark Levinson Audio Systems found itself in difficult financial straits. However, the Mark Levinson tradition of hand-crafted excellence was rescued by Madrigal Audio Laboratories, Mark Levinson’s “sister company” distributor. Key personnel regrouped to continue design and production. The reorganization brought needed fiscal discipline and an expanded engineering staff.

The timing was propitious. The audio industry was moving rapidly towards the digital CD as a prime music source. Although certainly not the first digital-to-analog converter to appear, Mark Levinson’s classic No. 30 reference processor was instantly hailed as the new sonic benchmark, an achievement that signaled digital’s “coming of age.” The following year, the No. 31 reference CD transport completedMark Levinson’s desire to offer the finest digital playback system. It, too, was hailed as a milestone in design, execution, and sound quality.

With the Mark Levinson name firmly established as a first tier supplier of components for the home enthusiast, Mark Levinson broadened its reach with a relationship with Lexus, Toyota’s luxury car division. Working closely with Lexus engineers, Mark Levinson leveraged its experience and the expertise of other automotive divisions of its parent corporation, Harman International, to provide audio performance that fully complemented the Lexus driving experience.

Today, more than three decades after the company’s inception, Mark Levinson continues to expand the horizons of audiophiles at home and on the road as well as those of home theater enthusiasts with components and systems that define accuracy, reliability, and enjoyment.

Mark Levinson. Since 1972. The same name. The same enduring standards. The same extraordinary level of satisfaction.

Check out our latest offering from Audiophile Manufacturer Mark Levinson.... now available to you via our Online Store!

Denon just introduced the AVR-4810CI Audio/Video Receiver, a next-generation 9.3 channel multi-zone A/V receiver that offers high-quality distribution of audio and video throughout the home. With nine built-in amplifiers that can be configured to a host of system designs, the AVR-4810CI offers unprecedented flexibility and support for high-definition audio and video performance from all digital sources.
Along with many of today's most advanced surround sound and distribution capabilities, the AVR-4810CI includes 6 HDMI inputs/2 outputs, all certified for HDMI 1.3a. It includes support for Dolby Pro Logic IIz, featuring Front Height Effects Channels, as well as Dolby TrueHD/ DTS-HD Master audio support for decoding the multi-channel recordings featured on Blu-ray and HD-DVD discs. It also features a built-in HDCD decoder, as well as a wide variety of performance and convenience features, including Vertical Stretch (2.35:1 CinemaScope) Mode, and a Video Control Adjustments Memory by input feature. Analog Video Conversion with Scaling to 1080p/24 uses advanced Anchor Bay Technologies (ABT) video processing and scaling.
Among the AVR-4810CI's leading-edge features and capabilities is the inclusion of Audyssey DSX with front height and/or expanded width channels. This advancement allows for a dramatic enhancement of the listener's 5.1- or 7.1-channel surround experience, adding a vertical component to the horizontal sound field and/or widening the image field to recreate a more realistic movie theatre-like experience. The enhanced spatial audio effect provides added presence and depth while maintaining the integrity of the source mix and ensuring audio is always appropriate to the source material.
Advanced Whole-Home Networking
The AVR-4810CI also includes a host of 21st century networking capabilities, joining other leading-edge products in Denon's line to feature both Ethernet and Wi-Fi connectivity (Wi-Fi 802.11 b/g certified) for control and digital media steaming. In order to provide users with even more flexibility and convenience, second zone video output is available via component with onscreen display for meta-data from iPod®/XM/HD Radio/Streaming Audio, providing a second zone within a home to experience high-definition video signals, audio and meta-data from connected devices. Two discrete AM/FM tuners, one featuring HD Radio, as well as Sirius and XM readiness provide for multi-zone distribution. The AVR-4810CI also features Rhapsody and Napster streaming audio via Internet without the necessity of a connected PC. It provides audio and video processing capabilities for three independent home entertainment zones, plus connectivity and control of Apple iPods that can be streamed to any of these zones. The height of "future-readiness," the AVR-4810CI even features a special "Party Mode" multi-zone network streaming management system for use with the ASD-51N/W Network Server/Dock. Notably, thanks to its preout connections for another set of channels for Audyssey DSX, the AVR-4810CI is in actuality a 4-zone AVR with 11.3-channel capabilities.
Custom Installation-Friendly Features
In addition to built-in Wi-Fi and Ethernet, the AVR-4810CI includes a host of features geared toward custom integrators, including easy system setup and maintenance from a remote location. This allows custom integrators to diagnose and even fix a customer's problem from their office and not waste time travelling to a customer's home. Once the unit is installed, the integrator can simply log on via secure website hosted by Denon and correct or restore settings that may have accidentally changed. Additionally, it allows users to stream and listen to music stored on a Windows PC, Mac and media server products or NAS devices supporting the DLNA standard.
For total ease and accuracy of set-up, the unit features Audyssey MultEQ XT Auto Setup and Calibration, along with the ability to use the advanced Audyssey Pro installer package, which measures ideal sonic performance in up to 32 different positions. This allows installers to define the ultimate sound quality for virtually any size or shape room.
Like all Denon receivers, the AVR-4810CI includes Audyssey Dynamic Volume, a volume levelling technology that frees listeners from the disruptive changes in volume levels when broadcast material changes between television shows and commercials or even while watching a movie. Coupled with Audyssey Dynamic Volume is Audyssey Dynamic EQ, a loudness correction technology that enhances the overall entertainment experience even further. Audyssey Dynamic EQ solves the problem of deteriorating sound quality of movies and music as volume is decreased. By selecting the correct frequency response and surround volume levels moment-by-moment, Dynamic EQ lets users enjoy the full palette of original rich sound at any volume.

Founded in 1979, Boston Acoustics established a reputation for high performance, affordable home loudspeakers, and then ventured into the mobile audio arena with equal success. Boston, along with companies like Adcom and B&W, played a huge role in the upper mid-fi boom of the mid-to-late 1980s. Boston also strongly delved into the mobile OEM business, and to this day still provides the audio systems for a number of high profile automobiles. D&M Holdings, owner of the Denon, Marantz, McIntosh, Snell, and Escient brands (among others), purchased Boston in 2005.
Launched late in 2008, Boston's "Classic Series" loudspeakers combine many of Boston's high-end technologies with a more traditional style and look, all at an affordable price. Along with the CS 26 Bookshelf Loudspeaker reviewed here, the line-up includes the CS 226 Floorstanding Loudspeaker, CS 225C Centre Channel, CS 23 Compact Bookshelf, and CS Sub10 Subwoofer. Boston also offers a complete CS 2300 5-channel surround sound system, consisting of four CS 23 Bookshelf speakers and a CS 223C Centre Channel.
The CS 26 Bookshelf Loudspeaker couples a 1-inch Kortec soft dome tweeter to a 6 ½-inch graphite injected polymer woofers utilizing Deep Channel Design (DCD) for more bass from less amplifier power, according to the company. The company says that Kortec® incorporates stiffening agents into a synthetic fabric to achieve high frequency response and power handling. The CS 26 employs a rear firing port, and provides two gold plated 5-way binding posts. The CS 26 also provides a keyhole bracket for easy wall mounting, along with a set of rubber feet. Available in either a black or cherry vinyl finish, the CS 26 provides a good level of fit and finish, and its inset grill design creates a smooth front appearance that will appeal to many (as long as you listen with the grills on, that is...take them off and the appearance looks a bit awkward). Boston has achieved its goal of offering a classic, simple cosmetic alternative in today's modern marketplace.
Sound
Set up on stands and driven by a good quality A/V receiver, the CS 26 delivered a well-rounded, sparkly presentation. The highs stood out just a bit, but not overly so. The CS 26 threw a very convincing soundstage considering its price, with depth and width and a good feeling of air. The bass had very good depth and tightness, and blended well into the lower midrange. The port definitely colored the bass a bit, but never to the point of distraction. While the CS 26 lacked ultimate bass depth, as that is to be expected at its size, the overall bass performance really stood out and drew you in as a listener. The CS 26 had a smooth midrange and only a bit of shallowness in the lower midband. Overall, vocals and piano had a very appealing, listenable quality, and blended well into the rest of the presentation. The CS 26 also played pretty loudly when asked, and held together pretty well. The CS 26 performed better away from rear walls, but not as much as you'd expect from a rear ported design. It held its own even mounted directly against the wall.
I preferred the CS 26 only slightly more with classical and jazz than rock and electronic material. Its solid midrange and consistent bass response allow it to stretch pretty much well across all types of music. But for me, its slightly sparkly tonal balance and big sound staging lent itself to classical; I really enjoyed listening to big symphonies and opera through the CS 26.
At 89dB efficiency with an 8 ohm load, the CS 26 needed only an average amount of power to open up properly. While I recommend at least a good quality power source, you could certainly get away with an entry-level receiver.
High Points
• The CS 26 performs well across a wide range of music, plays loudly without significant break-up, and doesn't suffer much even when wall-mounted.
• The CS 26 reproduces big classical and opera very well.
• The CS 26 is easy to drive and set up, and offers a pretty, classic cosmetic profile with an elegant grill design.
• The CS 26 offers optional matching centre and surround models for easy expansion.
Low Points
• The CS 26's slightly forward tonal balance lends itself to classical and opera recordings, but certainly does well overall with rock and electronic material, as well.
• The CS 26 produces midband coloration typical of budget bookshelf loudspeakers, but not enough to stand out and distract.
• The CS 26 looks much better with the grills on, as the inset baffle design makes things look a bit awkward when they're off.
Conclusion
The CS 26 offers a very appealing combination of sonics, ergonomics, and aesthetics. It can stretch across many types of material, and look good in the process. None of its sonic shortcomings came at the expense of the whole sonic picture, which is critical at any price point. While I didn't find any one aspect of the CS 26 truly extraordinary, I also didn't find anything truly unappealing, either. It sounds good, looks good, and is easy to set up and drive. This is a solid performer.

Marantz has had a reputation for high-quality audio reproduction for over 50 years. Lately, their receivers have been a little short on features, but maintained the legendary sound. Times are changing and Marantz has adapted nicely to the new technologies available to the receiver maker. The release of the SR6004 receiver reviewed here is proving that. This new receiver has you covered on all the new codecs, Audyssey features, video scaling and even Bluetooth connectivity. It is designed to be the hub of a modern home theater and even an entire home.

The SR6004 comes with all the features you'd expect, like four-to-two HDMI 1.3 switching, three-to-one component and composite video input switching. A front panel input allows composite video and has the only S-Video jack on the receiver. Digital inputs abound, with four optical and two coaxial, as well as a USB input, and one optical digital output that can feed a digital recorder or another home theater elsewhere in the home. There are a 7.1 channel analog input, eight pairs of stereo analog inputs and a stereo analog output for one zone, as well as 7.1 channel preamp outputs. A two-prong IEC power socket with both a switched and un-switched power outlet for your other components round out the connectivity. Seven 110-watts-per-channel into eight ohms amplifiers can be set to run speakers in a host of different ways from a conventional 7.1 system, with or without front height channel connected for when you use Dolby Pro Logic IIz. If you only run five speakers, you can use the extra channel to bi-amplify your front speakers.

Control is handled by remote connections for syncing to other Marantz components, as well as a 12-volt trigger, an RS-232 port and IR inputs. Connectors for both Sirius and XM satellite radio are here, as well as AM and FM tuners with up to 60 presets and direct access via the remote. The coolest thing on this unit is Marantz's new M-X Port terminal that plugs in the included RX101 Bluetooth and IR receiver. This allows remote IR detection should you hide your gear and will also sync to your iPhone or other Bluetooth-enabled devices and allow playback wirelessly on your home system. The RX101 has the capability of remembering up to eight Bluetooth devices, so the entire family can easily sync their iPhones and laptops on a single receiver.

The entire complement of Audyssey functions are here, including MultiEQ, Dynamic EQ and Dynamic Volume, as well as Dolby Pro Logic IIz, which offers an added pair of front height channels to increase the surround experience. All analog video sources can be scaled up to 1080p or any other format and are converted to HDMI and each other, allowing only the highest-level connector to connect the receiver to your display. Nowadays, that will hopefully be HDMI. Two HDMI outputs are present and you can directly switch between the two of them with a button on the remote. I am very happy to see this addition, as switching between the two outputs on older Marantz receivers was deeply buried in the set-up menus. Now those with dual display systems can easily switch between them.

The front panel USB port is full 2.0 spec and allows direct connection to an iPod, iPhone, flash drive or hard disc drive with up to 700 folders and over 65,000 files. Clearly, this will handle even large libraries and massive storage devices. When connected via USB, iPods and iPhones transfer data digitally as LPCM and can reproduce true CD quality sound from uncompressed files. Should you not want to be tethered to your receiver, the Bluetooth adaptor will allow you to move about your house while listening. Full iPod control is available from the remote and, for larger storage devices, your display will allow you to easily navigate your music files.

Top all this off with Marantz's new look for receivers and separates with the swooped-back side plates of the front fascia and the shallow depth cabinet, and this receiver not only looks great but can fit into places others can't. The shallow depth also makes connections easier, thanks to the extra space. The only thing not present on this receiver is WiFi support for computer audio, but the included Bluetooth support is more useful, easier to set up and accomplishes the same goals.

The Hook-up
I hooked the Marantz SR6004 to a 5.1 set of KEF 5005.2 speakers and fed the unit with a Scientific Atlanta 8300HD DVR, Denon DVD2500BTCI player and my Marantz TT-15SI turntable. I ran the cable box via both HDMI and component video, as well as a coaxial digital. I plugged in the RX101 Bluetooth receiver and the power cord and was up and running in less than half an hour. The Audyssey MultiEQ auto room set-up took a few more minutes. I went through the menus to set up my sources. The new GUI Marantz has made is much more modern than the previous version, which seemed very MS-DOS like and was a nice new addition. The input assignment is done on a large chart and is logical and intuitive to use. All inputs can be renamed to your liking. Parental controls, manual and automatic room set-up are all here, as well as set-up for the 7.1 channel analog input. You can even use Marantz's nine band graphic equalizers that allow you to customize each of the seven speakers, a true treat for the tweaker and a feature that provided a lot of fun for me. Tweaking frequency response of the different speakers can greatly improve or degrade your system, so be careful when messing with the EQ settings, but have fun.

Performance
The first thing I wanted to test was the Bluetooth connection, as I find this to be incredibly useful in today's world. I started off with my Mac Book Air streaming 192 Kbps MP3 and AAC files and was very happy with the results. Whether I streaming The Cure's cover of "Purple Haze" from Stone Free: A Tribute to Jimi Hendrix (Reprice/WEA) to Cypress Hill's self-titled album (Sony) and the track "How I Could Just Kill a Man," the sound was good, with reasonable separation and solid bass. Connecting my iPhone was a snap and gave me in-hand control of everything on it, even from across the house. When I did step out of range, simply moving back a few feet resumed playback. The ability to stream from my or any of my friends' iPhones or laptops made the experience far outweigh any limitations the compression took away from the music.

To compare the RX101 Bluetooth receiver to the USB, I used my iPhone. The USB input allows a true digital feed from the attached USB device to the receiver. I made two play lists of the same songs, one as AIFF files and one as MP3 and AAC files for easy comparison. I had to use my iPhone, as my iPod is an older model and only fourth-generation or newer models support the direct digital output. With my iPhone directly connected, "A Whiter Shade of Pale" from Annie Lennox's Medusa (Arista) in AIFF offered the best sonics, and for critical listening was more open with better separation than the 192 kbps MP3 track. When I switched to the Bluetooth receiver, the differences between the two file formats was less, with both sounding closer to the MP3 track, though the AIFF still had a bit more open sound.

Turning to TV, I found the time for the SR6004 to switch between different HD resolutions acceptably. It took a second or two, but everything does these days, and the Marantz was certainly no slower than others I've used, and on par with anything else I have. Dolby Digital from my HD DVR was clear and open. When I watched Entourage (HBO), vocals were easily discernable and surround effects matched the screen image. Sons of Anarchy (FX) demonstrated solid bass from explosions, while keeping subtleties clear. Scaling from the component input was good and, with higher-resolution sources, seemingly identical to HDMI on my slightly dated Panasonic plasma. I tried the Audyssey Dynamic EQ and volume and went through the various levels. While they did improve the ability to perceive voices at lower volumes, they pushed the mid bass too much for my liking, so I defeated them.

I spun up Robin Trower's Bridge of Sighs (Chrysalis/Capitol) on vinyl and was pleased with the rich and open way it portrayed the title track, giving a spacious soundstage with well-positioned bells. The deep and driving guitar riffs of "Too Rolling Stoned" came across with power and energy that made the song a joy to hear. I loved this album as a young man and this set-up showed me why, in more detail than I remembered. The AM/FM tuner of the Marantz SR6004 worked well, tuning in even difficult stations and had more presets available than any terrestrial radio market will offer.

I loaded up X-Men Origins: Wolverine (Twentieth Century Fox Home Entertainment) on Blu-ray and got all the life and energy I have come to expect from the new codecs. Every minute detail was crisply portrayed from the DTS HD MA track, while powerful explosions shook the room. The sound of sliding metal on metal when Wolverine's new claws come out for the first time was perfect and sounded as though I was using my own kitchen knives. The smacking of flesh in the fight with Blob had great detail and Blob's fall to the floor was palpable.

Low Points
The remote is well laid-out and functions perfectly, and even has great backlighting, but it feels kind of cheap. I know, I'm nitpicking, but it doesn't seem quite up to the quality of the receiver. Four HDMI inputs is a good number, but those with multiple gaming platforms, players and possibly TV sources may need more. I love the addition of the remote button to switch HDMI outputs, but can also see the downside to this, as a child accidentally hitting this button could cause technical operating problems, but I don't see how to overcome this, as those with dual display systems need immediate access to this feature. It is just something to be careful of if you don't use it.

Conclusion
Marantz has hit one out of the park with the new SR6004 AV receiver. Not only does it have/support all the new uncompressed codecs, multi-zone control and Audyssey EQ features, it even has Dolby Pro Logic IIz, which adds front height channels to enhance the surround experience. It has compatibility for both satellite radio providers, a USB audio input that can access music stored on any type of USB capable storage and allows a true digital feed from fourth-generation or later iPods or iPhones for critical listening. What I like the best is the inclusion of the RX101 Bluetooth receiver that allows me, or any of my friends, to stream music from our iPhones or other Bluetooth devices to the system wirelessly while maintaining in-hand control. The included RX101 Bluetooth receiver allows total convenience with only a slight loss of sonic quality when compared to the USB input and can remember up to eight devices, so an entire family or group could easily connect to it.

Marantz has a long history of delivering great sound, often with a lack of features, but this new receiver breaks that mold. Sure, it sounds great. In fact, it sounds better than most of the competitors' higher-priced models, but now Marantz is really baring its teeth and adding the coolest, most useful features. The SR6004 doesn't offer WiFi for computer audio - it goes one better and adds a Bluetooth receiver, which allows more ease of use and flexibility than WiFi. To top it off, the RX101 Bluetooth receiver also doubles as a remote IR receiver, allowing the SR6004 to be hidden from view, yet still be easily accessed via the included remote.

This is a great receiver. It's so easy to use and so practical, while sounding incredible. It offers relevant usable features not found elsewhere with great sound, all at a mid-fi price. This is the receiver I am recommending to anyone who asks me. The Marantz SR6004 is the most useable, feature-packed receiver, offering incredible sonics at a real-world price point. This is the one to check out if you are in the market for a new receiver, but get your own: I'm keeping this one

Rotel is one of the most established leaders in value-oriented audiophile gear. As part of the group that also owns Classe Audio electronics and Bowers and Wilkins (B&W) loudspeakers, thus giving home theatre enthusiasts and audiophiles meaningful performance without a staggering price tag. One of the categories that Rotel has succeeded in most recently is in their digital multi-channel amps. With real power ratings (not the trumped-up BS you will find with other brands currently in the market) you can get five channels of clean, quiet and bountiful power in an absolutely stunning chassis that borders on the levels of the uber-amps out there. The sound of the Rotel RMB-1575 is noticeably void of noise, a quality desirable to audiophiles in Class-A, Class-B designs. Class-D "digital" amps put the other designs to shame in terms of their quiet operation. Rotel's RMB-1575 also provides a very immediate sound, as it has so much more real power than even the top of the line AV receivers. This is valuable to home theatre users pumping the latest HD audio codecs like Dolby TrueHD and or DTS Master Audio via HDMI from Blu-ray, who will now have the amplifier power to keep up with the increased dynamics of the new formats.

High Points
• Dollar for dollar, the power you get with the Rotel RBM-1575 makes it a killer value. It cannot be compared with even the best AV receivers as it has so much more power. It is clearly a step above.
• The "quiet" or low distortion sound of the amp is truly alluring for music lovers and movie enthusiasts alike, especially with the new HD audio codecs from Blu-ray.
• The casework on the Rotel RMB-1575 is gorgeous, comparing with the best in the business.
• The Rotel RMB-1575 runs cool as a cucumber compared to traditional amps.

Low Points
• Class-D "digital" amps have tons of power and run quietly and cool. However, they tend to lack the heft on the low end that you get from the best Class-AB amps, such as a Krell or even a comparably-priced ATI. Those amps are far heavier, larger and run much hotter, often with more distortion, yet there is no question as to the difference in sound. It is not a "one is better than the other" valuation. Class-D amps just sound different than traditional Class-AB amps.

Conclusion
It should come as no surprise that Rotel is back with another bang-for-the-buck winner with the RBM-1575 five-channel Class-D digital amp. It is a good-looking contender that is the logical companion to today's latest AV preamps with the power needed to blow away even the best, most expensive AV receivers, especially on audiophile sources like DVD-Audio and SACD and, even more dramatically, on HD audio sources from Blu-ray.

By: Jerry Del Colliano
Receivers are for bedrooms. In a true high-performance, audiophile-grade theatre, you need real power to move some air with your speakers, meaning that even if you have a pair of your favourite monoblock amps perched on a slab of granite, you still have five more channels of audio to power. That brings me to the Classe' CA-5200, one of the most refined, powerful and graceful multi-channel amps to ever grace my equipment rack.

Listed conservatively at 200 watts per channel times five channels, the Classe Audio CA-5200 is what we could call a beast of an amplifier. It mainly operates as a traditional class AB amp but, at lower outputs, the Classe' engineers have figured out a way to make the amps run as a class-A amp (no pun intended), which reportedly reduces some of the noise associated with class AB switching, not that you can hear any audible noise when auditioning the Classe' CA-5200, as this power amp runs very, very quietly. The Toroidal transformer (the heart and soul of any good class AB amp) is custom-made and extra-beefy, yet the Classe' CA-5200 runs cool as a cucumber.
The build quality and industrial design for the entire Classe' line, especially the CA-5200, is as good as it gets at any price in the world of specialty audio. For music, expect to hear an amplifier that doesn't really impose its sound on your recordings. What the Classe' CA-5200 does is provide a reserve of power that is always sitting there waiting to produce. You don't always need all 200 watts across five channels, but when you are playing a demanding SACD in surround, there are times you are glad you have the sonic reinforcement that the CA-5200 delivers. For movies, the need for discrete power is arguably even more important, as a CA-5200 likely would power your front three speakers, as well as your surrounds. With HD audio coming from today's best Blu-ray sources, never before has having a high-resolution surround sound system been more relevant. The resolution of the effects you can hear in your side and rear channels are better than ever, necessitating a more significant amplifier like the Classe' CA-5200.

High Points
- The Classe' Audio CA-5200 delivers real power via proven amplifier technology. The 200 watts you get from each channel are conservatively rated and have pound after pound of technology to back them up. Don't fall for the hype of a digital amp unless cost is the most pressing issue. Yes, they are quiet and have one hell of a spec sheet, but listen to a real amp like the Classe' CA-5200 first before you plunk down your Black Card.
- The fit and finish of the Classe' Audio CA-5200 is breathtaking. One look in person (or even at the photos) will reassure you as to why this is one of the best options in the world of audiophile amplifiers. This is an amp you buy and keep for the rest of your life; you may even put a provision in your will for it. It's that good and will last that long.
- No multi-channel amp looks better in a custom rack than Classe'. Arguably, no large-scale class-AB amp runs cooler in a rack, either.
- Classe says they design their amps to not be very interconnect-dependent, meaning you don't have to geek out with 10 pairs of three-meter interconnects from your AV preamp to your amp. It's nice that they said this, as I needed to test it for myself and you know what? You can hear a difference between, say, UltraLink and Transparent cables with the Classe' CA-5200, so I stuck with my Transparent Reference cables, which have served me well over the years, as I believe each incremental audio improvement adds up to a system that sounds significantly better. I agree with Classe, however, that cables are not a huge issue with the CA-5200, as they sometimes are with tweakier audiophile amps.
Low Points
- I could pick on the Classe CA-5200's weight, but it's more of a planning issue than a ding. You wouldn't want to drop a CA-5200 in a flimsy rack, as this amp is worthy of being placed on granite in a more audiophile-oriented system. The coolest way of presenting the CA-5200 is in a custom rack, such as a Middle Atlantic rack with a custom faceplate. An entire rack of Classe' electronics looks nothing short of stunning when installed professionally.
Conclusion
The Classe' Audio CA-5200 is as powerful, nimble and robust as you will find in the world of audiophilia. Its build quality makes a reasonable argument that this amp will function longer than you will. The Classe CA-5200 has enough real power to light up the highest-end speakers in a 5.1 or 7.1 system, ranging from B&Ws to Wilsons to Martin Logans to Cantons to Magnepans to Revels. You never need to worry about having enough power if you own a Classe CA-5200. If you were to make a list of the best multi-channel amps money could buy for ultimate performance, value and overall sound, I am confident the Classe' Audio CA-5200 would be right at the top.

Rotel recently introduced a number of new two channel components: Integrated amp, CD player, stereo and power preamplifiers that are designed for the value conscious consumer with a taste for truly refined sound.
Stereo Integrated Amplifier
The RA-1520 is a music lover's amplifier and is ideal as a stand-alone stereo system. Its 2 x 60 watt (into 8 ohms) design is based upon nearly 50 years of expertise in analogue audio engineering and it delivers all of the musical performance the artist intended. Subtle nuances and large dynamics are both rendered faithfully from uncompressed digital or classic analogue sources with the included moving magnet phono. To complete its functionality, as well as its superb performance capabilities, there are additional inputs for tuner, tape, CD and Aux.
CD Player
The RCD-1520 utilizes a segmented power supply with a large toroidal transformer to minimize power supply "sag" and reduce hum emissions. All rectifiers, voltage regulation components and BHC low-ESR storage capacitors are carefully selected, not only for tight tolerance specifications, but in particular, for their sound quality. Both analogue and digital circuits undergo this careful scrutiny. For the digital domain, Rotel has specified the superb Wolfson DAC for advanced digital filtration and D/A conversion. The CD transport is a high performance, slot loading mechanism. The result of this attention to detail is a CD player that will remain a part of a reference audio system for years to come.
Stereo Preamplifiers
The RC-1580 is designed for the hi-fi purist in terms of its minimalist approach and absolute musical fidelity. Component parts such as an oversized toroidal power transformer and special BHC capacitors, along with circuit topology, have been carefully selected to obtain the best sound possible. For those who want the best of both audio and video worlds a unity gain stage has been included to enable a surround processor to feed straight through to the power amplifier thereby bypassing the volume control. The RC-1580 includes a low noise MM/MC phono with discrete, differential input stages, as well as CD, Tuner, and two AUX inputs. The preamplifier can be controlled by RS-232, or IR input. A tone defeat, media input socket, phones socket and remote control is included.
RC-1550
The RC-1550 delivers an extraordinary level of performance. Its rock-solid power supply is comprised of a custom made toroidal transformer and select grade BHC slit foil capacitors. RC-1550 features six line-level inputs in addition to a phono input for moving magnet cartridges. A convenient contour control allows easy and repeatable timbre adjustments. With two sets of main outputs, a 12 volt "trigger” jack, and a Rotel-system remote control for both the pre-amplifier and a companion Rotel CD, tuner, or DVD player, the RC-1550 brings the flexibility and sound quality of Rotel separates within easy reach.
Stereo Power Amplifiers
Rotel has been engineering and manufacturing power amplifiers for decades and the two amplifiers presented here build on the company's Balanced Design Concept engineering philosophy and feature refined Class AB output stages, over-sized power supplies with toroidal transformers and select grade components throughout.
Rugged, stable, and natural sounding, either model is the ideal foundation for a high performance music systems. Both feature 12-volt triggers for remote operation and include an IEC detachable power cord. Power output configurations are 2 x 200 watts for the RB-1582 and 2 x 120 watts for the RB-1552. The on/off operation of the amplifiers can be remotely controlled by 12-volt triggers. Optional rack mount rails are available for custom installation requirements.

Long ago I used to believe wire was wire and to this day there are many well respected AV equipment engineers who still feel this way but I have since gotten religion. Much like most audiophiles in the old days (early to mid-1980's) my system was wired with what today is affectionately called "lamp cord" for speaker wire. It was thin, affordable speaker cable and for nearly everyone in the market - it seemed good enough. Vividly, I remember when Noel Lee and Monster Cable came to market with meaningful aftermarket speaker cable. For retailers it was a game changer. It showed them a new way to add value to a sale not to mention profit. Nevertheless, audiophiles and enthusiasts mainly pooh-poohed this new component category with the argument of "why spend extra money on speaker wire when you can spend that money on speakers and or electronics?" It took me a few years to find my way and get over these early notions en route to higher audiophile and videophile enlightenment.
My conversion to the dark side of cables started when I first learned about aftermarket AC power cables for audiophile systems. The premise was so absurd I literally laughed in the face of the early adopter salesman who was willing to dare me to take home these pricey wires that looked more like Romex than anything that should be plugged into the back of a Mark Levinson amp. I got home and started my experiments, not just with my geeky self but with my wife as well, to hopefully bring a sense of reason to a seemingly absurd audiophile experiment. To our utter surprise, you could hear a difference. We were floored. When I swapped out the cables for my wife, she commented the sound was more open and the bass felt better. She then swapped them out for me and I could hear what she was talking about. It wasn't a little change. It was noticeable. But how could this be possible? I was starting to feel the power. I was starting to see what people were buzzing about with these un-Godly expensive aftermarket cables.
I went further in my search for ideal power, adding and swapping out various power conditioners. Some did compress the dynamics, especially when used on amplifiers, but some didn't and lowered the noise floor significantly. When I finally got to the upper end units, especially the ones with battery backup like my current reference PurePower 700 I was floored by the improvement and it wasn't just with audio, it markedly improved the video performance of my display as well. As my enthusiasm and hunt for the best performance AV gear got more and more advanced - I not only bought it, I drank down the Kool Aid and went back for seconds. With tremendous scepticism about a world filled with snake oil salesmen - I was able to find some truth. Could a well made cable make a good sound for a fair price for most consumers? Absolutely yes. But when you get to upper echelon of performance, finding the nth degree of performance opens you up to every element of your system including acoustics, EQ and yes, high end cables.
While I have done hundreds of hours of experimentation with cabling, mostly at the mid-level range, my eyes were opened even further when I got a chance to hear some true high end cables in my system from my friends at Transparent Audio. I had been warned that adding their interconnects and speaker wires would be on par with a component upgrade, and I was convinced that this wouldn't be the case, but I tried them, and low and behold they improved my system more than I had ever dreamed. My first experience with Transparent (I tried easily three or four other respected high end cables during my testing) made me feel the one component upgrade claim was not only reasonable but was conservative with a system on the higher end side of things.
Some religious fanatics go to the Vatican or travel to Mecca. Recently, I had the opportunity to go to audio Mecca in Saco, Maine known as the Transparent Audio factory. The trip was more impressive than a 15 pound lobster being plunked on your table. The thing that is most striking at Transparent is that their factory is designed to be like a home, as that is where most of Transparent's products end up. The warehouse where the finished cables are stored is in the rear of the building but the entire front of the office is built around the large kitchen and most if not all offices are within earshot of each other. The company philosophies are open and creative. They embrace failures and unlike many audiophile companies, feel that there is more than one way to solve a problem. This was clearly a forward-thinking company dedicated to the art of the very high end in audio and video reproduction. I quickly started to feel at home.
Corporate philosophies are easy to cook up but the proof is in the pudding, which for Transparent comes via what many believe to be the most state of the art listening room in America. We started off with a Rotel system with small B&W bookshelf speakers, initially wired with somewhat generic aftermarket cables. Respectfully, the system was not very enjoyable, and had a real lack of air and a bit of upper end harshness that would have become fatiguing in a short time. When the staff swapped in their entry level interconnects and speaker cables - the change was dramatically evident. Much of the edge in the system was gone and the separation improved. Moving further up the line showed continued improvements as did adding their upgraded power cords. Amazingly the improvement continued to be evident even in their highest lines, and they have one of the finest systems assembled to prove it. Moving into the world of the absurd, we demoed cables on a large format Wilson Alexandra-based system that was nothing short of incredible.
For the Rotel-level enthusiast there were real world performance improvements to be had at a price that most enthusiasts could afford or could ultimately upgrade to. However out at the lunatic fringe of EMM Labs, Wilson Audio and LAMM - there were new questions. Ask any truly wealthy person if they think that $30,000 per pair of speaker cables are worth the money and you will likely get laughed at, yet they spend that kind of money on jet fuel in a short trip on a plane or buying designer diamonds at 10 times mark-up on wholesale. Everyone has their own values and for those who truly love music and movies and who want to take the experience to the total extreme there are cables like Transparent's Opus line. Even compared to other high end brands and models of speaker cables (and interconnects) these cables show the utmost level of performance one can hope for. We swapped these carbon fibre encased, stunningly beautiful cables in and out of the systems and it was like seeing God. The music in this well treated, beautifully designed room was truly incredible. All scepticism aside - this was the best sounding room that I have ever heard, including anything and everything I have heard at dozens of showrooms, CES or CEDIA tradeshows as well as auditions in homes packing $250,000 audio systems. It wasn't just about cables, just as you wouldn't just take a bite out of a white truffle. It's about the overall experience and the merger of excellent ingredients from speakers to electronics to acoustical treatments, including of course high end cables. Everything tasted - I mean sounded - truly fantastic.
I know that people will want to argue that cables don't make a difference but to my ears they do. I will admit that there are some bogus cable companies out there selling snake oil, but there are also dozens making truly fantastic cables from the insanely priced Transparent Opus product down to Dtrovision's fibre optic HDMI cable that can run over 300 feet with beyond-1080p or Wireworld's new glass USB cable that for less than $100 can improve the sound of computer-based audio or iPod systems. The point isn't that you have to spend the remaining equity in your home to get to some audiophile fantasy system. My suggestion is that if you have an appreciation for the finer things in life - especially when it comes to your music and movies - that you ignore the sceptics and take a look at the total design of your system. It's not the power of any one component that will get you the best performance from your current system - it's the synergy of all of the parts together. Even if you are sceptical - give it a chance. I did and I will never go back to thinking the way I did years ago.

Article Courtesy By: Dr. Ken Taraszka

Be sure to check out the latest from Boston Acoustics, the all new Reflection series.

Now available in store or @ http://www.soundimage.co.za/ in the Online shop!