Get The Most Out of The Projector You Already Own

 HDTVs seem to grow exponentially in size with every passing year, front projection is still the most cost-effective and arguably the best way to recreate the movie theater experience at home. However, front-projection-based home theaters aren't quite as plug and play as their direct-view counterparts. While many believe the lion's share of the performance rests upon the projector's shoulders first and the screen second, there are a number of little things you can do in order to maximize your projector's performance. Some of these helpful tips will also ensure you get the most out of your front-projection investment long term. So, without further ado, here are my top tips for getting the most from your front projector.


1. THX or ISF Professional Calibration
Price Range: $350 - $550
There is no better way to ensure that you're getting the very best picture than to have it professionally calibrated by either a professional THX- or ISF-certified calibrator. Generally, I prefer THX calibration, as I've found that not only are their standards higher for methods and tools to be higher than those of ISF, but they also place higher demands on the calibrators themselves. I personally have had all of my reference displays THX-calibrated, and the difference between an out of the box picture and a calibrated one is generally night and day. For front-projection enthusiasts, having your projector calibrated will ensure that you're getting the best picture not only in terms of color, contrast and sharpness, but also brightness, which is arguably the most important factor when discussing front projection.

While an additional $350 to $550 after having already spent a thousand or more may seem unreasonable, it's arguably the best thing you can do to ensure you're getting your money's worth. Furthermore, you can speak with a calibrator before purchasing your first or next projector and potentially save a bit of money, for many of the so-called features that a lot of manufacturers tout as "must-haves" will more than likely be turned off or rendered inoperable by a calibrator, for they actually harm the image rather than help it. A good calibrator can help guide you through the murky waters of manufacture spin and direct you toward the right projector, potentially saving you hundreds if not thousands in the process.

2. Isopropyl Alcohol (99.7 percent, NOT 70 percent)
Price Range: Less than $20
Isopropyl alcohol is a type of rubbing alcohol that can be used to clean your projector's optics and, in the case of JVC-based projectors, the window that rests between your projector's bulb and its display chips. Isopropyl alcohol in its richest form, 99.7 percent, isn't available everywhere, so you may have to do a bit of digging, though once you find it, a properly stored bottle should last you for years. Periodically cleaning your projector's lens and other user-accessible optic parts will ensure maximum brightness from your projector. Just be sure to use as little as possible and apply it either with a cotton swab or microfiber cloth. Never under any circumstances apply it directly to the area being cleaned. Lastly, be sure to consult with your projector's manual before any and all user maintenance, for not following the manufacturer's recommendations may cause you to void your warranty or, worse, damage your projector.

3. Diamond Lamp Replacement Projector Lamps
Price Range: Varies (but less than factory originals)
The heart of any front projector is its lamp and, while many of today's projectors are rated into the thousands of hours, the truth of the matter is that projectors begin to lose light output long before their bulb has reached its reported capability. I recently changed out my projector's bulb, which had just over 1,000 hours on it. With roughly a thousand hours on the clock, my projector was producing an underwhelming seven foot-lamberts at the screen in a totally dark environment - in high lamp mode, no less. For best results, you're more than likely going to want to change your projector's bulb every 500-800 hours to ensure maximum performance at any given time. While 500 hours is a long time (250 two-hour movies or 63 days of straight viewing at eight hours a day), it's not as long or as good as today's HDTVs, which can run for 20,000-plus hours. While I know many front-projection enthusiasts can drag 500 hours out over the course of years, there are those who may need to change bulbs sooner than that.

Instead of buying a new or replacement bulb from the factory, I suggest Diamond Lamps bulbs, which are guaranteed to work as well as factory originals, though they often cost only half as much. Having recently replaced my JVC's bulb, I went with a Diamond Lamp from an online site called Projector Lamp Genie, which is an authorized reseller of Diamond Lamps, and managed to buy mine for $152.90 as opposed to $297.66 for a factory replacement - that's nearly fifty percent off retail. If you're still hesitant, don't be, for Diamond Lamps carry with them a longer warranty than even the factory replacements. The nice thing about Projector Lamp Genie is that they sell original bulbs as well as Diamond Lamps, so that you can see and compare the two for yourself. Also, all orders come standard with free UPS Ground shipping, and who among us doesn't like free shipping?

4. Battery Backup
Price Range: Less than $100  The idea of running one's components off of some sort of power filtration and/or battery backup system is not really news, you'd be amazed how many don't apply that same methodology to their beloved front projectors. I didn't. A buddy of mine on our forum HomeTheaterEquipment.com alerted me to the dangers of not having my projector plugged into a battery backup. The bottom line is this: your projector, regardless of its make and model, relies heavily on its fan to keep the bulb and it internal architecture cool. Even after you power down your projector, it's not uncommon for the fan to continue to run for several minutes while it cools everything inside down to a safe temperature. In a power outage, that same fan can no longer cool your projector down, meaning it must now do it naturally, which many projectors are not equipped to do.

The result can be anything from cracked/shattered bulbs to melted chipsets and/or optics. Regardless, the fix will most assuredly be higher in price than the cost of a moderate battery backup system available at any big box retailer. I recently bought mine for under $50. The one thing you must keep in mind is to make sure your chosen battery backup system has the requisite power output to support your projector's needs -for me, this meant getting a unit capable of 375 watts of output capacity, which should be good for up to 45 minutes of operation or enough time for my fans to cool my projector down properly.by andrew robinson

Edgelighting VS LED Backlighting

I hear you talk about LED backlighting and edgelighting in LCD TVs, and I can't seem to find which one my Samsung UN60D7000 uses. I thought it was backlit, but hearing you talk about it made me wonder if I was right.
Joe Souders
All TVs in Samsung's 2011 lineup, including the UN60D7000, use LED edgelighting, with LEDs located along the edges of the screen—in this case, the side edges, not the top and bottom. By contrast, LCD TVs that use LED backlighting have an array of LEDs directly behind the LCD screen. Technically, both are "backlighting," since the light passes through the LCD panel from behind. The difference is where the LEDs are mounted—along the edges (with a diffuser that bends the light to pass through the LCD panel) or behind the panel.
Few companies make LED-LCD TVs with true backlighting, primarily because edgelighting allows the TVs to be thinner, which seems to be what consumers want. However, these sets almost always suffer from uneven illumination in dark scenes, an effect sometimes labeled poor uniformity.
One advantage of backlighting is a feature called local dimming, in which the LEDs behind dark parts of the image are dimmed while those behind bright parts are brightened, greatly increasing perceived contrast. In essence, the LEDs form a low-resolution, black-and-white version of the high-resolution image on the LCD panel, as depicted above. (Samsung's 2011 and 2012 models use a form of electronic "local dimming" to increase contrast.)
However, not all LED-backlit sets implement local dimming—for example, Sharp's current, non-Elite LED-backlit models and Samsung's 2012 entry-level EH series. LED-backlit sets that do implement local dimming include the Sharp Elite, Sony HX929, and several Vizio models. These sets are typically more expensive than comparably sized LED-edgelit models, but if someone is shopping for an LED-LCD TV, I generally recommend spending the extra dough for local dimming if possible and  with a slightly fatter flat panel.by scott wilkinson

The B&W 800D

The B&W 800D is a 3-way loudspeaker with a synthetic diamond 1 inch tweeter (rated as the best stiffness to density ratio), a spherical-profiled head 6 inch Kevlar midrange Marlan (mineral-loaded resin) and the dual 10 inch Rohacell (providing excellent fatigue behavior and dielectric properties) cone bass speakers. Crossovers at 350 Hz and 4 kHz and a frequency response of 32 Hz - 28 kHz ± 3dB (on reference axis) provide a dynamic performance without many peers. A recommended amplifier range of 50W to 1000W also gives you lots of options.

Ergonomics

The vented-box system enclosure is styled and formed from heavy 38mm plywood shaped into a curved cabinet with some heavy cast aluminum. Available in Cherrywood, Rosenut, or Black Ash finishes, the 800D exhibits a striking statement in any quality system. Measuring almost four feet high, it certainly will provide a prominent statement.

Summary

Make sure you find the right spot for the B&W 800D loudspeaker. Weighing in at 125 kg (275 lbs), you are not likely to want to change your mind often. Dispersion of over 60º arc (Horizontal) and over 10º arc (Vertical) will help you enjoy these speakers performance in that sweet spot. The supplied new spikes are supplied with either hard (pointed) and soft (cupped) terminations to provide placement options too.source electronicsme

4.6 Out Of 5

Pros

• first class imaging
• magnificent dynamic range
• synthetic diamond 1 inch tweeter
• 6 inch Kevlar midrange Marlan
• dual 10 inch Rohacell cone bass speakers

Cons

• There are no cons for this product

Sony VPL-VW95ES 3D SXRD Projector

The performance we’ve been seeing from the projector world as of late has just been astounding. Sony has been right there at the top of the heap, too, earning our Top Pick for the last three projectors we’ve reviewed. The company continues to push new boundaries with its recently reviewed flagship 4K projector, the VPL-VW1000ES, and price/performance boundaries with its superb VPL-HW30ES. Last year Tom Norton was pleased as punch with Sony’s first 3D projector, the VPL-VW90ES, and I’ve been lucky enough to follow it up with its latest high-end effort, the VPL-VW95ES. Sony claims improvements in 3D performance and value. With a price point that falls $2,000 less than last year’s model, the company’s definitely made good on the value part. But can a lower-priced high-end model really outperform last year’s Top Pick? Let’s find out.
Quiet Efficiency
Sony has always had an elegant design with its high-end ES projector offerings. While most projectors I review tend to be boxy and rather Spartan, Sony always has sleek cabinets with gorgeous lines and great paint jobs. The VPL-VW95ES is no exception. It is identical in looks to last year’s VPL-VW90ES and gives off a great first impression with its flaked blue paint job and sexy curves. The lens is hidden behind a recessed cover that opens quietly when you power on the projector. And quiet seems to be the big word when it comes to the VPL-VW95ES; I’ve never experienced a quieter projector. It doesn’t matter if you’re running in high lamp or low lamp mode—the VPL-VW95ES is whisper quiet and never intrudes on the home theater experience.
The VPL-VW95ES continues Sony’s use of its proprietary SXRD (Silicon X-tal Reflective Display) technology, which is its recipe of LCOS (Liquid Crystal on Silicon). We’re pretty big fans of the technology, which is very similar to the D-ILA designs from JVC. In comparison, we’ve seen higher native contrast ratios from JVC with its LCOS designs, but Sony tends to have better motion resolution. Honestly, I don’t think you can lose either way you go, but both camps have their strengths. You’ll have to determine which one best fits your tastes.

The lens on this year’s model is the same 1.6x throw we saw last year. Sony includes powered focus, zoom, and lens shift that can be maneuvered from the projector’s side-mounted controls or the remote. Response and accuracy of the controls were quite good, and I was pleased to see Sony include the option to use its built-in test patterns or an external source. Sony has also included some lens memory options for different aspect ratios. This gives you the chance to explore different aspect ratio screens without the need for an anamorphic lens or additional scaling. Just set the zoom, lens shift, and focus for your applicable screen and save it to memory. The VPL-VW95ES allows for up to five different memories.
In the past we’ve been really impressed with Sony’s sharp lens quality. This model’s up-close pixel focus and focus uniformity across the screen weren’t quite as good as I was expecting from a projector at its price point, but ultimately the VPL-VW95ES did deliver a very sharp image from the normal seating position. Sony includes the same number of user preset video options as before, which gives you some flexibility as to how you want to see images. Some are tailored for films, while others are obviously meant for ultrabright images with oversaturated color. But fear not, perfectionists, Sony has managed to deliver the most accurate calibration I’ve ever seen for out-of-the box performance. When I selected the Cinema 1 preset and set color space to Normal, the VPL-VW95ES delivered a nearly perfect Rec. 709 color gamut. I’ve never measured a projector this close, and other than some mild touch-up work on the grayscale, the Sony didn’t really need any calibration at all.
The VPL-VW95ES includes a few color temperature options; Low 1 provides the most accurate result across the board. The presets can’t be adjusted (except in service mode, Sony says). But there are also tweakable custom modes that use the presets as their starting point. Custom 3 correlates to Low 1; when I used it, I managed to dial in a respectable grayscale from end to end. This was by far the easiest calibration I’ve done on a projector in recent memory, and the out-of-box performance is so good, I almost question the need for the investment for all but the pickiest videophile. The VPL-VW95ES does include Real Color Processing (RCP), Sony’s color management system, but considering its out-of-box performance, there was no need to even use it. During this review, I had the opportunity to test out two different samples of the VPL-VW95ES. Both were very easy to calibrate, although the second one’s black floor was very biased toward red. While contrast measurements proved about the same on both, visually the red dominance hurt black performance with extremely low average picture level (APL) material. With most content, this wasn’t an issue. But I noticed it with ultra-dark material.

One of the biggest differences between Sony’s projector line and the popular JVC offerings is how the companies approach contrast. JVC has long touted its extremely high native contrast ratios and how it doesn’t rely on a dynamic iris to achieve them. While JVC does employ an iris system to achieve its highest contrast ratios, its execution lacks the dynamic nature of Sony’s Cinema Black system. Honestly, I think this is a mistake. Native contrast is always a good thing, but adding a dynamic iris (especially one that can be defeated like Sony’s) will only improve on the contrast performance of the projector if implemented correctly. Having a high native contrast makes it even easier to do it right since you won’t have to be quite as aggressive with the dynamic implementation to get high contrast numbers. Sony’s dynamic system is one of the best I’ve seen, and throughout my review, I never spotted any issues with image pumping or clipping. Black uniformity could have been a bit better—I noticed some light corners on the upper-left and lower-right sides of the image with a full black screen. But this never encroached on the viewing experience with normal material.
Sony offers a considerable number of gamma presets, but I found Gamma Correction Off to be the best selection for a linear 2.2 gamma. Considering the contrast performance of the VPL-VW95ES, a higher gamma of 2.3 is worth looking at if you have a dark viewing environment. The contrast performance of the VPL-VW95ES fell somewhat short of what I expected from this year’s model, and we actually measured a drop in contrast compared with last year’s model. This may have been contributed to by the high red levels at the projector’s black floor.

One of the strongest performance points for the Sony is its motion resolution. Using a series of motion patterns from a test disc I obtained overseas showed just how good the VPL-VPL95ES is in this regard. The motion-induced contouring I’ve seen from some of the JVC projectors doesn’t manifest with the Sony, and overall resolution is improved compared with the JVC designs. Sony also includes its Motion Flow system, which interpolates to create new frames to smooth motion and improve overall resolution. I was excited to try Sony’s implementation, as I’d heard it was a bit more subtle than most and didn’t result in the soap opera look so common with most motion-based processing I’ve seen before. Unfortunately, even in the lowest mode, I didn’t care for the smooth panning the Motion Flow system created. While it worked fine with video-based material like sports, it still made films look too unnatural for me.
2D Performance
For this review, I viewed the VPL-VW95ES on my reference Stewart Studiotek 130 120-inch (diagonal), 16 x 9 screen (gain 1.3). All Blu-ray images were fed from an Oppo Digital BDP-95, and some DirecTV was also used.
Right off the bat, I was impressed by how easy it was to get an incredible playback experience from the projector. Most of the settings were right where they need to be out of the box, and after I chose the right presets, it delivered an image I normally wouldn’t expect until after a detailed calibration is performed. I was also impressed to find that Sony had located the 3D emitter for its glasses inside the body of the projector, near the lens. This eliminated the need to run a standalone emitter for 3D playback. It’s a nice touch I hope to see other companies implement on their 3D designs.
The VPL-VW95ES breezed through our video benchmark testing and earned top marks for both high and standard definition video testing. The projector showed no signs of clipping in the video signal, and the full 1920 x 1080 pixels were present. The Sony couldn’t keep up with some of the most difficult deinterlacing tests I had available, but it handled any common cadence with aplomb. If you use a variety of foreign video material that uses odd frame rates and cadences, you may want to consider using an outboard video processor or a Blu-ray/DVD player that handles the deinterlacing for you.

Since I have a rather large screen, I swapped between high and low lamp mode frequently, depending on the material viewed with the iris in Auto 1. High lamp mode delivered a peak of 18.3 foot-lamberts on my screen. Low lamp mode delivered about 12 ft-L, which is typically where I like my peak white level for normal viewing. I went through a wide variety of Blu-ray content during my time with the VPL-VW95ES. The highlight had to be the magnificent Blu-ray of Terrence Malick’s The Tree of Life. To say the visuals of this film are second to none would be an understatement. It was shot with a mix of Super 35 and 70mm cameras, and the Sony delivered it with some of the most spectacular, breathtaking, and exceptionally film-like HD images I’ve ever seen. The color rendition was outstanding and the depth afforded by the VPL-VW95ES, even on this 2D release, was incredible. This was an image that was easy to get lost in.
I went through my normal staple of test discs. I like to use the Blu-ray release of The International to test out fine detail, gamma, and shadow detail. I was really impressed by just how seamlessly the dynamic iris worked with the VPL-VW95ES. There is a great scene in this film that normally wreaks havoc on dynamic iris systems. The Sony showed no signs of struggle at all. For shadow detail and black levels, I thought I would try the Sony’s hand at a recent reference transfer, Harry Potter and the Deathly Hallows: Part 2. This is an extremely dark film filled with amazing depth and detail. Sony’s contrast performance seemed up to the task, though, with decent black level performance and exceptional shadow detail. Although I mentioned we measured a lower contrast ratio than expected from the Sony, test patterns aside, the contrast performance was in line with most projectors I’ve seen short of the high mark set by the upper line of JVCs. It really wasn’t until I tried out some real contrast torture tests like Aliens vs. Predator: Requiem that I started noticing the Sony lose ground in black levels compared with the best I’ve seen. Here, levels near the black floor showed the red cast I mentioned earlier. While that improved shadow detail slightly, it gave an impression of a raised black floor and not as much fine detail.
Animation was also a treat. Since the VPL-VW95ES uses a dynamic iris system, it tends to be a bit brighter than projectors with the same contrast performance that don’t. While I wasn’t a big fan of the overall story and execution of Pixar’s Cars 2, it does provide jaw-dropping imagery. The movie has a tremendous mix of dark and bright locales with dizzying color saturation and detail. The Sony delivered the images with aplomb.
3D Performance
Sony touted improvements in its 3D implementation this time around, but I never had the chance to use the previous VPL-VW90ES, so I am not sure how this one stacks up in comparison. My comments on the 3D side would be in comparison with my last 3D projector, the JVC DLA-X3 (which was recently replaced by the DLA-X30).
One of the biggest pluses for this year’s release is the inclusion of a pair of Sony’s 3D glasses. I’m used to having to fork over more money for an emitter and glasses, but Sony has included these this time around, making your jump into 3D that much easier. For 3D playback, I looked at a wide assortment of 3D material, including Pirates of the Caribbean: On Stranger Tides, Avatar, The Lion King, and Cars 2. The most immediate benefit I saw from the VPL-VW95ES was the brightness level. Compared with my previous JVC DLA-X3, the Sony delivered a much brighter image with more visual punch. The glasses worked without a hitch, and the 3D menus give you options so you can change the amount of time the shutters are open (allowing for brightness control) and for crosstalk. The out-of-the-box settings were ideal, and I rarely if ever saw any ghosting during my viewing time. I’m not a big fan of 3D playback—I just don’t find it that involving—but the Sony did a tremendous job with the material I looked at. When I reviewed the JVC X3, I noticed a fair amount of ghosting with Universal’s Despicable Me. While I still saw a faint amount of ghosting with this title, it was a tremendous improvement over the JVC. Unlike the JVC, Sony also allows you to use its Motion Flow settings during 3D playback. This provided smoother visuals with more definition, but it also came with the price of that soap opera look I despise.
Conclusion
While I was a bit disappointed with the focus and contrast performance of the VPL-VW95ES, that’s me: Most of my nitpicks come from being a bit of a videophile snob and probably won’t even be noticed by all but the pickiest viewer. To put it in better perspective, I found the VPL-VW95ES a solid value. The out-of-box calibration is second to none, and Sony’s outstanding dynamic iris implementation and built-in 3D emitter make this one of the best projector experiences I’ve had right out of the box. Once again, Sony delivers a home theater experience that is easier than ever to enjoy—and now at a price that is even easier to afford.by kris deering

Music Hall MMF-2.2 LE Turntable Review

With the initials “BB.” I wasn't shopping, per se, but verifying reports that among the rows of compact discs, DVDs and Blu-ray discs were dozens of new LPs. In 2010, who would have guessed that the venerable 33 rpm would enjoy a renaissance that not only includes big-box retail sales but those same establishments offering turntables among the scores of personal media players, flat panel TVs and other home theater accessories. Consumers shocked to see record players back on the shelves would do well to look beyond such stock and discover the numerous options for spinning vinyl that exist outside the strip malls.

My discovery came several years ago, when I picked up a couple audio publications. One was a buyer's guide that included recommended components across several price and performance points. A company called Music Hall was well represented; with three of its turntables being touted as high performers at low cost. The entry-level model was the MMF-2.1, a sub-$400 'table that got plenty of props, though it was noted the tonearm was a bit skimpy. Music Hall kept making turntables, and the 2.1 stayed in production for several years until it was time for a change.

Music Hall upgraded the 2.1 to the 2.2, equipping it with an improved tonearm. The company further upped the ante by offering a limited edition model (“LE” stands for limited edition) in a striking Ferrari red finish. The LE sold well and continued to, so the moniker no longer applies since the LE remains in production, and will, for the foreseeable future. Retailing for $499, the MMF-2.2 LE combines the sonic benefits of a manual-operated turntable with the convenience of nearly plug-and-play setup. It's Music Hall's entry-level 'table, and I liked it immediately.

 

Design & Set Up

There's an unwritten rule about turntables – the more expensive the system, the more difficult to set up. It can be very intimidating to adjust azimuth, vertical tracking angle and even install a phono cartridge if you've never done so. Unfortunately, most manuals do a poor job explaining the process. The 2.2 LE, however, offers no such challenges or education. Set up is super easy, and basically involves removing a pair of motor-transport screws, looping the belt around the pulley and the rim of the sub-platter, setting the platter on the spindle, putting the counterweight on the tonearm, setting cartridge tracking force, slipping the anti-skating weight in place and sliding the dust cover onto its hinges. Back in the true glory days of vinyl, it was a rare machine that didn't come equipped with a dust cover. As the high-end audio industry grew, though, designers went to all ends to reduce vibrations and resonances from turntables. Such zeal pretty much spelled the end for dust covers. I'm happy that the 2.2 comes with such protection, as it's too easy to leave an LP exposed to the elements and discover days later that it's coated with particles.

The tonearm comes pre-mounted with Music Hall's Tracker cartridge, a high-output moving magnet design (with replaceable elliptical stylus) that is fully aligned in the factory and ready to play music out of the box. It's important to mention that the tonearm is a substantial upgrade from 2.1 models of the past. One of the few complaints I remember in the past reading about this well-regarded entry-level predecessor was that the tonearm was rather skimpy. Music Hall went up the ladder and replaced the old-style tonearm with a more robust alloy model, the same one previously found on its MMF-5.1 turntable, which retails for hundreds more.

The alloy platter is a substantial 4.5 pounds, befitting of the 2.2 as a whole which weighs in at a solid 17 pounds. An isolated asynchronous motor with two-speed (33/45rpm) pulley keeps the platters spinning. To go from 33 to 45 rpm, simply remove the platter and loop the drive belt around the motor pulley's larger diameter rim. The process should take no more than 30 seconds. A black, felt turntable mat is included. The whole system sits on a trio of adjustable, vibration-damping feet, which makes leveling a breeze.

 

Ferrari Taste on a Kia Budget

Not that it influences the sound one bit, nonetheless, Music Hall gives consumers two finish options beyond the stock high-gloss piano black lacquer found on the base model. For an extra $50, you can get the 2.2 LE outfitted in white or Ferrari red finish. Both are eye-catching and turn the table (pun intended) into something that will perk up any room. Music Hall sent me a Ferrari red model. Seeing pictures of this 'table doesn't do it justice. Call me cynical, but at this price I was expecting a half-baked finish that was likely to flake from day one. Not so! The Ferrari red coating is flawless, just like you'd expect its namesake speed racer to emerge from the factory. Roy Hall, Music Hall founder, notes on Youtube, “I actually had to go to a Ferrari dealer... and get a sample of it...” Originally, the Ferrari red model was the only LE version of the MMF-2.2, but because the 'table was so well accepted Music Hall kept making and selling it, eventually offering the record player in a lustrous white finish, too.

Steady, reliable and smooth – those are three words that kept springing to mind while using and listening to the 2.2 LE. It operates whisper-quiet and works without a hitch. There's no worry about the tonearm waving in space or suddenly veering off the platter plane without the user doing so. The tonearm and cartridge do a solid job of tracking and make playing records a total pleasure (as it should be). A slight quibble would be with the felt platter mat. I found that it left more “mat” on the records than I care for. It's easy enough to replace it with another mat, though.

A bounty of vinyl came my way thanks to the good folks at Rhino Records, who recently reissued the five Grateful Dead albums on 180-gram vinyl. This box set features the Dead LPs recorded for Warner Bros., from 1967-70, and includes the folk-rock classics Workingman's Dead and American Beauty. I've heard this music a lot, but what struck me when playing these new slabs was the purity of the tones from Jerry Garcia and Bob Weir's guitars to Phil Lesh's slippery bass lines. Garcia's vocals had a lovely immediacy and the logic of the arrangements came through, too. For years, my only copy of American Beauty was on cassette tape, so hearing this old favorite again was like looking through a window cleaned of dust after a decade of neglect.

 

Willie Nelson's cover of standards, Stardust, was presented with a nice combination of sheen and richness. Nelson's craggy vocals and inimitable phrasing make old chestnuts such as “Georgia On My Mind” and “Moonlight In Vermont” new again. Compared to the Pro-Ject RPM 5.1, a 'table that retails just shy of a grand, the 2.2 LE doesn't offer the same “air” around instruments or the dimensionality. What the 2.2 does very well is deliver the presence and “weight” that a good analog system will and just lets the music sing.

I always enjoy bringing someone from the CD generation into my listening room and spinning a few LPs. As I played a couple cuts from the “Butterfly” side of Heart's Dog & Butterfly for a friend, his eyes went back and forth from the 2.2 to my speakers. As the web of acoustic guitars wove sparkling designs around Ann Wilson's voice, he said, “You'd never know it's not a CD.” It was his way of saying that the music was coming through, untarnished by ticks or pops that many associate with vinyl. “Nope,” I said, “start with a clean record and a good player and noise isn't an issue.” He nodded, “Sounds really nice.” Agreed.

Final Thoughts

The MMF-2.2 LE gets my strong recommendation as a top choice for an entry-level turntable for budding audiophiles looking to put together a first analog system or those ready to replace an aging 'table. Paired with a modest phono stage (yes, Music Hall has a preamp that would match nicely with the LE), you'll be spinning and enjoying records in no time, for a long time. This “Ferrari” may be a looker, but it's meant to be driven, not languish in the garage. Just like those old records you've been meaning to rescue.by todd whitesel

• Music Hall MMF-2.2 LE Turntable
• Parasound Zphono preamplifier
• Grant Fidelity A-348 Integrated Tube Amplifier
• Snell Acoustics Type K Loudspeakers
• Better Cables Premium Anniversary Edition Speaker Cables
• Better Cables Silver Serpent Anniversary Edition Interconnects

Definitive Technology SuperCube 4000

Definitive Technology SuperCube 4000 Subwoofer

By Darryl Wilkinson 

Performance
Build Quality
Value

Price: $799 At A Glance: Infrared remote control included • Optional wireless kit • Disappearing alphanumeric display behind grilleAt $799, the diminutive Definitive Technology SuperCube 4000 isn’t “recycle enough aluminum cans and buy it” cheap, but it’s still in the reasonably affordable price range for a large percentage of home theater enthusiasts. Although Def Tech calls it a SuperCube, the actual dimensions are 11 inches wide x 11⅞ inches tall x 12 inches deep, which isn’t strictly a cube according to my high school geometry book. Evidently, SuperApproximatelyACube and SuperCubeLike were already trademarked, so Def Tech had to settle for the close-to-accurate SuperCube. Regardless, the compact size makes it super easy to place in a room, and fairly inconspicuous wherever you place it. Don’t let the SC4000’s small form factor fool you, though, because it’s one of the most feature-packed and easiest-to-set-up subwoofers I’ve encountered, regardless of price. It’s also surprisingly heavy (around 25 pounds) for its size.
As with Def Tech’s other SuperCube subwoofers, the SC4000 is wrapped with a black grille cloth and topped with a gloss-black cap. It has a single, forward-firing, 8-inch active driver that’s pressure coupled to a pair of side-firing, 8-inch, passive, low-bass radiators. Def Tech says this arrangement provides more piston surface area than that of a 12-inch driver. Inside is a newly designed, switching tracking amplifier rated at 1,200 watts with a 56-bit, digital-signal processor (DSP) that divides the subwoofer’s playback frequency range into a number of bands. When the DSP detects distortion in one of the bands (of frequencies—not the musicians you’re listening to), it applies an appropriate amount of compression or limiting to that particular narrow band, which Def Tech claims vastly reduces audible compression artifacts.

Features Packed With Fundamentals
As I mentioned, Def Tech has stuffed the SC4000 chock-ablock with convenience- and performance-related features. For starters, the SC4000 has an auto-power setting that puts the internal amplifier in idle mode less than 30 minutes after the audio signal ends. The amplifier sips a miserly half-watt or less of current in idle mode; that’s a level Def Tech says meets international standards for low-energy consumption. (Your utility company will thank you. I think…) The SC4000 also has a 12-volt trigger input on the back panel that can be used in conjunction with many AVRs, pre-pros, and automation systems to automatically turn it on and off with the rest of the system. This is a rare find in a modestly priced subwoofer that should make for more annoyance-free operation.
A slightly more common feature is the Performance Optimizer Remote (POR) Def Tech includes with the subwoofer. It’s a thin, credit-card-size, IR remote control that’s destined to be lost in the couch more than once (hell, it’s small enough to get lost in your butt crack if you’re not looking before you sit down), but it’s extremely useful during setup because it allows you to change volume, phase (0, 90, 280, and 270 degrees), and the low-pass crossover point (from 40 hertz to 150 Hz) without having to move from the main seating position. That’s a big timesaver.
Because these particular parameters tend to be set and forget, you could throw the POR in a drawer and pretend it never existed. But, you might want to keep it around to toggle the Night Mode on and off. In this mode, the DSP applies dynamic range compression in order to prevent the loudest bass in a soundtrack from suddenly blasting away and waking up your 2-year-old, the dog, Grandma, and the grumpy people who live next door and like to call the police. Depending on your tastes in music and listening habits, you might prefer to run the subwoofer a little louder with movies than with music. If this is the case, you can also use the remote to adjust the volume according to the source material. And if a couple of decibels change in volume isn’t enough for you, the SC4000 has four different, preset, EQ settings (plus Off). Each setting adds emphasis to a slightly different range of frequencies. EQ1, for example, adds a boost between 35 and 40 Hz, so you’ll have a setting for music, another for movies, and one for all your Skype calls using your new Smart TV. Or you can just leave it in Off mode, which I preferred to use.
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f you have a universal remote with learning capabilities, you can teach it the POR’s IR codes, but there’s also an external IR input on the back of the SC4000 to facilitate placement in a cabinet or beyond. Finally, there’s a red LED display hidden behind the grille cloth near the front, top-left corner. When you make adjustments, the display temporarily becomes visible through the cloth and indicates the value of the parameter.
One more thing: Definitive Technology is set to release a wireless upgrade kit consisting of a transmitter that connects to your AVR’s subwoofer output and a receiver that inconspicuously docks (with no additional wires or power cords) into the back panel of the subwoofer. Extra receivers will be available separately for multisub installations.
Unfortunately, what often happens when an A/V manufacturer fattens up a product with features before driving it to the market, is that said company usually skimps on performance in order to hit the price point. So is the SuperCube 4000 the real woofin’ deal, or is it more of a farting pig in a pretty party dress with layers of extra lipstick and cheap-hooker eyeliner smeared on? Based on the way things are typically done, a betting man would put a couple of bucks down on the flatulent, pimped-out farm animal.
But that betting man would wind up not being able to buy his morning, decaf, nonfat mocha-latte-chino because, as it turns out, there’s nothing porcine about Definitive Technology’s SuperCube 4000. On the contrary, this thing is one heck of a good subwoofer for the money. Now, don’t think that means the little, 8-inch active and twin, 8-inch passives are going to play 20 Hz organ notes loud enough to crush your kidney stones. But it does mean Def Tech got at least half the name right when they used the word Super.
Bass Ship Blastoff
Whenever I have a subwoofer to try out, one of the first music discs I go to is S.M.V.’s Thunder. The interestingly titled “Hillbillies on a Quiet Afternoon” is a pluck-fest of bass guitars that clearly showed the SC4000 is more than capable of handling transients beautifully without lagging or smearing. Likewise, the SC4000 was superb with Lucille and guest, Terrence Howard, performing the slower-moving “I Got Some Help I Don’t Need” on the B.B. King Live Blu-ray Disc. The SC4000 added just the right amount of warmth to the bottom end without drawing attention to itself. While I only listened to the song for testing purposes, I was very impressed with the tightness the subwoofer showed with the over-the-top bass of Lady Gaga’s “Bad Romance.” Even though I know I shouldn’t, I always have a tendency to think cinema first with subwoofers. But, the SC4000’s tautness and smooth blending shows that Def Tech’s engineers kept musical performance in the forefront of their minds.

Most speakers and subwoofers cringe in the corner when you bring out a copy of David Chesky’s Dr. Chesky’s Magnificent, Fabulous, Absurd & Insane Musical 5.1 Surround Show—and with good reason. The opening track, “Blast Off,” contains close to 30 seconds of audio from a shuttle launch that’s a true test of a sub’s low-end muscle. Sure, the SC4000 wasn’t able to pressurize and shake the room like a bigger, more capable subwoofer might have, but it held up impressively by playing loudly throughout the entire track without distorting or running out of gas (or, more accurately in the case of the space shuttle, liquid hydrogen and liquid oxygen). I’m guessing that’s attributable in large part to the performance of the DSP compression/limiting circuitry. Another track the compact SC4000 did exceeding well with, especially for an under-$800 subwoofer, was “Fire Drums.” It did a fabulous job re-creating the powerful heft and weight of the drums without being boomy or overemphasizing any particular frequencies.
After handling music and rocket launches so well, it was no surprise that the SC4000 was perfectly at home with movies, too. In Mimic, the subwoofer in a home theater system has a big job, because the low-growling, flapping, and heavy-thumping impacts made by the giant, bioengineered bugs are all there is to compensate for the storyline. Of course, I don’t really know what a 6-foot-tall, human-eating, flying insect would sound like when it takes to the wing and abducts a beautiful entomologist with a penchant for genetic engineering in the middle of a deserted subway stop, but I got a pretty good feel for it thanks to the SC4000. The flapping of wings and the smacking impact were taut, forceful, and—I’ve got to admit—pretty darn scary. Later, as the bugs’ underground nest explodes (sorry to ruin the ending for you, but you knew that would happen), the thuds of falling manhole covers were also tight and contained.
 All the extremely useful features the SuperCube 4000 has combined with its small size, exceptional musicality, and distortion-damping muscle, I think it’s a spectacular bargain for under $800. Definitive Technology has always had a habit of bringing together the right amount of performance with a knack for the perfect contemporary design in order to create affordable speakers that look as good as they sound (and vice versa). With the SuperCube 4000, the company’s gone one step better and added a package of features that make this subwoofer a true standout.by daryl wilkinson 

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