I have no doubt musicians will continue to perform throughout the 2010s, but they'll make less and less money from recorded music. The passion to make and sell recorded music is already starting to wane.
Big record labels will be increasingly irrelevant so I wouldn't be surprised if Warner, Universal, Sony/BMG, and EMI eventually merge into one mega-label to sell and license back-catalog music. New music, that's another story. Already established bands, like Radiohead, have already proved the point: they don't need record companies anymore. They can sell their music directly to fans.
Will anybody be making 'albums' in 2020?
(Credit: Steve Guttenberg)But that model won't work for smaller groups. Recorded music for them may survive purely as a promotional tool, as fewer and fewer bands have any expectation of seeing recording as a potential source of income. Buying music, in physical form or by legal download, doesn't seem to have much of a future. So why would a band make an effort to make music people would want to listen to decades from now? The art of making albums--a suite of songs if you will--may become a rare pursuit.
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It's big enough to sound great, and cheap enough it's a no-brainer solution for lame sounding TVs.
(Credit: Zvox)I get letters about this all the time.
They usually go something like this: "I'm no audiophile, but can you explain why all of the new, slim, pretty, thin HDTV's sound so bad? I bought a 46-inch Samsung LN46A850 for its great picture, but when I got it home, the sound was tinny. So I bought a sound bar but it had its own issues and I don't want to use multiple remotes. Any ideas?"
The problem is mostly caused by just how skinny these TVs are: There's no room for decent speakers. More than that, I'm sorry to say that sound quality isn't a priority for TV manufacturers, and they know that most buyers accept "good enough" sound. So there's no real demand from consumers to get better sound from TVs. And I guess the manufacturers assume anyone who really cares will spring for a better sound system.
My advice: Check out Zvox speakers; I've reviewed many over the years for CNET. The best bang for the buck model is the 315. It sounds great for $199, and since you can hook it up to the TV's audio outputs, you won't need to use a separate remote (that's also true for some other manufacturers' soundbars).
Consider the 315 only if your TV has a headphone jack--or if its audio output jacks can be set to "variable." Then you'll be able to control the 315's volume with your TV's remote (the 315 doesn't have its own remote).
To learn more about the 315 check out my CNET review.
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Sony's glass tube speaker projects a 360 degree soundfield!
(Credit: Sony)Sony's making high-end speakers?
It's kind of like hearing master chef Mario Batali is concocting a $25 Quarter Pounder for McDonalds. It's just that I associate Sony speakers with the sort I hear in home-theater-in-a-box systems. You know, little plastic boxes with low-tech drivers. Those speakers can be decent enough, but they're light years away from bona-fide high-end audio devices.
Well, the Sountina NSA-PF1 doesn't look like anything I've seen from Sony, or any other speaker manufacturer. Exact design details are sketchy, other than to claim the speaker uses "Four columns linking these parts contain oscillators to vibrate the organic glass tube." OK, sure.
It's a stereo speaker; one Sountina NSA-PF1 can produce stereo sound. Cool. Thing is, while the Sountina NSA-PF1 is available in Japan, Europe, Russia, Taiwan, Brazil, Panama, and Chile, it's not for sale here in the U.S.A. I can only wonder why.
The fast fading music business?
(Credit: Steve Guttenberg)Record stores are fading fast, the big labels--EMI, Sony/BMG, Universal, and Warner--are on their last legs, and commercial radio stations rarely play new music. The big music retail chains: Tower, Virgin, and HMV are all gone.
People still listen to music, it's how they hear it and find it that's changed. Oh, and they don't want to pay for it.
The Beatles didn't get a big, fat advance when they signed a record contract. They hooked up with EMI to make records; the band couldn't do it by themselves. Luckily for the Beatles, they had a terrific producer, George Martin, who encouraged John, Paul, George, and Ringo to keep growing. Without Martin the Beatles might have been just a minor footnote. He set the scene and created the right environment for the Beatles to bloom.
The artist/producer relationship is crucial, and back in the day, the great labels--Motown, Stax, Electra, Atlantic, Columbia, Blue Note, and Warner Brothers--had the best producers. The labels promoted the music and got it on the radio.
Nowadays, any 12-year-old could make a record in his or her bedroom, put it up on a site,and sell it. Up-and-coming local bands do the same--but without the input and direction from the right producer, the band won't tap its full potential.
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Sony got it right with the CD.
(Credit: Steve Guttenberg)Betamax was one of Sony's biggest blunders.
The videocassette format was introduced in 1975, and initially sold well. But when JVC's VHS tape cartridge was introduced in 1978, Betamax quickly lost its lead. The media loved Beta for its superior picture quality, but Standard Betamax tapes were only 60 minutes, and VHS 3-hour tapes could record more TV shows.
VHS was more popular, but Betamax refused to die. Production in the U.S. ended in 1993, and the last Betamax machine in the world was produced in Japan in 2002.
Ah, but the Compact Disc was a hit from the get-go. On August 31, 1982, an announcement was made in Tokyo that four companies, Sony, CBS/Sony, Philips, and Polygram had jointly developed the world's first CD system. Talk of the CD's demise are premature, sales are still in the hundreds of millions of discs a year.
The MiniDisc was introduced January 12, 1992. The recordable music format was originally based exclusively on ATRAC audio data compression, but the format never caught on in the U.S. MiniDiscs were popular in Japan and Asia as a digital upgrade from cassette tapes.
Which reminds me, Sony's ill-fated Elcaset came out in 1976. Like Betamax, Sony was trying to make a higher quality tape format, in this case better than the Philips Compact Cassette. Elcaset was better, but it was too large and cumbersome. Elcaset was a flop.
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Automatic setup programs are supposed to be easy, but they can stump home theater neophytes.
(Credit: Steve Guttenberg)Most new AV receivers come with an "auto setup" or "automatic calibration" feature, but despite the word automatic, these features can stump AV novices. If you're setting up an AV receiver for the first time, this guide will put you on the right track.
First, let's describe what auto setup systems do.
They send test tones to all the speakers and subwoofer, and use a microphone to pick up the sound of the speakers in your room. Auto setup systems determine speaker sizes and volume levels, set the subwoofer-to-satellite crossover frequency, measure distances from each of the speakers to the listener, and confirm that all of the speaker cables are correctly hooked up. Some receivers also use equalization to balance the frequency response of all the speakers.
Auto setup systems go by different names, but they all do approximately the same thing. Denon and Onkyo feature Audyssey; Sony has Digital Cinema Auto Calibration, Pioneer Multi Channel Acoustic Calibration, and Yamaha uses a Parametric Room Acoustic Optimizer.
(Credit:
Steve Guttenberg)
The exact positioning of the auto calibration microphone is crucial for achieving accurate results. Some auto setup systems work from just one mic position, which would be the primary spot where you sit when watching movies by yourself. Ideally the mic should be placed at the same height as your ears when you're sitting watching a movie.
If you have a camera tripod, use it to place the mic at ear height; perfectionists should move the couch entirely out of the way. Lacking a tripod place the mic on the back of the couch, atop the highest pillow.
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If CDs really are on their way out, Sony is ready with their replacement: Blu-spec CDs.
Although details about the new format, launched in Japan in November, are somewhat scant, we do know that users won't need a new player for Blu-spec CDs.
"The Blu-spec CD format boasts a new approach to the faithful reproduction of music by utilizing the leading-edge blue laser diode technologies optimized for the manufacturing of Blu-ray," according to CDJapan. The new discs' polycarbonate plastic, optimized for Blu-ray discs, is used "to ensure accurate reading of the data."
Sony doesn't claim that the Blu-spec CD sounds any better than a CD or how the new discs compare with Sony's previous and nearly dead super-CD format, Super Audio CD (SACD).
Although Sony made its Blu-spec PR splash in Japan, a few titles to the United States. The site lists Blu-spec CDs from Aerosmith, Jeff Beck, Bob Dylan, Miles Davis, Herbie Hancock, and Weather Report. While most Blu-spec CDs carry a list price of $25 in Japan, Amazon.com is selling them for $35.49 here.
Another CD format, SHM-CD, seems to be similar to Blu-spec CD, but with non-Sony artists.
Have you heard a Blu-spec CD or SHM-CD yet?
Expecting great sound from a home theater in a box (HTIB) is almost always an exercise in frustration.
Even the top-of-the-line HTIBs, such as Sony's ES BDV-IT1000ES ($2,000 MSRP) don't hold a candle to an equivalently priced separates-based system. It's not even close.
Sound, schmound. Given that HTIBs are sold as lifestyle products, it's more important for them to look good than sound good. Product designers are compelled to make speakers that look slick hugging the wall next to a flat-screen display. That's why we're so jazzed by Onkyo's HT-S9100THX HTIB ($1,099 MSRP). Sleek, it ain't, but it sure sounds like a separates-grade home theater system.
(Credit:
Onkyo)
The HT-S9100THX's largish shipping box hints at the reasons why. It weighs a hefty 144 pounds. Inside, you'll find seven bookshelf two-way speakers, a full-size subwoofer, and a 7x 130-watt-per-channel receiver with 1080p-capable HDMI v.1.3 connectivity, and complete decoding for the latest lossless, high-resolution Dolby TrueHD and DTS-HD Master Audio surround formats. You get four--count 'em, four--HDMI inputs, same as Onkyo's TX-SR706 receiver ($899 MSRP).
The HT-S9100THX's receiver also features Audyssey's 2EQ automatic calibration to tailor the sound of the speakers and the 290-watt, 12-inch powered subwoofer, and compensate for your room's acoustic anomalies. The front three speakers feature a 1-inch soft-dome tweeter matched with dual 5-inch woofers; the four surround speakers use the same tweeter and a slightly smaller woofer. The 17.5 by 14.9 by 16.8 inch subwoofer weighs 34 pounds. Compared to the 6-inch plastic poser subs that come with so many HTIBs it's the 800-pound gorilla. You'll feel the difference.
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Sony's XDR-F1HD HD Radio has developed a real buzz among my audiophile pals; on second thought maybe buzz isn't the right word. It's the quietest, noise-free radio I've ever used.
These guys can be real snobs and only listen to ultra-high-end components, and some wouldn't be caught dead using mainstream gear with their hi-fis, and yet they're all going ga-ga over the Sony. We're all thinking it's too good to be true.
I originally heard about the Sony from Steven Stone, a writer friend, and then from an engineer at an American high-end audio company known for making awesome tuners that sell for thousands of dollars. The engineer was positively gushing about how good the XDR-F1HD is; not just that it sounded great, but also because it pulls in tough-to-receive analog stations with lower noise and distortion than tuners that sell for big bucks. You can read my full CNET review here.
I rushed right out and bought an XDR-F1HD from Amazon, and sure nuff, it's true, the little Sony is no baloney. Analog FM stations came in like gangbusters, clean as a whistle, and HD stations, like my favorite jazz station WBGO had "CD quality" sound. That phrase is tossed around a lot, but this time it's for real. I listened to WBGO with the Sony over my high-end system with Magnepan 3.6/R speakers, and the sound was amazing. It's day and night better than what I get from Sirius Satellite Radio, which is almost unlistenable over those speakers.
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Denon AVR-1909--why pay more?
Are high-end A/V receivers, which for the purpose of this blog is any receiver with a MSRP over $1,500, worth it? True, they're loaded with features, stuff like all of the latest surround formats like Dolby TrueHD and DTS Master Audio. But wait a sec--Denon's soon to be released $649 AVR-1909 receiver has them, too. It's got three HDMI inputs and all of the latest Audyssey auto speaker set up and equalization doodads.
Let's take a look at Sony's $1,699 STR-DA5300ES. What does the extra $1,000 buy you? Not so much. Faroudja DCDi Cinema Technology, great. Video sources connected via composite, S-video and component cables get bumped up to a 1080p over HDMI. The Sony is rated to deliver 120 watts per channel versus the Denon's 90 per. Oh, and it boasts six HDMI inputs. That's cool, and I'm probably overlooking some details, but does that sound like it's worth an extra $1,000-plus?
Thing is, I just reviewed three high-end receivers for a magazine, and I do think they sound a wee bit better than the lower-price alternatives. We're not talking day and night differences here, so I'll pretty much guarantee adding an extra $1,000 to your speaker budget will deliver much better sound. So instead of buying a $1,700 A/V receiver--and (for example) a $1,500 sat/sub package--get a $700 receiver and a $2,500 sat/sub package. Total cost will be the same, but the sound will be way better with better speakers and/or sub.
The receiver manufacturers have so loaded up their midprice receivers they killed the market for the upper-end models. I think that's great. Before they wise up, take advantage of their stupidity.
