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Classic Home Theater - Dallas, TX.
Custom Audio/Video Solutions for your Commercial, Residential, Auto, and Marine needs.
This thing screamed back in its day.
Original drive failed and could no longer boot, but amazingly enough I was able to recover some of the important files. Slackers didn't have it backed up...not smart.
A look into Sony's Future Technologies-
3D Head Mounted Display - Virtual 3D Cinematic Experience with integrated surround sound
Display type: Sony-made OLED
Panel Resolution: 1280x720
Color Depth: RGB 24bit
Audio: Simulated 5.1 Surround Sound
Only £ 13,995.
McIntosh presents a reference level CD/SACD player and DAC with the new MCD12000.
MCINTOSH MCD12000 - Reference Audio £13,995 MCD12000 A reference level DAC that includes a reference level CD Player (2) 32-bit/8-channel professional grade DACs 7 digital inputs
McIntosh proudly introduces the MCD12000 SACD/CD Player. While classified as a CD player, the MCD12000 serves as a reference level digital-to-analog converter (DAC) that includes reference level SACD/CD playback capabilities. Professional grade 8-channel DACs, designed for premium audiophile performance, handle the processing of music signals from the MCD12000’s digital inputs or compact discs.
The MCD12000 offers both balanced and unbalanced fixed analog outputs in both solid-state and vacuum tube configurations. This abundance of output options offers flexibility based on music selection, the configuration of your home audio system, and personal sound preferences.
McIntosh MCD12000 Key Features
2 ESS SABRE PRO ES9038PRO 32-bit/8-channel DACs. Left and right channel both have their own dedicated DAC
ESS’ patented HyperStream II architecture and Time Domain Jitter Eliminator
Separate digital and analog power supplies to keep power and audio signals free from cross contamination
Specially constructed R-Core power transformer to minimize noise radiation
7 digital inputs: 2 coax, 2 optical, 1 USB Type B for computer-based audio, 1 AES/EBU, and 1 MCT input
Coax and optical inputs support up to 24-bit/192kHz and the USB input supports up to 32-bit/384kHz, as well as DSD512 and DXD384kHz
All outputs are driven by discrete amplifiers or a blend of vacuum tubes and discrete amplifiers
1 12AT7 tube and 1 12AX7A tube for each the left and right audio channel
Solid-state output is via a discrete balanced op-amp
Included digital coax and optical output for added system flexibility
The disc transport has a precision die-cast aluminum tray that provides smooth and quiet disc handling; An advanced digital servo provides fast, quiet, and accurate operation
Roon Tested designation from Roon Labs
Car video player is actually a mobile multimedia system, which makes your long journey seem shorter. TRADESTEAD provides you with solid and reliable products. They feature the maximum compatibility. The unit can play DVD, CD, and MP3 format files. Hence, you can get rid of the mess of many devices clustered in the automobile. In addition, the car video player incorporates a radio tuner, which is undoubtedly a realistic edge. Some ones even house built-in TV.
Mor of a test of image manipulation skills, rather than photography. I shot each part of this CD player individually, then layered them all together and added shadows in PS. Quite pleased with the result.
Strobist info:
SB25 camera left, through paper diffuser
YN460 Camera right with blue gell & paper diffuser
If the Asshole Mailcarrier would move his damn vehicle we could see the rest of the storefront! Nah never mind it's just roll-up doors.
This was the Loew's Canal Street Theatre, in operation from 1927 til the late 1950s.
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On the Lower East Side in Manhattan on September 2nd, 2018, on the north side of Canal Street between Ludlow Street and Essex Street.
The building was designated a New York City Landmark in 2010.
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Getty Thesaurus of Geographic Names terms:
• Manhattan (7022657)
• New York (7007567)
• New York (county) (1002715)
Art & Architecture Thesaurus terms:
• arches (300000994)
• architectural ornament (300378995)
• façades (300002526)
• glazed terracotta (300298634)
• motion picture theaters (300007135)
• shop signs (300211862)
• specialty stores (300005364)
• storefronts (300002533)
• trucks (300022371)
Wikidata items:
• 2 September 2018 (Q45921171)
• 1920s architecture (Q7160080)
• Buildings and structures completed in 1927 (Q8318696)
• Canal Street (Q1032558)
• consumer electronics (Q581105)
• glazed architectural terra-cotta (Q5567349)
• Loews Cineplex Entertainment (Q738883)
• Lower East Side (Q1511813)
• Lower Manhattan (Q11253)
• mail truck (Q6735755)
• New York City Landmark (Q19825927)
• September 2 (Q2857)
• September 2018 (Q31179569)
• United States Postal Service (Q668687)
• vacant building (Q56056305)
• Zenith Electronics (Q189606)
Library of Congress Subject Headings:
• Buildings—Remodeling for other use (sh85017791)
• Business names (sh85018315)
• Small business (sh85123568)
Sony Alpha Prototypes
- External Flask Prototype with Quick Shift Bounce Mid-class model
- 500mm F4 G A-mount Telephoto Lens Prototype
IFA Berlin 2008, Opening Day, Consumer electronics show
_____IMPORTANT NOTE: This photograph represents a low-resolution version of the original image. Copyright Jochen Siegle/TechShowNetwork.
This photograph is licensed for use under the Creative Commons BY-NC-ND license. It is OKAY to use this photograph on the web in compliance with the CC BY-NC-ND license, HOWEVER you need to link the image back to TechShowNetwork.com (http://www.techshownetwork.com) and GIVE CREDIT as "Jochen Siegle/TechShowNetwork". Do NOT remove the watermark.
Please contact via email to jas@momentimedia.com to inquire about licensing for other usages or higher resolution of this image or to order prints.
All other rights reserved Jochen Siegle/TechShowNetwork. The TechShowNetwork is a MomentiMedia publication.
Klipsch fulfills your every home audio desire, no matter the size. Our visionary founder, Paul W. Klipsch, pioneered better and more efficient ways to deliver crystal clear and full sound to any space.
Klipsch audio means being able to hear every lick, every drumbeat, every breath, and every nuance of your music, movies or TV with unmatched precision.
The interactive Intel Cube -- like something out of Tom Cruise's "Minority Report" -- was one of the hits of the show.
The 6 Mk2 are the smallest floorstanders in the six-strong Opticon Mk2 range, which also includes two standmounters, a dedicated centre speaker and, more unusually, a slim LCR model that’s flexible enough to work in all kinds of on-wall situations regardless of orientation thanks to a rotatable tweeter module. Clever.
Get the 6 Mk2 out of their boxes and it’s the twin-tweeter arrangement that grabs your attention first. This unusual configuration has been something of a Dali trademark at premium points for many years now, and the engineers have developed a new module for the Opticon Mk2. This high frequency module mates a conventionally designed 29mm textile dome tweeter with a 17 x 45mm ribbon unit. The crossover between the pair is set at 14kHz, and the idea is that the ribbon takes over where the dome unit starts to struggle, giving a wider, more even dispersion characteristic and increased detail.
Below that hybrid tweeter combination is a pair of 16.5cm wood-fibre coned drivers. These cones are a mix of paper and wood fibre, and deliver what Dali feels is the optimum blend of rigidity, self damping and lightness. The upper of these drivers outputs midrange and bass, while the lower one rolls in below 800Hz to augment low-frequency performance. The lows are also reinforced with a pair of revised rearward firing reflex ports, which are flared at both ends to smooth the flow of air and reduce any turbulence that causes distortion.
Look at the published specifications and Dali describes this speaker as a '2½ + ½ way' design, which, confusing as it seems initially, makes sense. The bi-wire crossover network is kept simple in a bid to preserve sonic purity and it is mounted close to the speaker terminals to keep signal paths short.
These Opticon 6 Mk2 are reasonably sensitive at a claimed 88dB/W/m, but the nominal impedance of 4 ohms suggests that they need an amplifier with a bit of muscle. We suggest something like the Cambridge CXA81 (£999, $1299) as a good starting point, though spending more on the likes of the Naim Nait XS3 (£1299, $2999) will reap obvious sonic benefits. Of course, like most good speakers at this level, the Opticon 6 Mk2 have plenty of stretch and deliver more if fed a better signal.
These floorstanders need a bit of space to breathe, too. We find them to work best when placed well out from room walls and firing straight ahead rather than pointing towards the listening position. Such an arrangement gives a wide, expansive and reasonably balanced presentation.
Overall build quality is good. The cabinet corners are crisp and the standard of fit and finish is high. There are three finish options – satin white, satin black and tobacco oak. Unusually for this price level, Dali makes its speakers in matched pairs to ensure that the performance is as consistent as possible between channels.
Large-scale dynamic swings are handled with composure with little sense of the speakers having to strain to punch out the extremes. We’re impressed with the overall refinement, as well as the Opticons’ refusal to sound aggressive even when provoked with high volume levels or strident instrumentation. Tonally, things aren’t particularly neutral, but there’s enough in the way of balance to avoid serious complaints. Those looking at two tweeters and expecting an excess of high frequencies are in for a surprise. The highs here are nicely blended and, if anything, slightly on the understated side.
We switch to Massive Attack’s Heligoland to give the Opticons a chance to show off their rhythmic cohesion and pleasing detail recovery. There’s a good amount of insight here: the speakers dig up a fair bit of detail and organise it in a musical and entertaining way. Make no mistake, these are pleasing and accomplished speakers – but they’re not quite fully rounded.
They’re not the most exuberant performers we’ve heard at this level, sounding a little restrained through the midrange and upwards. This takes the edge off dynamics and makes vocals sound less expressive and emotive than they should. We swap around amplifiers and find something livelier such as Naim’s Nait XS3 works better than smoother sounding alternatives, but it still doesn’t quite solve the issue.
Regardless of amplifier, we notice the speakers struggle to maintain their organisational ability when asked to replay a really complex piece of music. They never go as far as to sound messy, but a feeling of unease tints the overall sound when the speakers are stressed in this way.
Our favourite Dali speakers have tended to be lively and entertaining if just a little rough around the edges. That’s a compromise we’re happy to accept given that they tend to compete at the more affordable end of the market. When price levels rise, so do the expectations. And while the Opticon 6 Mk2 are pretty good for the money, they don’t challenge the class leaders.
Audiolab has won more major awards in UK hi-fi magazines than any other brand of high-performance audio electronics.
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Formed in the early 1980s by Philip Swift and Derek Scotland, audiolab earned worldwide acclaim with the 8000A – an integrated stereo amplifier that became a classic ‘step-up’ from the budget models of the time.
During the ensuing years, the 8000A established itself as one of the most successful British amps ever produced, and was joined by a range of electronics including CD players, pre/power amps and an FM tuner. The brand switched hands in 1997, changing its name to TAG McLaren Audio; and it so was known until 2004 when audiolab became part of the International Audio Group and returned to its original name.
“If ever a product defined its market, the 8000A is the one. Reliability, ease of use, engineering excellence and a well-behaved sound are the pillars supporting the justified reputation of the 8000A. Over the years, audiolab’s no-nonsense, evolutionary approach to design has widely been recognised.”
– Audiohile with Hi-Fi Answers.
8000A & P Still used to this day. Have upgraded the power supply,
Seth Meyer of Saturday Night Live gave a funny video presentation called, "Thank you, technology!" Silhouette of a photographer in the foreground.
McIntosh MA252 review
An affordable and bold stereo amp from the masters Tested at £4500 / $3500 / AU$7995
McIntosh MA25
Early Verdict
With a distinctly unique style and excellent implementation of both valve-based and solid state amplifcation, the MA252 offers up an affordable option for those seeking authentic McIntosh quality without some of the loftier prices.
The McIntosh MA252 integrated amplifier is the first hybrid integrated amplifier this world-famous American company has ever built. The import of that statement needs to be viewed in the context that McIntosh has been building amplifiers for more than 60 years. So the McIntosh MA252 has been 60 plus years coming, and boy was it worth the wait.
McIntosh MA252
But wait! What is a hybrid integrated amplifier?
Basically it’s an audio amplifier where one of the two amplifying stages uses valves – or ‘tubes’ as our US friends like to call them – to amplify the audio signal, while the other amplifier stage uses transistors.
Because any integrated amplifier has two amplifying stages – usually called ‘pre’ and ‘power’ stages – this means there are two ways to build a hybrid audio amplifier. One way is to use valves for the ‘pre’ section and transistors for the ‘power’ section; the other is to use valves for the ‘power’ section and transistors for the ‘pre’ section.
In the MA252, McIntosh has elected to use the former approach by employing 12AX7a and 12AT7 valves in the preamplifier stage and transistors in the output stage. The reason McIntosh does it this way, rather than the other way ‘round, is to ensure the best of both possible worlds: the sweet sound quality that’s inherent in valve amplification and the very high power output that solid-state devices make possible.
But wait! Is it not possible to get high power output from a valve amplifier stage?
Of course it is… and no-one knows this better than McIntosh. After all, its MC2301 valve amplifier is rated with an output of 300-watts into 8Ω. But achieving such high power output using only valves costs money… lots of it.
The McIntosh MC2301 currently retails for £14,900 / $19,900 / AU$27,995, and it’s just a single-channel amplifier, meaning that you’ll need to buy two of them for stereo, so that’s around £29,800 / $39,800 / AU$55,990 all up for a high-power stereo valve audio amplifier.
The MA252, on the other hand, is rated at 100-watts per channel into 8Ω (160-watts per channel into 4Ω) and it has an RRP of only £4,500 / $5,782 / AU$7,995).
Of course using transistors rather than valves in the output stage means that you also miss out on one of the other advantages of using valves, which is that it’s extremely difficult to drive them into hard clipping.
Unlike transistors, which go into hard-clipping the instant they are over-driven (and sound awful when this happens), valves have an inherent ‘soft clipping’ characteristic when they’re over-driven that can actually make the sound quite attractive. Indeed many guitar players use valve amplifiers with special ‘overdrive’ circuits for this express reason.
To circumvent this, the high-current transistors McIntosh uses in the output circuitry of the MA252 are continuously monitored by McIntosh’s patented ‘Power Guard’ circuitry which monitors the output signal for any signs of overdrive and makes real-time micro adjustments to the input signal to prevent the output stage from being driven into clipping. You will know if the Power Guard circuit is operating because when it does, the colour the valves are glowing changes from green to orange.
At this point valve aficionados should be scratching their heads, because when they’re operating, valves glow an orange-reddish colour, not green. The valves in the MA252 glow green simply because McIntosh has fitted chameleon LEDs underneath them, which emit a green glow that, during normal operation, is bright enough to outshine the glow of the valve heaters. However when the Power Guard circuit triggers, the LED colour changes from green to orange.
If you’re wondering why McIntosh chose green, it’s because that’s the primary colour used in the McIntosh tartan worn by founder Frank McIntosh’s Scottish forebears. The same green has been used in various applications on all McIntosh products since 1949.
There’s one Power Guard circuit per channel, so if only one channel is clipping, only that channel’s two valves will change colour. If both channels are clipping, all four valves will glow that orange colour.
Unlike many recent amplifier designs, which feature integrated DACs, McIntosh’s MA252 is purely an all-analog affair with two unbalanced line-level inputs, one balanced line-level input and a phono input (moving-magnet).
We were really pleased to discover that McIntosh has included an input trim circuit that allows you to adjust the sensitivity of each of these inputs to exactly match the output of whatever component you’ve connected, so that when you switch from one input to the other, the volume issuing from your speakers will stay the same, so you don’t have to adjust volume level every time you switch from one input to another.
Unlike some such circuits, which don’t offer much of an adjustment range, McIntosh’s trim circuit has a full 12dB of adjustment available… and in precise 0.5dB steps too. You can rename the inputs anything you like so long as you don’t exceed a nine letter description and, if you’re not using an input, you can have the McIntosh ignore it completely, so it becomes transparent when you’re switching inputs.
We can see how the transparency function makes sense on a component that has a great many inputs, several of which will inevitably be unused, but when there are only four inputs, as on the MA252, it doesn’t really speed up input selection all that much.
You can also choose to have the McIntosh switch itself off automatically after 30 minutes of inactivity (no music, no controls moved etc), or not. In order to extend valve life, we would recommend you leave the McIntosh in its ‘Auto’ switch-off mode (which is the default), but small signal valves such as the 12AX7A and 12AT7 are not only virtually indestructible, but also relatively inexpensive, so it really wouldn’t much matter if you left the amplifier powered-up permanently.
Installation was mostly uneventful, except that we very nearly missed that instead of aligning the RCA inputs of the two unbalanced inputs vertically – like almost every other amplifier manufacturer in the world – McIntosh has aligned them horizontally.
We decided this made excellent sense, because it means the left input is on the same side as the left speaker outputs, and the right input is on the same side as the right speaker outputs, whereas if they were vertical, you’d actually have to know whether the right input was at the top or the bottom.
We were was also pleased that the balanced input is completely isolated from the unbalanced inputs – some amplifiers share an input and you only find out when you get the amplifier home and read the manual carefully that you can only use one or the other of two inputs. Effectively, this gives the McIntosh MA52 four inputs. There’s also a mono subwoofer output, which is a nice touch.
The speaker terminals, despite looking great and being gold-plated, didn’t turn very smoothly, and felt quite ‘rough’ as they were rotated. Room for improvement here then. Still, connecting speaker cables is something you’ll only have to do the once, and if your speaker cables are terminated in banana plugs, you won’t have an issue at all.
The MA252 has a fantastic-looking OLED front panel display which shows the amplifier’s model number and the words ‘Tube Warmup’ while the amplifier is warming up (which takes around 15 seconds), after which it shows the source selected (which will be your last-used source), after which the volume level slowly ramps up from zero to stop at whatever volume level you were last listening.
While the amplifier is warming up, the LEDs illuminating the small signal valves glow orange, so when they turn green, you’ll know the amplifier is ready to go.
But the description ‘warmup’ is a bit of a misnomer because if you switch the amplifier off after it’s been operating for several days, and is totally warm, then switch it immediately back on, it will still spend 15 seconds ‘warming up’ again. In the light of this, ‘Initialising’ might have been a better word to use… except that maybe it would have too many letters to fit into the display.
The McIntosh MA252 ‘remembers’ balance, bass and treble settings independently for each input. So if, for example, you have adjusted the channel balance of the phono input to compensate for a slight voltage difference in your phono cartridge’s left and right channels (and this would be the case with almost every phono cartridge on the planet), then when you switch from your phono input to, say, your DAC on another input, the channel balance will revert to 0dB in each channel.
Likewise, if you prefer to roll off the bass a little and accentuate the treble when listening to LPs, the McIntosh will apply these settings whenever you switch to the phono inputs, but revert back to a ‘flat’ tone control setting (or whatever other tone control settings you’ve chosen) whenever you select a different input.
We think this is a really great feature, one that is incredibly useful, but to use it, you will need to use the MA252’s remote control, and before you use the remote control, you will need to install the single AAA battery (a high quality Duracell alkaline battery is supplied), and before you do that you’ll need to find out how to install it, because McIntosh’s remote is so beautifully made that it’s not apparent how to do it, and there is nothing at all about it in the User’s Manual.
If you run your fingernail down the almost invisible seam on the left side of the remote, then pull the back-plate of the remote ‘out and down’ from the bottom, below the logo, you'll reveal the battery compartment. It’s a bit tricky to do the first time, so ask your dealer to show you how to do it before you have a go yourself.
The input selector on the left side of the sloping section of the front panel has a click-stop action and in addition to selecting your desired input, doubles up as the ‘Trim’ control (push it inwards for Trim options).
IFA Berlin 2008, Opening Day, Consumer electronics show
_____IMPORTANT NOTE: This photograph represents a low-resolution version of the original image. Copyright Jochen Siegle/TechShowNetwork.
This photograph is licensed for use under the Creative Commons BY-NC-ND license. It is OKAY to use this photograph on the web in compliance with the CC BY-NC-ND license, HOWEVER you need to link the image back to TechShowNetwork.com (http://www.techshownetwork.com) and GIVE CREDIT as "Jochen Siegle/TechShowNetwork". Do NOT remove the watermark.
Please contact via email to jas@momentimedia.com to inquire about licensing for other usages or higher resolution of this image or to order prints.
All other rights reserved Jochen Siegle/TechShowNetwork. The TechShowNetwork is a MomentiMedia publication.