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At its pre-CES press conference today, Sharp introduced a slew of new home theater products, including the world's first LCD with a built-in Blu-ray player, the company's first soundbars, and two new Blu-ray players.

infinite sight and sound, based in Fairfax, VA, and serving the Washington, DC area, ISS specializes in custom installation of Audio, Video, Automation, and Home Theater, as well as networked entertainment technology.

Qualifications and Certifications:

• ISF Video Calibration
• HAA Level II Audio Calibration - Room acoustics expertise
• 30 years experience in Computer/Information Technology - ability to blend digital and audio - the trend for the future of home entertainment and management/control
• Recently named by Goldline Research as one of the 10 Most Dependable Home Theater Installers in the Eastern United States.

Give us a call and let us start your new entertainment experience.

Bang & Olufsen, also known as B&O, has been making stylish powered loudspeakers for lifestyle-oriented consumers for years. While B&O has been criticized for being a bit overpriced and not true audiophile speakers, I disagree. Once you experience their speakers' simplicity and easy integration, they become more of a value. For instance, the BeoLab 6000, reviewed here, is a slender, aluminum spire that can be connected to a B&O source or other variable output device, think iPod, and retails for $2,500 per pair. In simpler terms, you could essentially have a respectable two-channel system, which is not bulky nor requires costly electronics and/or cables, for less than $3,000. Intrigued? I was.

The BeoLab 6000 is a sleek, aluminum-encased speaker that is almost completely round at the base and stands a little over 40 inches tall. The BeoLab 6000 comes in a wide variety of colors (all aluminum), including silver, black, dark gray, light silver/white, red and blue. In its raw aluminum or silver finish, the BeoLab 6000 virtually disappears, as the speaker itself takes on the color of your room's surrounding elements, making for a very cool optical effect. The BeoLab 6000 has a fully powered design, using two 59-watt Class AB amplifiers that typically draw eight watts at full power and a very low 1.8 watts at standby, making the BeoLab 6000 shockingly efficient and green. The BeoLab 6000 has a bass reflex design, though the port is behind the grille, and has two three-and-a-half inch bass drivers mated to a three-quarter-inch tweeter. The BeoLab 6000 has a reported frequency response of 55-20,000Hz, making it an ideal candidate for a subwoofer; B&O makes several that fit the bill.

High Points
• The BeoLab 6000 is among the sexiest-looking speakers you'll likely ever see. No brand, especially the BeoLab 6000, has been more copied by other manufacturers in an attempt to make a lifestyle-oriented loudspeaker.
• The BeoLab 6000 is surprisingly clean and clear-sounding, with a very smooth, though not overly airy, top end mated to a very natural and effortless midrange.
• The BeoLab 6000's bass is taut and more robust than you'd think possible from its meager woofers, though for true full-range sound, you'll want to add a subwoofer.
• Dynamically, the BeoLab 6000 is a solid performer, but performance enhancements will require more power, other components and wires that would spoil the BeoLab 6000's stellar good looks and simplicity.
• From a soundstage perspective, the BeoLab 6000 images like no speaker I've come across, in that it sounds like there is no speaker at all, leaving a wide and deep soundstage in its wake. Center image definition is first-rate and a touch better than the BeoLab 6000's overall soundstage detail.
• The simple fact that you can connect the BeoLab 6000 to an iPod or, say, Krell KID makes it one of the easiest, most lifestyle-friendly packages in all of two-channel audio.

Low Points
• While it's not uncommon to find $2,500 per pair loudspeakers, if you want full-range sound from the BeoLab 6000s, the true cost of ownership is going to be higher, say, $3,000-$5,000, depending on which sub you choose.
• Because of the BeoLab 6000's high-gloss finish, keeping it free of fingerprints is a bit of a chore, requiring constant cleaning.
• The BeoLab 6000 disappears sonically, but it doesn't throw its sound or image in a wall of sound-like way, making it more directional than some of the competition.

Conclusion
$2,500 buys you a lot in today's audiophile world and, for many consumers, represents a substantial investment. This said, to get the level of performance the BeoLab 6000 provides will cost you as much or more in components and cable by going a traditional route, which is where the BeoLab 6000's value proposition comes into play. With a source as simple as an iPod, the BeoLab 6000 gives you everything else you need to enjoy your music in a no-fuss manner that no speaker or system can beat. When you also consider that you can "daisy-chain" five BeoLab 6000s together for a multi-channel audio system and plug them into a variable multi-channel source or home theater processor with the same ease, it begs the question: why aren't more speaker manufacturers following B&O's lead?

There's good design and then there is timeless design. The BeoLab 8000 loudspeaker by famed manufacturer Bang & Olufsen is one such timeless design. In fact, if you've watched television, movies or read a print magazine in the past ten years, you've seen the BeoLab 8000. With its iconic inverted pencil-shape design, the BeoLab 8000 has stood the test of time and remains one of B&O's most successful and longest-running products. Retailing for $3,000 a pair, the BeoLab 8000 can't be labeled as cheap, which is the single greatest knock purists harp on when discussing the BeoLab 8000, or other B&O products, for that matter. Truth be told, you've got to try hard to match the quality, build and sonics of the BeoLab 8000 using traditional means, i.e., loudspeakers powered by an amplifier mated with a preamp, source and cables. While the BeoLab 8000 is far from perfect, it may be just the right fit for today's lifestyle-oriented, on-the-go music lover.

The BeoLab 8000 has a round, spire-like design, with the drivers and amplifiers (yes, the 8000 is powered) encased in an all-aluminum chassis sitting atop a square bass plate. The BeoLab 8000 comes in a variety of standard colors, ranging from silver (aluminum) to bright red and just about everything between. There is a new all-white model coming soon, but not yet available. The BeoLab 8000 has a two-way three-driver design, featuring two four-inch bass drivers mated to a single three-quarter-inch tweeter. The BeoLab 8000 is front-ported, giving it a frequency response of 52-20,000Hz, so for true full-range playback, you'll want to add a sub or two. The BeoLab 8000 utilizes two 143-watt Class AB amplifiers to power each speaker, drawing a typical load of 12 watts and dropping down to two-and-a-half watts at idle, making the BeoLab 8000 very energy and environmentally friendly. The BeoLab 8000 is fully shielded and can be connected to your preamp or variable source via B&O's own Power Link cable or traditional RCA-style phono cable. Whichever connection option you choose, the BeoLab 8000's power and input cable are routed through a single rubber sleeve to simplify and clean up the look of unsightly connections.

High Points
• The BeoLab 8000 sounds every bit as good as it looks, which is quite a compliment. While there are speakers that can do things the 8000 cannot, the 8000 is a well-balanced, well-versed complete loudspeaker from top to bottom, and should suit most listeners' tastes very well. Audiophiles might be surprised as just how good the 8000 sounds.
• The BeoLab 8000's high frequencies are clear, refined and never fatiguing, though not altogether airy.
• The midrange is the BeoLab 8000's strength, which apparent when you hear it demoed, for this usually involves a recording of a small jazz ensemble and/or female vocalist.
• The BeoLab 8000 images well and seemingly leaves no trace. While the soundstage is vast, it's not the most defined, but center imaging is exceptional.
• Because the BeoLab 8000 is powered, it can be enjoyed with something as simple and unobtrusive as an iPod, making the beautiful BeoLab 8000 the most prominent component in your two-channel system, rather than black boxes and unsightly cables.

Low Points
• The BeoLab 8000's bass is respectable, but not altogether deep, so a subwoofer would need to be added to a BeoLab 8000 system to achieve truly full-range performance.
• The BeoLab 8000, because of its powered design, has to be placed within six feet or so of a wall outlet in order for it to work at all.
• While the BeoLab 8000's fit and finish is superb, keeping it clean and dust-free is a bit more of a chore than with other speakers.

Conclusion
While $3,000 opens up a wide variety of speaker options, none will arguably be more of a visual statement then the BeoLab 8000 by Bang & Olufsen. While audiophiles will scoff at the mere mention of the name, don't be dissuaded, for the 8000 sounds very good and provides a level of simplicity today's modern music lover is bound to appreciate.

Bang & Olufsen is one of the oldest brands in the consumer electronics business, manufacturing products ranging from loudspeakers to telephones. Throughout the years, the B&O creed has been simple: create quality, user-friendly products for everyday use. B&O has been largely successful in upholding this standard. Many will say B&O has traditionally been overpriced and, until recently, has built products that cater almost exclusively to a richer Bose clientele. While there is some truth to this statement, B&O has been manufacturing quality, affordable products that fit within its brand image for years, as evident in the Form 2 headphones reviewed here.

The Form 2 headphones retail for $100 and are attractive, to say the least, if not a touch '80s a la Miami Vice. Though unlike neon and black lacquer furniture, the Form 2 still looks high end in every way its smooth black matte and chrome finish. The Form 2 has an over-the-skull design and is not sound-isolating in any way, unlike many of the popular headphones on the market today. While most over-the-skull headphones feature massive padding to aide in long-term use, the Form 2 takes a different, lightweight approach. The Form 2 weighs a stunning 2.4 ounces. To put that into perspective, that's the weight of nine one-dollar bills stacked atop one another. It features simple rectangular earpieces that rest gently on the ear, padded by simple foam caps. B&O doesn't go to any lengths in describing what sort of driver is used in the Form 2, except to say it is extremely dynamic and natural, regardless of volume. The Form 2 has a frequency range of 40-20,000Hz, with 30-ohm impedance. The Form 2 has a nearly ten-foot-long cable, capped by a mini-jack plug. The Form 2 comes equipped with a quarter-inch jack adapter that allows the headphones to be plugged into a wider variety of electronic components. Additionally, it comes with replaceable foam ear pads.

High Points
• The Form 2 headphones sound wonderful at all but insane levels, possessing incredible dynamic prowess, high-frequency detail and surprising and true bass response.
• The Form 2's high-frequency response is light, airy and natural. The midrange, a Form 2 strength, is warm, rich and very non-headphone-sounding, but it's the bass that is most surprising.
• The Form 2 sounds good plugged directly into a source, negating the need for a separate headphone amp.
• While the Form 2 has a distinct style that some would criticize as "out of date," I would argue it's far more fashionable and timeless than many "look at me now" headphones of today that make users appear as though they belong on a jetway at LAX.
• I've personally owned a pair of Form 2s for over six years, using them daily since purchase, and they work as well now as they did the day I bought them. Two other pairs of headphones I've owned during the Form 2s' reign, both costing more than the Form2s, have not fared as well.

Low Points
• While lightweight, the Form 2 can become a bit physically fatiguing on the ears after long periods of wear. Around the two-hour point, I had to give my ears a break, for the foam padding had become a bit flat. Having been a Form 2 owner for over six years, I can attest to the lack of longevity of the foam pads, which need to be replaced every six months or so.
• The Form 2 cord is ungodly long, thin and prone to twisting over time, which can cause some static in the Form 2's performance. I've found a simple cable spool, usually used for hiding or simplifying computer cables, helps keep the Form 2's cable neat and tidy.
• The Form 2 does not collapse or come with any sort of carrying case, other than the box it's sold in, making storage and travel a bit of a pain.

Conclusion
I'll be the first to admit I'm not much of a headphone fanatic, though I use them every day, sometimes for hours on end. My headphones still must sound good and that's what I've found with the Form 2 from Bang & Olufsen. It is every bit as good as similarly-priced competition and then some, and looks good while being incredibly lightweight for an over-the-skull design. It is dynamic, musical and possesses an upper-end sweetness and low-end slam that you wouldn't expect from a somewhat old-school design. However, the biggest draw for me is how reliable and trouble-free it's been over the years, out-performing and outlasting several other brands by wide margins.

As part of Apple Computer's last Mac World Expo press conference, the company's vice president (not its founder and unquestioned leader, Steve Jobs) Phillip Schiller announced that they would have two pricings for single songs on their wildly successful iTunes Music store. Newer and highly popular tracks would cost $1.29, with many more tracks being lowered to $0.69 per track.

The new $0.69 per track fee has been suggested to be designed to make piracy of tracks less desirable, especially with today's Generation Y audience who are more in bed with Apple's products than any generation before them.

The music on iTunes is sold as a low-resolution file (AAC), which is about one-quarter the resolution of what a consumer gets on a compact disc. Apple is trying to sell a fraction of the resolution of a standard-definition audio file, so the lower price makes it more market-competitive, as the music business absolutely refuses to step into the world of high-definition, unlike every other booming consumer electronics niche.

No word of Apple selling high-definition files was mentioned at the press conference. Companies like Music Giants sell 24-bit, 96 kHz files on their site for audiophile and media center use. These files are many times more resolute than traditional compact discs and, in some cases, have the resolution and 5.1 surround sound found on the now-defunct DVD-Audio and SACD disc formats.

Pioneer recently added two new "limited run" models to its 2008 line of KURO plasmas: These Elite Signature Series models are the crème of the KURO crop, handpicked off the assembly line, inspected, and certified as the best of the best. Sold only through specialty retailers who have been trained to set them up, the Signature Series panels are designed to have an open architecture, and they utilize an advanced IP control platform that gives the installer an unmatched level of access and customization. The Signature Series includes the 50-inch PRO-101FD and the 60-inch PRO-141FD. Both are 1080p HD monitors, so they lack internal TV tuners. This allows the panels to measure just 2.5 inches deep, but it means you must mate them with an outboard tuner, cable box, or satellite box to receive TV programming. These monitors also don't come with speakers or a stand, although an optional stand is available.

The PRO-141FD has a healthy connection panel that includes four HDMI, one component video, one DVI, and one PC input, as well as RS-232 and IR ports for integration into an advanced control system. An Ethernet port allows for IP setup, remote monitoring, and diagnostics. This model does not offer the Home Media Gallery function, which allows you to stream media from a PC or DLNA-compliant server, found on other Elite KURO TVs. The HDMI inputs accept both 1080p/60 and 1080p/24, and picture-in-picture functionality is available.

The PRO-141FD's setup menu has a dual structure that offers different controls for the consumer and installer. Even on the consumer end, the PRO-141FD offers more adjustments than you'll find with most plasmas. For starters, the monitor has eight picture modes, including an Optimum mode that (in conjunction with light sensor on the front panel) automatically adjusts the picture quality to suit your viewing conditions. There are six color-temperature options, including a manual mode that lets you precisely adjust the white balance. In addition to gamma and advanced noise-reduction controls, Pioneer includes two color-space options (one more vivid, one more natural), plus a color-management system to precisely adjust the six color points. Pioneer also offers three different ways to handle film sources for output on this display: The Standard mode offers traditional 3:2 pulldown detection; the Advance mode outputs 24fps content at 72Hz for a smoother, less juddery presentation; and the Smooth mode appears to do frame interpolation to present even smoother movement. The menu also includes a new Blue Only mode that makes it easier to correctly set the color control. Several features are available to help prevent or counteract image retention. There are nine total aspect-ratio options for HD and SD sources, including a Dot by Dot mode to view 1080i/1080p sources with no overscan.

Should you or your installer opt to add the PRO-141FD to a network via the Ethernet port, you can utilize the IP control function, which includes a virtual remote, access to picture and general setup parameters, and even the ability to receive emails when there is a system error or malfunction.

High Points
• KURO panels offer some of the deepest blacks you'll find in the flat-panel category, and the result is an image with outstanding contrast and rich color.
• The PRO-141FD does a great job with both HD and SD signals.
• There are two modes to help reduce judder in film sources.
• This panel offers outstanding connectivity and advanced setup options.

Low Points
• This monitor has no internal TV tuners.
• It does not come with speakers or a stand. You can add the optional stand if desired, but there's no option to add speakers. This display is meant to be integrated into a complete home theater system.

Conclusion
The Elite Signature Series PRO-141FD offers a gorgeous image and a comprehensive set of adjustments. It represents the best of the already industry-leading KURO line, but that performance comes at the premium price of $7,000 for a 60-inch monitor.

In the world of high-end audio, few brand names come with as much fanfare as Krell. The entire life of this company has been dedicated to making the highest-end products on the market and pushing the envelope further and further forward with each new release. The Evolution 707 AV preamp is their new reference AV preamp, offering 8.4 channels of audio output, Krell proprietary video scaling and processing and four-to-one HDMI switching with the ability to decode all the new codecs of Blu-ray and HD DVD, as well as absolute top of the line analog performance. The Krell Evolution 707 is designed to be the hub of the finest music and home theater systems on the planet. While its $30,000 price tag will keep it as only a dream item for many of us, for the Warren Buffetts of the world, this piece strives to be the absolute cream of the crop in the AV preamp world, while all its modern technology should keep it current for years to come.

The massive size and weight immediately call attention to the Evolution 707, while its simplicity of design and features enable it to perform better. The Evolution 707 is 17 inches wide, 10 inches tall, 22 inches deep and weighs 49 pounds, so you'll either need some help to safely position it into your rack or to let your dealer do the install and save your back.

Twelve output channels allow for dual center speakers and four subwoofers with a variety of implementations for each of them, with the options based on the number of subs used. If you have only a single subwoofer, it is defaulted to LFE and to supplement the small speakers. Once you add more, options for stereo subs, LFE, Small and more come into play. Output channels offer balanced, single-ended and Krell's proprietary CAST™ outputs that allow enhanced performance when using this with other Krell gear. Audio inputs include a balanced analog input and seven sets of single-ended stereo inputs, a 7.1 analog input, two stereo CAST™ inputs, four optical and coaxial digital inputs and one out each, as well as both tape and VCR loop ins and outs.

Video connectivity consists of four composite and S-Video and three component video inputs, with one each for the main and secondary zones, four HDMI inputs and one HDMI output. Krell's onscreen display is available on all video output and the video section can scale analog inputs to 1080p/60Hz. All video is transcoded up to HDMI but, as always, HDMI is not transcoded to analog. The Evolution 707 offers a second zone video output via component with accompanying analog stereo outputs, but the unit will not decode digital inputs for the second zone so a second stereo analog connection might be necessary, depending on your sources. The Evolution 707 does not offer room correction.

The remote is exactly what you'd expect from a top of the line Krell component, as it is machined from a solid block of aluminum. It is simple in its layout and is functional (despite lacking backlighting) but let's face it: if you are dropping this kind of cash on an AV preamp, you aren't using the included remote even if it is nicely built. Control of the Evolution 707 is handled by the four 12-volt trigger outputs, one input, an RS-232 port for syncing with third-party controllers, an RC-5 in and two Krell Link connectors for controlling other Krell gear in your system.

The digital processing circuitry of the Evolution 707 runs in dual precision mode, with a word length of 64 bits to maximize performance. The preamp mode allows both stereo and multi-channel analog inputs to bypass all digital circuitry while separate power supplies for both analog and digital sections ensure the best performance, and are made with custom low-noise transformers and regulators. The Evolution 707 uses a standard 15-amp IEC connector for power and has a hard power switch on the rear of the unit and a standby activated by the remote or front power button.

The Hookup

I have had many of the top AV preamps made today, but the Evolution 707 physically dwarfs them all. This preamp is nothing short of huge and packs the significant weight you would expect from a beefcake component like the Evolution 707. Safely unpacking the preamp requires two people; I unpacked it myself without incident, but I wouldn't recommend it. I had to restructure my AV rack, as fitting this monster in requires 13 inches, as Krell recommends three inches of breathing room above it. I was glad I did, because this unit runs hot, even when in standby mode.

The build quality of the Krell Evolution 707 AV preamp is beyond reproach. My unit came in a beautiful brushed aluminum finish. with red and blue lights and a blue-ish purple display. The variations of finish with shiny arched plates in the middle and the large brushed aluminum face with small and evenly dispersed buttons for functions spread across it, the display to the top left of the front and that massive machined volume knob in the middle make this a piece of gear that will inspire lust in any man. All the surfaces are finished to perfection. Not only does it look great, it feels amazingly solid. The centrally-placed volume knob is massive and feels incredibly smooth. It looks so good that you'll want to get up to use it rather than the remote. The buttons offer excellent tactile feedback when depressed, and lighting to confirm the action. Source buttons have two lights above them, so you can tell which is playing in which zone.

Connecting the Evolution 707 to my system was simple, thanks to HDMI. I connected my PS3, a Denon DVD2500BTCI Blu-ray transport, Toshiba HD-XA2 HD DVD player and cable box to the four HDMI ins and ran the single out to my Sony 70-inch XBR HDTV. I also ran the component video output of my cable box to the component ins to test the scaling of the Evolution 707. My Teac Esoteric DV-50s was connected via both stereo balanced and single-ended multi-channel connections and my Apple Airport Express was hooked up with an optical digital feed. All channels were run with Transparent Reference balanced interconnects and speaker wires, initially through a Mark Levinson ML 433 three-channel amp, then later to Krell's Evolution 403 three-channel monster amplifier to power a variety of speakers used for this review, specifically the Escalante Fremonts, Definite Technology Mythos STs and Canton Vento systems. I ran AC power to the unit through my PurePower 700 power regenerator, which helped keep the preamp powered up with stable, regenerated electricity. The physical connectors on the preamp were superb. I personally hate the HDMI connector in general, not the one-cable HD audio-video functionality it brings us, but the actual connector itself. Often HDMI connections are loose or tough to engage and they can wiggle out from minimal force while you're adjusting other wires in a system, but thankfully, this is not so with the Krell Evolution 707. The HDMI connections were easy to engage and locked in solidly, staying firmly in place. All connectors were first-rate on this piece, over-built from the hefty gold single-ended connectors to the robust balanced ins and outs.

The back panel was laid out very well, allowing easy access to all connections. The HDMI ports were closer together than I'd have liked, but I was able to fit even large cables to them without an issue. This was especially important to me in this review, since despite owning some of the largest AV racks made and having them four inches from the rear wall, this preamp went almost to the back of my rack and sometimes I had to locate the connection by feel. I was happy that once I made the connections I could forget about them.

Once all the connections were made, I fired up the rig and went through the menu, which is pretty simple and basic. Pick your source, assign its input and assign how to reproduce the signal from that source. You set your maximum display resolution, then enter speaker size and distance, set the levels and you are good to go. A very nice microphone and cable come with the Evolution 707 for auto speaker set-up, but this feature is awaiting software revisions, so I did this manually. Being an early release unit, mine also did not support the new codecs in bitstream, so I had to pass LPCM for these in this review. I initially had some strange and inconsistent results with the Evolution 707 locking onto certain digital signals, but a call to Krell tech support got me the newest software and resolved these issues. I let the Krell burn in for a week before sitting down to do any critical listening.

Performance
I first swapped in just the AV preamp into my system, as I like to make one change at a time. I was immediately impressed by the improvement in bass control, so when I first sat down to do some listening, I went for bass. I chose The Sheffield Drum & Track Disc (Sheffield Lab). The attack and follow-through on the drums and cymbals were simply amazing. When the bass drum kicked on the opening jam "Amuseum," it was the best I have ever heard. Having grown up with and around drummers, I am used to hearing live drums. The Krell Evolution 707 made for the most lifelike drums I ever heard from my stereo. Later, when I mated it with the Evolution 403 amplifier, it was even better. Not only could this combo do the powerful bits, it presented a totally silent background, so the dynamics were insane. You could literally go from 100-plus dB peaks to dead silence, making the resumption of playing that much more incredible. Cymbals had just that perfect shimmer to them without glare or edge.

I went back a few decades to Jimi Hendrix's Axis: Bold as Love (Experience Hendrix) and prepared to blow out any potential cobwebs in my system. I have been a huge Hendrix fan for thirty years now and this is one of my favorite albums from the master, so I was set to see how the Krell Evolution 707 did with this classic. From the start of "EXP" and the swirling effects to the deep bass lines in "Wait Until Tomorrow" and "If 6 Was 9," I was constantly amazed at how well the Evolution 707 did with bass. Not only did it give me amazing bass definition, it had a rich midrange and detailed but not harsh or edgy highs with tons of air, making even this dated recording sound phenomenal. Krell is known for having the best bass performance with an audiophile amp, but this preamp was pulling off the same feat, much to my amazement.

I cued up Ray Charles' Genius Loves Company (Monster Music), and from the smooth and subtle nature of Norah Jones' voice on "Here We Go Again" to the luscious depth of the stand-up bass on "Fever" to the a cappella version of "Unchain My Heart," all the vocals were clearly discernable. I couldn't have asked for more. Everything was accurately placed and clearly distinguishable, with huge amounts of air around the instruments giving them each their own place in the massive soundstage.

A favorite SACD of mine is Elton John's Goodbye Yellow Brick Road (Island). The keyboards that open "Funeral for a Friend" not only had air and space, but also depth and weight. The surround effects were well-balanced. Vocals were clear and crisp without being biting and the dynamics were unbelievable. The ability of the Krell Evolution 707 to go from absolute silence to massive sonic output is astounding. The subtle nature of the title track was wonderfully handled, drawing you into the music making you forget about the world around you.

Moving onto movies, I cued up the Blu-ray version of Wanted (Universal Studios Home Video). The uncompressed DTS HD Master Audio track was incredible. The surround effects and sound space were not only wide but also deep and tall, while even the subtlest details came through clearly. Gunshots rang out across the room, with the sounds perfectly following the image. Though the movie is utterly implausible and frankly dumb, the effects offered by it made for great amusement and kept me rapt throughout an otherwise lame film. Explosions could be played at realistic levels, but sounded as deep and complex at civil ones. If I wasn't reviewing this gear, I would have stopped the film and moved on, but it sounded so good, I finished the film before ejecting it. Trust me, with a pile of gear needing my editorial attention in the middle of the holiday season, this is no small compliment.

I cued up the new Batman movie The Dark Knight (Warner Home Video) and was fortunate enough to have both a Blu-ray and a standard DVD for comparison. I started off with the standard-definition DVD. The Krell Evolution did a great job portraying a large soundstage and powerful explosions, but after awhile, I switched to the Blu-ray version with its uncompressed Dolby TrueHD soundtrack and I was just floored. The uncompressed audio made the standard-definition DVD audio soundtrack, which had until now sounded very good, seem outright thin and lacking in depth. Explosions were deeper and fuller and the soundstage much wider and more open. Voices were not only clearer but also truer, and subtle details became completely evident. I switched back briefly to the standard-definition DVD and found I had missed things that were utterly apparent on the Dolby TrueHD soundtrack. I have heard these new uncompressed audio tracks before, but never on my reference rig, and they are just that much better there than in smaller systems. If you have not yet heard what these new uncompressed audio codecs can do for home theater, you are sorely missing out. The Krell Evolution 707 reproduces them better than anything I have heard to date.

I ran my Scientific Atlanta high-definition DVR by component video and HDMI to test the scaling of the Evolution 707. Like the audio sections of this preamp, the video scaling was exceptional. I know my Sony TV doesn't have the greatest internal video scaling, but I was amazed how much better the Krell's scaled output was from 480i sources than when fed directly to my TV over HDMI. Images had better edge detail and smoothness, even with fast motion. The scaling was excellent. Though not as good as with a native 1080p source, such as Blu-ray or HD DVD, it was clearly better than when handled by my TV's internal processor. If I needed another HDMI input, I would be perfectly happy to let the Evolution 707 handle my cable feed from component and let the Krell scale the lower resolutions up rather than giving the job to my Sony XBR. While using the scaler, I watched many shows, from Boston Legal to House and others that have 5.1 audio tracks. The reproduction from the Evolution 707 was impressive. Compressed audio of cable channels can be weak, but the Krell portrayed them with openness and space, making everything from background music to voices that much clearer. At this price point, you should expect to find a component that is great at everything, including bringing legacy formats to HD standards. The Krell Evolution 707 AV preamp can pull off this feat without breaking a sweat.

Low Points
Those looking for each and every one of the latest technologies and features won't appreciate the Krell Evolution 707 for what it truly is. It doesn't have XM or Sirius satellite radio inputs, nor does it have direct iPod interfacing, for that matter. The second zone is limited to stereo analog audio and component video, and there is no way (like a USB input) to directly connect it to your PC or Mac for use as a music server, but this is not what the Evolution 707 is really about. It is a statement component designed for the absolute best sound from all current and existing formats. Those interested in adding these features can do so via other components, like a satellite radio tuner or a Krell KID iPod doc, but at an additional cost above the asking price of $30,000.

The Krell Evolution 707 is the biggest physical AV preamp I am aware of and will require a large and solid shelf to support its massive size and weight. The display is functional, yet you cannot rename your inputs and the panel can't be dimmed. I really want the scaler to handle HDMI inputs as well, and the issue with the unit accepting DTS HD Master Audio and Dolby TrueHD via bitstream needs to be resolved, but all these gripes are trivial once you hear the sound of the unit. Krell reports than in Janaury 2009 there will be a gree software upgrade to the 707 that will allow HD audio formats to flow into the 707 via HDMI.

Conclusion
When striving for the best of the best, you take no prisoners and accept some compromises in features. Just like the Ferrari FXX, which lacks things like powered windows and air conditioning, the Krell Evolution 707 skips on many of the modern bells and whistles, like iPod interfacing or an Ethernet port for connecting to your computer music library. Instead, it maximizes everything else, making it perform better than any other unit available. Offering exceptional analog and movie performance, with decoding of the new uncompressed codecs (though only via LPCM in my early production model) and an exceptional video scaler for analog sources, this piece is designed for the customer who wants the absolute best in an AV and music system. Diehard audiophiles used to running a two-channel preamp with home theater pass-through can get rid of that other preamp and know they've got the best of both worlds in one box. This is without a doubt the best-sounding AV, two-channel and multi-channel preamp ever made.

My father always told me, "You get what you pay for." In the case of the Krell Evolution 707, he was without question correct. The Krell Evolution 707 simply is the best AV preamp I have ever heard to date in my home, at any trade show or anywhere else, for that matter. The Evolution 707 reveals bass extension and definition and keeps the mids and highs detailed and accurate, but never lets them become edgy, while providing plenty of separation and air around the components of music or movies. The background is as quiet as I have ever heard, making the dynamics and transients even more amazing. This piece is designed to satisfy the most demanding audiophiles in the world who want both home theater and audio from one system, and to those people, I say go listen to it, but bring your checkbook, because you won't want to leave the store without one.

Happy though Croft might be to part you from nine grand for its top model, the company shines best when the budget is tight. Remember: this is a brand which - OTL designs aside - made its mark with a pre-amplifier so cost-effective and so basic that few believed what they were hearing. The original Micro was a steal at - what? £150? And so, too, is the Chameleon integrated amplifier. I'm still not sure how they do it....

In a nutshell, the Chameleon is the company's £750 Vista power amp with the addition of four switchable line-level inputs. That's it. It's utterly minimalist, sporting what has been Croft's traditional front panel layout for some years: a rotary switch with muted positions between the source detents, flanked by left and right volume controls. (I long ago stopped arguing about the sheer, nay SADISTIC and BASTARDLY inconvenience on non-ganged, separate left-and-right volume controls. In their warped quest - under the guise of purism - for zero cross-talk or whatever else they feel separate volume controls provides, they continue this barbaric practice. And yet I don't see two mono chassis, two power supplies, two AC cables, two source selectors, etc. But they'll never give it up, so why bellyache?)

As with the Vista, it's all about minimalism and the removal of anything unnecessary. Sounds like Colin Champan and his quest for lightness when designing Lotus road and race cars. As the company puts it, 'It does not take a genius to know that unnecessary components in an amplifier circuit inhibit its performance. By eliminating these, the amplifier is free to express a kaleidoscope of sound.' They also announce, quite rightly, that another by-product of this is lower cost, so that impoverished music lovers can enjoy high-end sound for minimal outlay. If other makers and importers of affordable valve equipment question my continued support for Croft gear, when theirs may have more power or features or better looks, all I have to do is say, 'Listen to the Croft. And then send that self-immolating piece of crap of yours back to whatever third-world country you exploited in its manufacture.'

Take the lid off, and you'll marvel at the lack of PCBs and the presence of true point-to-point hard-wiring...something familiar only to those who either remember or still use gear from the classic era, or who build minimalist kits. Inside the 442x355x105mm (WDH) chassis are four ECL805 valves, 17 resistors, four coupling capacitors and proprietary, Croft-designed output transformers: truly simplified circuitry, with fixed bias operation.

Neither the Chameleon's innards nor its normal-phono-socket-and-binding-posts back panel is the place to hunt for trendy 'designer' names; Croft's magical skill has always been the ability to coax incomprehensibly fine performance from mundane parts. And you'd replace the components with costlier stuff - however easy and tempting that may be - at your peril. In this respect, Glenn Croft is like one of those tinkerers who'd turn up at motor races at Brooklands in the pre-WWII years with a 'special' made in his back garden, who'd then beat the pants off of factory-backed teams.

Supplied specs are as minimalist as the gear itself: input sensitivity of 0.5 mV, input impedance of 470k ohms and - most misleading of all - power output of 15W/ch. Fed with signals from the Sony XA333ES SACD player or the Marantz CD12/DA12 CD player, the Chameleon was connected to the obvious choice for such seemingly limited power: a pair of small Loth-X Ion Amaze two-ways known for their lack of hunger. As expected, all was well. But just out of curiosity, since they were there for the using, I set it up with B&W's much needier DM602 S3. And blow me down: the Croft was powerful enough to stretch my listening level tolerances with the controls at the half-way mark. So, clearly, 15 Croft watts aren't the same as, say, 15 SET watts. (Can you even get 15W out of an SET???)

Aide from an easily-curable hum from the cabinet - a VPI brick took care of that - no tweaking was required. Wires were Nirvana for the interconnects and Kimber Select for the speakers, and the unit sat directly on a GM Accessori table with no extras. (A brief session with the Relaxa 1 magnetic suspension table yielded a slight but audible improvement in focus.) Warm-up to optimum levels of performance was a mere 15 minutes. In effect, the Chameleon was as painless a component to set up and use as any integrated amp from a multinational giant.

Even so, you really do need to adopt a 1980s mind-set to 'bond' with the Croft: forget custom install and remote this'n'that and classy styling and everything else which has come along to lift purist audio out of the hair-shirt mire of the Flat Earth era. The Croft is unapologetically aimed at the sort of listener for whom multi-channel never existed and never will. Despite the ease of set-up, which is due as much to minimalism as it is to good design, the Chameleon has a way of letting you think that you're some hardy audiophile accustomed to sinking massive copper plates in the garden for earthing, or for moving your turntable stand onto a two-meter-thick concrete base. You can lie to yourself and think that you're a noble masochist, just be repeating; two volume controls, two volume controls, two volume controls...

Then you switch it on and wonder how something can be so-o-o musical yet so inexpensive.

Two things mark the Chameleon, two characteristics which make it so satisfying and - coincidentally and gratifyingly - are so in line with my personal preferences. The two areas which matter the most to me, above ludicrously pronounced bass or hyper-transparency, are a natural midband and a seamless (and therefore wide-open) soundstage. This pair of qualities seem to me to do more to make a system's performance 'convincing' than the rather 'hi-fi-ish' attributes of bass extension or transient attack.

It took only the briefest burst of the SACD of Alison Krauss' 'Now That I've Found You' to hear that the Croft can do 'sweet' and clear with the grace of a 300B-driven amp, without exhibiting any traces of saccharine or fat. If the foodiness of that sentence bugs you, think of the Croft as natural fruit sugars while SETs can veer toward the teeth-rotting. It's warm, it's lush, it embraces you, but it's never smothering or schmaltzy. There's plenty of air accompanied by a compelling sense of space; you'll find even greater pleasure in well-recorded live albums, where the engineer understood the need to capture the venue. Check out the Corrs Live In Dublin or, if you prefer something of an earlier vintage, Poco's Deliverin'. It's almost enough to let you continue believing that two channels really are enough.

Within the soundstage, the Croft has the ability to portray convincing performers, each with his or her space and with satisfyingly lifelike height and mass. The ever-dependable Persuasions demonstrated this to good effect, especially in the way their voices blended while remaining distinct. This quality also allows the listener to home in on specific instruments, regardless of the number in the ensemble, such that the 'duelling' guitars in the Allman Brothers' earliest works and or the elements of the often-overwhelming wall of sound that is Wheatus' 'Teenage Dirtbag' can be savoured in isolation with even less work than it takes to focus on one of those '3D' optical illusions.

Just as computers find their own 'killer ap', so do hi-fi systems come alive with some musical touchstone. The track which smacked me upside the head, the single song which delivered even more of itself though I'd heard it a thousand times, was Squeeze's masterpiece, 'Tempted', which I was listening to again thanks to the new 2CD 'best of'. It's not even an overcrowded work, yet I swear the Croft unveiled minuscule details almost as a matter of fact rather than through artificial highlighting. And still it was more of a natural whole, less of a an-assembled-in-the-studio creation. Which is probably a roundabout way of saying that it sounded less like the mastertape and more like music. For some, that is heresy. For ye of limited funds, it's an invitation to the high end without the need of a second mortgage.

If you can afford a gilded lily, Croft will sell you a tweaked and tarted-up version with a luscious 12mm 'Baux' front panel, a stainless steel lid, paper-in-oil capacitors and other refinements for a still sane £1425. On the other hand, the beauty under review is yours for a positively embarrassing £875. And that's outrageously good value for an all-tube amp with the Croft pedigree. But the Croft doesn't have it all its own way.

Its main rival has to be Unison Research's astonishing Unico valve-hybrid integrated amplifier, which offers far more real power, better build quality, looks which won't have you grovelling for apologies and - for sofa-bound tubers - remote control. The Unison is the unit I'd recommend to ANYONE after an integrated for under a grand; it's a no-brainer choice. But if you're the sort who'd buy a Morgan instead of a Porsche just to be ornery, drink absinthe instead of scotch, holiday in Turkey rather than Spain, then the Croft is just that little bit more 'different'. Whatever way you cut it, the Chameleon is high-end sound with a mid-fi sticker. And you'll suffer absolutely no guilt about selling out to convenience.

Should reviewers distinguish between the wares of giant manufacturers and the cottage industry? I say, 'No'. After all, no handicaps are applied in favour of, say, tiny TVR when car magazines place one in a shoot-out against the Fiat-owned Ferrari or Ford-owned Aston-Martin. David v. Goliath: it's merely a fact of life. (And remember: Senegal kicked France's ass...)

So keep in mind that B&W is one of the world's five largest speaker makers when you read this review, because the DM 602 Series 3 is one of those products which delivers so much back for the buck that it's almost freakish. Understanding B&W's size and the breadth of its resources goes a long way to explain how they can cram so much advanced technology into the '602, a speaker selling for only £299 per pair. And why you'd probably never find this much cutting-edge know-how in similarly-priced speakers from the small if valiant cottage industry makers. Unfair? In some ways, yes. But the bottom line is that this is still a two-speaker with a £299 price tag, yet what it offers will terrify smaller players:

A light oak finish which looks like something you'd find on a £1000 speaker. Construction which cannot be faulted, including a front baffle whose tooling probably cost what some companies would consider a decent monthly turnover. A Nautilus tweeter with its tapered rear tube, derived from those found in B&W's five-figure systems; it's been modified for Series 3 with a stiffened voice coil and bobbin to raise the -6dbB cut-off all the way up to 42kHz, 'in order to take full advantage of...SACD and DVD-A.' A 7in woven Kevlar woofer, mounted on a newly-designed chassis. Redesigned connectors. The company's trademark flared and dimpled 'Flowport', which linearises airflow and removes harshness from bass notes. A cutaway wooden sub-baffle, to reduces 'tunnel effects' behind the cone drive units. Sspeciall-arranged absorbent wadding to reduce the level of internal resonance that might emerge from the port as midband coloration. As B&W spokesperson Danny Haikin put it, 'It's evolved so much beyond its predecessor that it's like a completely new model.'

All of these details combine with its large-for-the-price-point/category enclosure (19.3x9.3x11.5in HWD) to present huge perceived value. It's the kind of budget purchase for which apologies need not be made when a bunch of audiophiles have a pissing contest. If you didn't know it sold for so little you'd guess 'close to four figures' at the very least. But the price shouldn't fool you into thinking it's an easy, beginner's-system load...however much B&W would love to see these leave the stores with budget Rotel integrated amps. Despite an 8 ohm rating with a safe 4.3 ohm minimum and sensitivity of 90dB/1W, the speaker will not be happy with amplifiers nearer to the lower end of the recommended 25-120W rating.

I know, I know: we've been here before, and you've argued that, naturally, budget speakers sound great when driven by costly high-end amplifiers. Well, I'm sorry: the new '602 has two strikes against it when it comes to matching the speaker with like-priced amps: it's hungrier than the specs suggest, and it's way too refined and transparent to sound of its best with the sort of intrinsically-compromised integrateds which retailers would mate with £300 speakers. Its 25mm alloy dome tweeter will screech like a harpy if your amp has edgy treble or non-euphonic clipping. The bass is deep and well-extended - B&W states 52Hz-20kHz +/-3dB frequency response - but it can veer toward the sloppy if your amp lacks vice-like control down below; you'll soon learn why B&W supplied user-installed foam plugs for damping the ports.

Other details quickly need addressing once the box is opened: The speaker sounds best bi-wired - much cleaner and better controlled. It is so open-sounding and detailed that it will show up cheap and cheerful cables, and so refined that it won't embarrass Transparent Ultra. You will prefer it sans grilles, even if that expensive, Airfix-kit-grey baffle is so tackily styled. (And I thought the Wharfedale Diamond 8.1 looked cheesy...) You WILL hear what stands can do, and any absence of spikes will do a disservice to the '602. Pay attention to all of the usual tweaks, though, and you will be rewarded with such exceptional performance that you'll hug your retailer.

While vocals were sweet and lifelike regardless of source or amplification, even those crystal-clear warbles from Alison Krauss, I kept returning to high-powered valve equipment which best matched the harder-to-address frequency extremes. So finely tuned is the tweeter that it betrays any hint of nastiness. But it warms to valves, and both the McIntosh 2120 (expensive) and the Radford STA15 (affordable but rare) caressed the upper frequencies. The bass? The big Mc had enough control to keep the '602 in line, while the Radford seemed soft. So my advice is to match this to an amplifier - whatever its active devices - with tube-like treble but transistor-like bass.

For all of its precision throughout the frequency band and its susceptibility to careless system matching and tuning, actual position was not too critical. The speaker was unbelievably free of a hot seat and delivered a huge soundstage - wide AND deep - regardless of the amount of toe-in. Yes, you can move it in minuscule increments to optimise it, but the '602 is one of those speakers which delivers 99 percent of its performance even when roughly sited.

B&W speakers have always struck me as admirable but not lovable, proficient rather than breathtaking. The '602 sounds like fire-breathing audiophiles have infiltrated Steyning. The revolution starts here.

And I thought Subway selling foot-long hoagies for five dollars was impressive but news has leaked that Wal-mart is selling some older catalog Blu-ray titles for as little as $10.

Some of these titles include "First Blood", the home theater demo classic "Terminator 2", "Stargate", the first film in the "Saw" series and "Total Recall".

These back catalog titles are all generally successful films that recouped their production costs (or came close as the studios like to say) long ago. Selling the films for $10 on Blu-ray actually represents a way to create a new revenue stream for the studios and producers with consumers in addition to downloads, DVD-video sales and television broadcasts - all of which can pay residuals years if not decades after a film hits theaters.

The idea of truly affordable back catalog Blu-ray titles actually helps fights piracy as the movie at $10 in High Definition on Blu-ray is, in the eyes of the consumer, actually worth the asking price and more importantly not worth stealing. $10 Blu-ray back catalog titles also help to get consumers off the fence with adopting what is likely the last disc-based movie format. While DVD-Video has been a cash cow and has 91 percent household market penetration - Blu-ray is gaining ground with upwards of 15 percent just one year after the "Blu-Friday" battle in the HD disc format war. $10 Blu-ray software titles and under $200 players only help gain more marketshare for the format thus more places for studios to sell their long-ago paid for back catalog titles.

Just when you were thinking, "When will the music industry get it through their thick skulls that the compact disc is a dead audio format?" come new numbers from Nielsen that show that the CD is even more dead than we originally thought.

According to Nielsen, compact disc sales were down another 14 percent in 2008 to 428 million units, from just over 500 million discs in 2007. Overall album sales, which include downloads with discs, were down another eight percent in 2008. Digital download sales were up 32 percent, from 50 million units to 68 million units. Even LPs (vinyl) saw their sales increase to nearly two million units in 2008.

Digital downloads are popular with the Generation Y cell phone generation, but with the four major labels pushing a low-resolution, 25-year-old compact disc audio format as their high-line product, consumers have no reason to buy new music on CD or even re-buy highly profitable back-catalogue discs on a new format, such as the HDCP copy-protected, $200 a player Blu-ray format. Note that Blu-ray title The Dark Knight sold more high-priced HD video and audio discs in its first two weeks than the entire music business sold in vinyl in 2008, and vinyl sales were up drastically.

It's time that the majors remaster their back catalogue titles into 24 bit - 192 kHz HD audio in stereo, or even surround sound, and start selling their classic records and meaningful titles in HD. The compact disc is ten years past its death and the only people who don't understand it are the pony-tailed 60-year-old ex-hippies at the four majors. When the digital pipeline is wide enough, these HD files will sell just fine (and likely at a premium) via iTunes.

Want proof consumers in the middle of an economic meltdown will spend their money on high-definition content? Look at Netflix, where 500,000 people spend an extra $1 to rent a movie on Blu-ray so it comes in 1080p for their HDTVs. Audio enthusiasts bought nearly 2,000,000 vinyl records when there is hardly an independent record store to be found, even in the largest cities. Blu-ray titles that cost far more than any of today's CDs sell "platinum" levels in a week when a top-selling record these days is lucky to go "gold."

Consumers want HD audio just as much as they want HD video. Hollywood movie studios have figured this concept out and are making bank on it, as Blu-ray is one of the bright spots in the holiday shopping season, with its 1080p video and high-resolution Dolby True HD and/or DTS Master Audio HD soundtracks. Basically, Hollywood studios are giving consumers the best in high-definition audio on blockbuster titles like Iron Man, The Dark Knight and Wall-E, because consumers have reinvested in new players and accepted copy protection as part of the deal, yet the pony-tailed 60-year-olds at the four majors are trying to make a living by selling standard-definition compact discs and CD downloads to people's iPods. In tough times, consumers want more for their entertainment dollar and, for another year, the four majors are failing to realize this, while the video game and movie studios rake it in on disc sales.

Recently, TG Sambo introduced their latest all-in-one PC, called LLUON B2. Looking like a standalone television or monitor, this new PC comes sporting a 26-inch widescreen display. It features a 2.66GHz Intel Core 2 Quad Q9400 processor and a 320 GB hard drive.

The new LLUON B2 all-in-one PC features a dedicated NVIDIA GeForce 9300M GS 256 MB Graphics. There is a built-in webcam along with a memory card reader that makes this PC exceptional. Apart from these, there is a whole clutch of USB 2.0 ports. This PC supports Windows Vista Home Premium. TG Sambo LLUON B2 is available in Korean market at an unconfirmed price.

Pioneer's SC-07 is the second son in the firm's new A/V receiver lineup. As such, it omits the flashy front-panel LCD video display of the flagship SC-09 but retains many of that model's more notable features for a much lower price.

Among these are a full alphabet soup of surround modes and enhancements, both XM and Sirius satellite radio, and Pioneer's own Multi-Channel Acoustic Calibration System (MCACC) auto-setup/EQ processing. An arguably more important item is the SC-07's highly efficient 7-channel ICEpower amplifier. This sophisticated variant of Class D topology eliminates most of the bulk, waste heat, and weight — not to mention the increasingly costly copper — of conventional amplifying circuits.

Check out the architectural grace of the arcing top and bottom panels. Peer closer and you'll notice a subtle cerulean sparkle rising from the projector's gloss finish.

Projectors also offer more to excite the left cerebral hemisphere. Only recently, most models struggled to deliver adequate contrast and to deal with the high resolution of HDTV. Now some of the latest models exceed the needs of the average buyer as flamboyantly as a Ferrari does.

Sony's industrial-design team even threw in a gratuitous "wow" feature: an automatic two-piece lens cover that slides open when you power up the projector and closes when you cut the juice. But in a shocking design oversight, Sony didn't consider the sound of the door; it emits only a plasticky clunk.

The VPL-VW70 uses three of Sony's SXRD (Silicon X-tal Reflective Display) chips, so it doesn't suffer the color fringing you can see in single-chip DLP projectors. And it offers a complete complement of inputs.

One neat feature, unusual at this price point, is compatibility with anamorphic 2.35:1 motorized lenses. Lots of projectors have the internal image processing necessary to work with these lenses, which let you fill an extra-wide screen for a CinemaScope effect. The VPL-VW70 adds a trigger output for a motorized lens sled, so the lens moves into place automatically when the anamorphic zoom mode is activated. Sony doesn't sell such a lens, but the lens/sled combo is available from such companies as Panamorph starting at around $3,000.

The VPL-VW70 offers more adjustments and tweaks than Ferrari's F1 cars. All the must-have stuff like gain and bias adjustment for red, green, and blue is there. But you also get exotic goodies, like manual iris adjustment (which lets you stop down the projector's light output to improve contrast). It also has Sony's Real Color Processing (RCP), which lets you fine-tune the saturation and hue of the three primary and three secondary colors to a degree I haven't seen before.

The remote control is an installer's dream. It has so many dedicated buttons — even for such functions as sharpness and gamma — that the menu system seems almost superfluous. Because of these dedicated buttons, any adjustment takes only seconds. Controls behind a door on the side offer full access to the on-screen menus.

Ever thought of using a handbag with a television? If yes, then you can actually grab one, as Bagtv range has arrived in the market. Featuring an integrated 7" DVD/ MP3 player along with a digital photo viewer, this television handbag range is truly an innovation.

Bagtv provides a battery life of 2.5 hours. It lets you connect to your PC for an easy uploading of pictures and videos. You can also plug in your SD card for sharing images on this Bagtv. This bag series is available in a variety of colors and finishes to ensure your style is not hampered while carrying an entertainment handbag.

Via: BagTv

Researchers in the OLED business have been working their brains off to get a better, more efficient blue OLED material. And it looks like all that researching and working has proved to be right. Blue OLED has reached an efficiency record in the hands of a few guys over at the University of Florida. What they did is to achieve "a new record in efficiency of blue organic light-emitting diodes, and because blue is essential to white light, the advance helps overcome a hurdle to lighting that is much more efficient than compact fluorescents." They managed to squeeze 50 lumens per Watt which is 50% of their final goal. Will it arrive at CES?

via physorg

Undoubtedly we've seen this year greener and greener technologies for various of our gadgets. Alternative energy is also a big issue with gadgets manufacturers. The remote control in the picture doesn't need any batteries to make it work. The Shake Control is a concept TV remote that works simply by shaking it. Just move it in different directions to change the channels or the volume. The remote has a visible arrow-shaped magnet and coils of wire inside. All those components will generate 20-30mA current when the device is shaken. Then the gravity sensor measures the direction of the shake and delivers the corresponding result. The remote is definitely interesting, but I'll get tired soon as I am going through channels over and over to find something worthy of watching.

via The Design Blog

Want HD video quality to come wirelessly to you but don't afford it? Then you should get that new HDMI cable from Flatwire. It's not big, it's gianormous. The longest one is "just" 20 feet long. It will bring you that HDMI no matter where you sit in your house. The price will match the length although there's no confirmation of it. It's said that a 20 feet cable will cost you about $140. What are you going to do with all that cable? Pack it nicely under the floor, inside the wall, around your Christmas tree! You chose! Cheaper than going for wireless HD right?

via boing boing

JVC packed the LT-47X899 with all the technological wrinkles it could assemble. Its image processors upsample today's 8-bit sources to 12 bits (although the LCD panel itself is limited to 10 bits). It can also handle Deep Color (if and when we get Deep Color program material). It also does x.v.Color, although this format is currently limited to the few HD camcorders that can record it. In addition to the usual inputs (including three HDMI 1.3 and two component), the set also includes a USB Photo Viewer. You can use this to show your friends the JPEG photos you took last summer.

JVC provides five selectable Video Status modes in the Picture Adjust menu. (Video Status is JVC's name for its preset, user-adjustable picture modes.) You can adjust the basic video controls separately for each Video Status mode, but not for all of the advanced adjustments. In turn, you can set each mode differently for SD (480i/p) and HD (720p, 1080i/p) sources. However, you can't configure a given Video Status mode differently for each input.

If you're ready to take your entertainment center to the next level, the Berkline 13175 Home Theater Lounger can get you there. Here is contemporary luxury that's at home in any forward-thinking home theater. The plush, three-section seat backs provide luxurious support, and boxed seat cushions assure excellent comfort and durability. Each padded arm has a cup holder that's generously sized to hold most cans, bottles and drink cups.

The PowerRecline feature lets you effortlessly recline to your favorite position, and the space-saving Wallaway design lets you fully recline within inches of the wall for greater decorating flexibility. Upholstered in black top-grain leather, this lounger comes in a 1-, 2-, 3-, or 4-seat model, so your whole family can enjoy the comfort.