Author:admin

Creating a Luxury Entertainment System: The Basics

Now that we’ve roughly established what a luxury experience is, it’s time to start talking about the minimum components required to create an entertainment system. In my experience working with thousands of clients over a 20-year career as a custom installer, I’ve found that the vast majority of people starting out don’t really have an idea what is required to create a surround system.

 

And whether you’re spending $5,000, $50,000, or $500,000, there are some essential components that are needed to create a luxury entertainment experience in your home—namely, a display, speakers, an audio processor and amplification, source components, a control system, and installation. Highly recommended would also be some comfortable seating, lighting control, and room treatments to tame the audio “beasties” that live in all but the most bespoke entertainment spaces. Here are brief descriptions of each essential ingredient—future posts will dive into greater detail.

 

Display

Frequently the most visible portion of an entertainment system, the display—whether a flat-panel TV or a projection screen—needs to be big enough to provide a cinematic viewing experience while not being so big that it overwhelms the room or 

makes viewers sitting close feel like they’re watching a tennis match. While not set in stone, for the purposes of Cineluxe, the minimum screen size should be around 75”.

 

Speakers

With few and rare exceptions, the speakers built into modern TVs are garbage and should never be considered adequate for providing decent sound, let alone a luxury experience. At a minimum, a surround system requires a 5.1-channel speaker configuration. This includes three front speakers near the display—left, center, right; two surround speakers often at the side of or behind the listening position; and a subwoofer (the .1), which handles the LFE (Low Frequency Effects) channel (that is, bass information like explosions and dinosaur foot stomps). As you get into larger rooms—and more advanced systems—the speaker count can go far above 5.1 to well over 30, with multiple subwoofers.

Audio Processor & Amplification

Surround sound audio is typically delivered in a digital format called a bitstream, which is made up of the 0s and 1s necessary to deliver an immersive audio experience. But you need a component that can decode all of this information and route it to the correct speaker. The most common surround formats are from Dolby and DTS, and they come in multiple formats such as Dolby TrueHD, Dolby Atmos, DTS-HD, and DTS:X. Once the signal has been decoded, it needs to be amplified before being sent to the speakers. Many systems combine these functions into one device called an AVR, or audio/video receiver. But many luxury systems use separate, specialized components for these tasks, to improve performance.

Trinnov Altitude 32 audio processor

Source Components

These provide the content you’re watching and/or listening to. Typical source components include a cable or satellite set-top box, a Blu-ray Disc player, a video game console, and a network streamer. To be considered luxury, a system needs to contain at least one 4K HDR-capable component, such as an UltraHD Blu-ray player, Kaleidescape Strato, Xbox One X, or AppleTV 4K.

 

Control System

By the time you combine all of the components required to create an entertainment system, you’ll have amassed a pile of remote controls. No system—but least of all one striving for luxury performance—should require multiple remotes to operate, so a single control system should be employed that can operate the majority of tasks with one, simple button press . . . or even a voice command.

 

Installation

In the hands of an untrained cook, even the most fantastic ingredients can result in an unappetizing or substandard dish. Similarly, no matter how great each of the individual pieces are, the entire entertainment system needs to be installed, integrated, and configured correctly to deliver its maximum performance. For most people, this requires hiring a professional installer whose job it is to tie everything together correctly.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Who We Are

Editorial: Who We Are

If some of this site seems familiar, that’s because Cineluxe began life as the Rayva Roundtable. After a seven-month hiatus, we’re back, having retained the most relevant of the Roundtable’s content.

 

So, why Cineluxe? Because we are all poised on the cusp of vast and tremendous changes in how we experience not just movies but pretty much every form of entertainment, and there isn’t any other website devoted to documenting, describing, analyzing, and debating all of that.

 

Most of the change is happening in the middle to the high end of the market. And the biggest changes—which will influence the rest of the market soon enough—are happening in the luxury segment. So that’s why we’re focusing on what we call luxury home entertainment—a not entirely accurate, or graceful, phrase, but it will do for now.

 

Any resemblance this tsunami bears to the man cave days will be mainly superficial. Because maybe the biggest irony of this new wave is that it’s not tech leading the way this time but lifestyle, with the tech scrambling to find ways to serve the needs of an affluent demographic that wants instant, effortless access to all the best entertainment, in every form, reproduced in the best possible quality, and seamlessly integrated into their everyday lives.

 

Another irony is that a large swath of the population can now have a reference-quality movie-watching experience at home. Movie theaters used to represent the standard, but not anymore. And filmmakers are beginning to realize that the experience that’s truest to their intentions is increasingly happening in homes, not at the local theater.

 

But those two things are just the beginning of the very long list of radical innovations that are already taking home entertainment someplace completely new. Cineluxe exists to help you make sense of it all—in a straightforward, jargon-free way, driven not by tech but interest and enthusiasm—so you can find the best way to have the ultimate entertainment experience at home.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Luxury Defined–Take 2

Luxury Defined--Take 2

Following up on Dennis Burger’s “What is Luxury Home Entertainment?” and my own “Luxury Defined,” I feel that a site calling itself Cineluxe needs to be able to pin down not just what luxury is in general but exactly what it means for a home entertainment space. Does it mean a private IMAX screening room with a 20-foot-wide screen, seating for 30, and a price tag north of $1 million? Definitely. Is it a big-screen TV with a well-designed and integrated surround system that puts you in the middle of your favorite film or concert? Most likely. Is it slapping a soundbar beneath a flat-screen TV and streaming Netflix? Probably not.

 

The dictionary actually lays out a pretty broad definition of luxury: “a condition of abundance or great ease and comfort, or something adding to pleasure or comfort but not absolutely necessary; an indulgence in something that provides pleasure, satisfaction, or ease.”

 

So, when we’re talking about luxury as it pertains to the entertainment space, we need to first clarify what is “absolutely necessary,” and then anything beyond that would be luxurious. Well, potentially.

 

For an entertainment system, there are some barebones components that are “absolutely necessary” in order to have a functioning system: A display, sound system, and source components. In theory, this could all be rolled up into a modern smart TV, which provides the display/picture, the sound (albeit via abysmal internal speakers), and the source via built-in streaming. I dare say, no one would come over for a Netflix-and-chill and consider a solitary flat-panel TV on the wall as “luxury” in any sense.

 

A basic upgrade from the bare minimum would be transitioning to a larger screen, an improved sound system, and higher-quality sources. This could be the typical bedroom 55”-and-up screen with a soundbar and wireless subwoofer, and maybe a Blu-ray player or UltraHD streaming capabilities. A definite step up from the minimum of “absolutely necessary,” but still a real stretch to call it “luxurious,” even if you watch while ensconced in 1,000 thread-count sheets, wearing a cashmere robe, and sipping Cristal from Baccarat flutes.

 

To get into the realm of true “luxury entertainment,” we need to push the performance boundaries well beyond just what is necessary and start considering things like room integration and functionality. While not a hard-and-fast definition, it wouldn’t be unreasonable to say that at a minimum a luxury entertainment system would feature a 75” or larger TV or projection system, a multichannel surround sound speaker system with Dolby Atmos, and 4K HDR sources capable of delivering the best picture and sound quality. Additionally, a luxury experience would feature a well-designed control system to simplify operation, acoustical treatments to improve sound quality, comfortable seating, and lighting/shading control.

 

Luxury tends to have a nebulous definition as it is a bit of a moving target based on one’s finances at a given time in their life. For example, while I was in high school, eating out with friends at a place that required leaving a tip was a luxury. Today, it’s a luxury when my wife and I have a dinner bill that crests $200. My first “luxury” home entertainment purchase was a 15” Definitive Technology subwoofer that cost $700; today my system includes two subwoofers that sell for $2,000 apiece.

 

While you can’t put a dollar amount that defines a luxury experience, it’s safe to say that it does come at a price. Granted, a price that is many thousands less today than it was when I started in this industry 20 years ago.

 

When you have made a commitment to wanting something that is not truly one of life’s necessities—in this case, an entertainment system—luxury means aspiring towards achieving the best experience possible within your means. To paraphrase Supreme Court Justice Potter Stewart, “I shall not today attempt further to define what is luxury. But you’ll usually know it when you see it.”

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Explaining the “Luxe” in “Cineluxe”

Explaining the "Luxe" in "Cineluxe"

I hope this doesn’t sound like too lofty a pronouncement, but the whole landscape of home entertainment is going to change completely over the next two to three years. And most of the ferment feeding that vast wave is currently happening in the high-end part of the market that Cineluxe embraces.

 

Early on in “What is Luxury Home Entertainment?” Dennis Burger writes: “[Y]ou can now achieve a level of cinematic performance with a few thousand dollars’ worth of gear that would have been unimaginable at any price just a few years ago.”

 

If you had to narrow it to one thing, that’s what this site is all about. To put it another way, a good chunk of the population, for a relatively small investment and with relative ease, can now have an entertainment system that rivals or outperforms what they can experience at their local movie theater. And that changes everything.

 

Given that, how does luxury enter into the equation? Well, if you don’t narrow it down, that’s also what this site is all about.

 

Luxury, more than anything else, is getting things as right as humanly possible. And, while money can be a factor in that, it’s not the most important one. It’s taste.

 

Most things can never qualify as luxurious because nobody ever cared enough to get them right. Almost everything we encounter is in some fundamental way slipshod; and even when people aspire, they usually settle for good enough. Cineluxe is about pushing past all of that to the ultimate.

 

But the tech is only a means to that end—ditto for the space, and whatever is done to that space to make it suitable for enjoying entertainment. Every luxury home entertainment system is a unique creation, and achieving the goal of making both the tech and room disappear so you can become lost in the entertainment takes both a strong human impulse and a discerning eye. And that’s where taste comes into it.

 

Not the integrator’s or the designer’s, but the owner’s—more pertinently, owners’—taste.

 

To have a truly luxurious space—one that not only achieves ultimate performance but deftly addresses the needs of every member of the household—you need the input of everyone who will be using that room. (Which shows how far we’ve come from the days of the man cave.) And some member of the household needs to be responsible for defining the goals and ensuring they’re achieved.

 

And that’s kind of why we’re here—to bring people up to speed on what luxury home entertainment is and give them a way of guiding the process without ever getting mired in the jargon or the tech.

 

Most of the time, almost all the actual work will be done by the designer and integrator, of course. But the homeowner’s vision—which is just another form of taste—has to lead the way. The landscape is strewn with more than enough evidence to prove that money can’t buy taste, so it’s just as important to find the right people to help collaborate on a system as it is to find the right room or gear. We’ll try to help with that too.

 

Crafting an ultimate entertainment space shouldn’t have to be a chore—it should be a creative act, a unique expression of the interests and enthusiasm, and even passions, of everyone in the household. It can be complicated, but it doesn’t have to be—and we’ll do what we can to make the act of creating a system and a space as enjoyable as actually using it.

 

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Incredibles 2

Incredibles 2 review

Incredibles 2 shouldn’t work. At least not as well as it does. It’s been 14 years since the original film, after all, and the world—our world, the real one without superheroes—has changed. A lot. Socially. Politically. Cinematically. So, to pick up this sequel right after the end of the original film seems a myopic decision. One can’t help but wonder—as the film opens on the familiar closing scenes of its forebear—if Incredibles 2 will ever rise above the level of nostalgic romp.

 

Thankfully those apprehensions are unfounded. Perhaps it’s due to the retro-futuristic tone, style, and aesthetic of the Incredibles universe, but somehow the film manages to catch up with a decade-and-a-half worth of sociopolitical progress and regression while also managing to feel like a fluid and organic extension of the original. And it does so while somehow managing to be less preachy and more nuanced.

 

Another reason Incredibles 2 feels like something of a risky move is the fact that it has the courage to be a lot of films at once. It’s an unabashed superhero flick, sure. It’s also a girl-power anthem and a slapstick masterpiece rolled up into one, with a side-helping of commentary on all forms of media (new, social, and mainstream). There’s teenage romance. There’s thrilling action. There are poop jokes and technological warnings that are about as subtle as a 1958 Pontiac Parisienne. There’s also an epic (and epically hilarious) battle between a trash panda and an infant, for goodness’ sake. But somehow this mélange of themes and tones and styles coalesces into something that works wonderfully and cohesively.

 

If there’s one criticism to be leveled at the film, it’s that from 30,000 feet its main plot is sort of just a gender-inversion of the original film’s main storyline. In many ways that works to its advantage, though. It gives the longtime fan something to latch onto—a sense of comforting familiarity that in many ways makes this film’s narrative and thematic departures hit home with a little more oomph.

 

More than anything, though, the themes of Incredibles 2 build on those of the original in a seemingly seamless way. Whereas the first film dealt largely with issues of individuality, the sequel in many ways wraps its arms around the internal struggle between defining ourselves as individuals and accepting that who we are as people is often a function of who we are to the other people in our lives, especially when viewed through the lens of the family.

 

That isn’t really any sort of insightful observation on my part, mind you. It mainly comes from the film’s exceptional collection of bonus features. If you saw Incredibles 2 in cinemas and thought you were done with it, you owe it to yourself to explore the shockingly revelatory and honest supplemental material included with the film. If you’re on Kaleidescape, that means downloading the Blu-ray-quality version of the film as well as the 4K HDR, since the extras are limited to the former.

 

It’s well worth downloading both, though. The Kaleidescape HDR version of the film sets itself apart from the other home video releases thanks to unique color grading that focuses less on the absolute blacks and eye-reactive highlights and more on subtlety and richness of shadows that simply look more cinematic to my eyes. Kaleidescape’s TrueHD Atmos soundtrack (otherwise found only on the film’s UHD Blu-ray release) also has a leg up on the Dolby Digital+ soundtrack found on streaming versions of the film. Not necessarily in the booming bass of big action sequences (of which there are many, with oodles of sonic impact, something Disney hasn’t always gotten right as of late), but more in the subtle details that deliver ambience and atmospherics. And above all else, Incredibles 2 is nothing if not atmospheric.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Ant-Man and the Wasp

Ant-Man and the Wasp review

The Disney/Marvel team really has the formula dialed in when it comes to creating successful and enjoyable superhero movies. Through a deft mix of writing, casting, humor, big action pieces, and a 10-year storyline that both lives on its own and weaves between all films in the Marvel Cinematic Universe, the Marvel films are entertaining and re-watchable, making them fantastic for viewing at home. And while many carry a PG-13 rating, as does Ant-Man and the Wasp, they are very family friendly in nature.

 

While technically a sequel to 2015’s Ant-Man, don’t worry that you’ll be lost if you are diving in here. The opening scene lays the groundwork for the primary plot of this film: Years ago, the original Wasp (Michelle Pfeiffer) went sub-atomic to disable a missile, and she was thought to be lost forever to the Quantum Realm. Now her husband, Dr. Hank Pym (Michael Douglas), and daughter, Hope Van Dyne (Evangeline Lilly) think there is a way to bring her back. Of course, doing so requires dealing with some shady characters to obtain illegal, black-market tech, causing mayhem to ensue.

 

The film’s big hook is that Dr. Pym’s tech can shrink—and grow—a variety of objects, adding another layer to fight and chase scenes. These Honey, I Shrunk the Kids moments work very well, both visually and for moving the story forward, as well as providing some comedic moments.

 

Paul Rudd—the titular Ant-Man/Scott Lang—carries most of the film, balancing his roles as superhero and father while under house arrest for events that happened in Captain America: Civil War. (This is all explained early on by FBI agent Jimmy Woo, played with great comedic effect by Randall Park.) Rudd is just incredibly likable and easy to watch, similar—but far less foul-mouthed—to Ryan Reynold’s Deadpool, with an ability to organically inject humor into scenes without making it feel forced. Lilly is also fantastic as the Wasp, demonstrating she’s picked up some fierce fighting skills since leaving the island. (That’s a Lost reference, for those who missed it.)

 

The movie was filmed on a variety of Red and Arri cameras at resolutions ranging from 3.4K to 8K, while the home release comes from a 2K Digital Intermediate. This means that it doesn’t mine every bit of resolution possible, but still looks pretty terrific. A great example is the early scene where Jimmy Woo explains why Lang is under house arrest. He’s wearing a shirt with incredibly fine pinstripes that are almost a 1:1 4K resolution test. Other scenes reveal the pebbled texture and detail in Ant-Man and Wasp’s uniforms. The film’s color palette is mostly muted and natural, with a more restrained HDR pass. But the image still pops when it needs to—for example when heading into the Quantum Realm, or the computer screens in Dr. Pym’s lab. Black levels are also deep and noise free, with lots of shadow detail.

 

There has been quite a bit of angst over recent Disney/Marvel home releases with their sub-standard, heavily compressed audio mixes. In fact, a petition was started to get Disney to change the audio quality in future releases, currently with over 1,000 supporters. I’m happy to say that the Dolby Atmos audio quality on Ant-Man and the Wasp is far improved over recent D/M fare. Dialogue is clear and understandable throughout, but more importantly to luxury home cinema owners, the sound mix is far more dynamic, with the overhead speakers used wisely and frequently throughout. This height layer is used for creating ambience and space in the scene, as well as creating directional cues—for example, The Wasp and other insects zipping around the room. If I had one complaint about the audio mix, it would be that they were a little light-handed in the deep bass department, with moments—such as during a big chase and fight scene near the end—that would have benefitted from some extra dBs in the LFE channel.

 

Two scenes that really show off the strength of the audio mix are “Lost in the Quantum Realm” at just over 11 minutes in, as well as Lang’s first visit to Dr. Pym’s lab at the 16 minute mark. “Lost” has audio that swirls and shifts all around the room, simulating Lang’s travel through the realm, with voices mixed in all channels to simulate a dream state. The lab scene wonderfully uses subtle cues like buzzing fluorescent lights, flying and crawling insects, and cavernous echoes to place you smack in the middle of the screen environment.

 

Oh, and without spoiling anything, definitely watch through the credits, as the team does a fantastic job of tying this film into the Infinity War timeline.

 

The film also includes a host of extra features including a director’s commentary, a variety of making-of featurettes, outtakes, and deleted scenes

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Luxury Defined

If you asked 10 people for their definition of luxury, you’d probably get 10 similar but also wildly varying answers. For some, it might mean a five-star vacation; for others, it might be a chauffeured ride in a Bentley; for others, flying First Class in a plane; while others would describe luxury as popping open a cult Cabernet.

 

But what differentiates something that is luxurious from something that isn’t?

 

Consider a Rolex timepiece.

 

By nearly any metric, a Rolex is a luxury product. But what actually makes it luxury?

 

Is it simply because the least expensive model—the “humble” Oyster Perpetual 34—sells for just north of $5,000? Does the high price define it as a luxury product?

Rolex OP 34 Watch

In part, maybe. By commanding such a price, it means fewer people can own one, thus creating more brand cachet and demand.

 

Does the $5,000 Rolex do more than other watches? Hardly. In fact, the OP 34 has but one function: It tells the time. As those in horology would say, it offers nary a single additional complication. No date, no alarm. It won’t take your pulse. It won’t display text messages. It just displays the time—via old-school analog hands.

 

But surely, as far as timekeeping goes, a $5,000 Rolex is unequaled, offering accuracy rivaled only by laboratory-grade atomic clocks. Umm, again, no. In fact, Rolexes are notoriously inaccurate, frequently running several seconds fast or slow—per day. A $10 quartz watch would trounce any Rolex in timekeeping accuracy. 

 

So, why would anyone possibly choose to spend 100 times more on a Rolex than another watch, making it the Number Four top-selling watch brand in the world?

 

Because frequently a large part of luxury goes beyond performance and into things more tangential, like pride of ownership. The Rolex owner is proud knowing they own something that was crafted by hand, in limited numbers, with higher-caliber components, and with superior craftsmanship. They feel good about owning it, wearing it, checking the time on it, and showing it off.

 

The superior craftsmanship does offer some actual performance benefits, such as being truly waterproof, with a sapphire crystal that’s virtually impervious to scratches, and a 28,800 beats-per-hour movement that produces a lovely sound and that—if well cared for—will provide decades of service so the watch can be handed down to the next generation. (Also, since 

Meridian DSP80002 Speaker

Rolex’s Oyster Perpetual movement never requires a battery change, the watch will practically pay for itself after like 500 years!)

 

These same analogies can certainly be applied to luxury home-entertainment components.

 

Do the iconic glowing blue lights and dancing VU meters make a McIntosh component perform better? Does a Meridian speaker sound better for its meticulously finished cabinet? Does a movie collection navigated via Kaleidescape’s gorgeous interface look and sound better? Do these products costing hundreds of times more than entry-level models in the same category deliver an experience that is 100 times better?

 

Sadly, no.

 

But these luxury products have a very necessary place in the world of home entertainment.

 

Luxury is often a feeling that comes from purchasing something superior to the norm, when striving to attain an elevated experience. It is part of a commitment to having far more than just a passing interest in your entertainment experience. And in the home entertainment world, luxury components often come with improvements—sometimes incremental, sometimes considerable. But it is often many little things that add up to a better whole.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

The Cineluxe Hour

The Cineluxe Hour logo

Everything luxury home entertainment—including the best movies, TV series, video games, and music, great ideas for entertainment spaces, and more—presented by our contributors, the biggest experts in the industry, famous interior designers, celebrity directors & entertainers, and more. No hard-sell or jargon or tech—just straight talk about what to enjoy, and where best to enjoy it.

 

EPISODE 12: What the Hell’s Going On with the Movies? (Christmas Edition)

 

EPISODE 11: Inside the Minema with Sam Cavitt & William Erb

 

EPISODE 10: What the Hell’s Going On with the Movies?

 

EPISODE 9: New Frontiers in Content & Compression

 

EPISODE 8: Who Needs 8K?

 

EPISODE 7: Theo on Theaters

 

EPISODE 6: Home Theaters are Better than Movie Theaters

 

EPISODE 5: How to Find the Perfect Integrator

 

EPISODE 4: Luxury TVs 2019

 

EPISODE 3: Dolby Atmos—Yay or Nay?

 

EPISODE 2: Let There Be Light—And Shades

 

EPISODE 1: Is Home Theater Dead?

 

You can also find The Cineluxe Hour on both iTunes & Spotify.

What is Luxury Home Entertainment?

The home theater is dying.

 

That’s not to say that no one will ever again build a secluded, enclosed, darkened space within their home purely for the purpose of watching movies. Of course they will.

 

But these days, beautiful multi-use spaces are where it’s at. Rooms where you feel just as comfortable gathering the family for a game of DropMix or Settlers of Catan as watching a film. Rooms where a stray beam of sunlight isn’t the enemy. Rooms in which the décor says, “Read a book, Facetime with Grandma, host a dinner party,” not just, “Ticket, please.”

 

There are any number of reasons for this trend—from lifestyle changes to the fact that you can now achieve a level of cinematic performance with a few thousand dollars’ worth of gear that would have been unimaginable at any price just a few years ago. But we’ll leave those discussions for another day.

 

First, we have to figure out what to call these spaces. Because “media room” just doesn’t cut it. And nothing quite matches the evocative simplicity of “home theater.” (Gah, what a perfect turn of phrase that is.) Until we come up with something better, we at Cineluxe are rallying behind the term “luxury home entertainment.”

Tribeca media room

photo by John Frattasi

What does that mean, though? I think the “home entertainment” part of the equation speaks for itself. But what about the “luxury” part? Unsurprisingly, there’s little agreement around these parts about what that means. For me, it’s probably best summed up by Merriam-Webster’s second stab at defining the term: “something adding to pleasure or comfort but not absolutely necessary.”

 

Let’s face it—none of this is really necessary. Watching movies isn’t necessary. Streaming music and playing video games aren’t essential to life. But any time you seek to elevate the space in which you enjoy these pastimes beyond the barebones minimum, I think you’re engaging in this thing that we’re calling luxury home entertainment. That means selecting gear that delivers an elevated level of performance, sure. But it also means integrating that gear into your room in a way that doesn’t impinge upon its livability, its comfort, its aesthetics.

 

By the same token, it also means designing or decorating a room in such a way that all of its accoutrements disappear when your entertainment system turns on. It means finding that balance without compromising either aspect.

 

This philosophy is probably best summed up by designer Ilse Crawford in the final episode of the amazing documentary series Abstract: The Art of Design. “Luxury is attention,” she says. “It’s care. . . . Caring about the details. Thinking about how people will experience the place.”

 

True, a room designed as a luxury home entertainment space adds another level of complexity, because the very experience of the room changes from day to day, hour to hour. But as we move toward a time in which interior designers and technology integrators are viewed as collaborators and co-conspirators—not antagonists whose goals conflict—we’ll see these spaces become more and more common. And as they do, perhaps someone will come up with a pithier name for them.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Three Essential Vinyl Demos

I’ve been a vinylphile since I was a child, when 78 RPM records like Debbie Reynolds’ “Abba Dabba Honeymoon” and Spike Jones’ “Hawaiian War Chant” captivated my young ears on my grandmother’s Victrola.

 

Here are three of my favorite demo discs for audio system and component evaluation and listening pleasure. In fact, I’d say you could tell everything you need to know about what your system is doing or where it’s falling short with these three records.

 

 

Bill Berry and His Ellington All Stars, For Duke

M&K Realtime RT-101

 

This LP attained audiophile-pantheon status shortly after it came out in 1978, and for good reason. It remains one of the most astonishingly well-recorded vinyl LPs ever. Unlike many “audiophile” discs with exceptional sonics and forgettable music, the playing is wonderful, with a jazz combo having a ball playing Ellington’s greatest hits, including “Take the A Train,” “Satin Doll,” and “Mood Indigo.”

 

For Duke was recorded direct-to-disc—the performance was cut live directly to the master disc, a process that eliminates the sonic degradation and generation loss that comes with recording to analog tape and then cutting the disc from tape.

 

It shows. In particular, the dynamics are remarkable. A couple of minutes into “Take the A Train,” Berry takes a cornet solo that is literally startling—when he comes in, it’s all you can do not to flinch in surprise (as I did the first time I heard it). The drums are powerfully lifelike, as are all the instruments—Ray Brown’s bass is jaw dropping in its richness and presence. The recording is astoundingly pure and detailed. The tonal balance is near perfect.

 

We’ve all heard the cliché “It sounds like the musicians are in the room” to describe the sound of a good recording, but in this case, it really does sound like that. This record is hard to find and usually expensive, but hey, that’s part of the agony and the ecstasy of record collecting.

Fritz Reiner, The Chicago Symphony Orchestra, Scheherazade

Analogue Productions LSC-2446 re-issue of RCA “Living Stereo” original

 

While For Duke is renowned for its up-front perspective, Scheherazade puts the listener in an entirely different acoustic environment, with its realistic rendering of an orchestra in the concert hall. Recorded in 1960 by producer Richard Mohr and engineer Lewis Layton and brilliantly performed by the Chicago Symphony Orchestra conducted by maestro Fritz Reiner, this Analogue Productions re-issue is nothing less than sensational.

vinyl demos

The tonal palette of the orchestra is beautifully conveyed, with sumptuous lows, a natural midrange, and the sweet, airy upper midrange and highs that let you know you’re hearing analog at its best. On a good system, you can clearly hear the character of the hall. The quiet parts are exquisite (Sidney Hart’s violin playing could not be more nuanced and expressive) and the fortes are thrilling.  My feeble words don’t begin to do this masterpiece justice.

 

For decades, the legendary original RCA Living Stereo recording was nearly impossible to find, with various vinyl re-issues ranging from mediocre to very good. No longer—this 2013 Analogue Productions re-issue is magnificent. In fact, while I don’t have an original pressing on hand for comparison (though I’ve heard it many times), no less an authority than Analog Planet’s Michael Fremer thinks this re-issue actually betters the storied original. I won’t argue.

New Order, “Blue Monday”

Factory Records Factus 10 (1983 US 12-inch single)

 

But want to know if your system can rock? All you need do is listen to the first Oberheim DMX drum-machine beats of New Order’s “Blue Monday,” the best-selling 12-inch single of all time (according to Wikipedia), and one of the most groundbreaking, genre-defining, walloping bowl-you-over dance-music singles ever. But don’t turn it up too loud or you might blow out your woofers.

 

“Blue Monday” is insanely powerful and dynamic, irresistibly catchy and moving. Back in the day, this would propel people to the dance floor with its mesmerizing mix of synth and Peter Hook’s unmistakable electric bass, its layered synthesizer washes and melodies, its pull-no-punches electronic drums, and Bernard Sumner’s dryly-delivered vocals. On a good audio system, it sounds massive.

 

My copy is an original 1983 US version with the die-cut cover (designed to resemble a floppy disc!) and silver inner sleeve, though not one of the first UK pressings with the “FAC 73” catalog number. There are literally more than 50 1983 vinyl US, UK, and international issues listed on Discogs (and there were also 1998 and 1995 remixes and numerous CD and digital versions), so I certainly can’t vouch for the sound quality of every one of them! But since the record sold so well, you shouldn’t have to do a Where’s Waldo to find a copy like mine. Put it on the turntable and stand back!

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.