Design

Home Theater Reborn, Pt. 1

Home Theater Reborn, Pt. 1
Theo's Corner

This series of posts is meant to document the dramatic new direction I took with my career beginning about two years ago. Sensing that the needs for luxury home entertainment were changing, and that a new market was emerging in that area, I began to explore ways to create theaters that can be easily reproduced while still offering the ultimate movie-watching experience at home. I hope you enjoy the story of my efforts to reinvent home theater.

 

 

My life at the moment is consumed with the challenge of figuring out how to engineer all the various elements of a home theater. For years, I have seen how difficult it is to create each new theater design from scratch and to work my way through the process without a consistent structure, guided only by a vague application of aesthetics.

 

Designers and architects usually have a certain vocabulary they can refer to when they are designing a specific space like a dining room, bedroom, or bathroom. And each of those spaces is made up of specific elements that are the tools that they play with.

 

Those elements can be things like furniture, carpets, fabrics, sinks and other fixtures, and so on. These are specific objects, and their practical and aesthetic function within each space is clearly understood. A living room sofa would of course look as absurd in a bathroom as a bathroom sink would look in a dining room.

 

Once the value of the elements within a specific space is understood, designers have no restrictions on applying their imaginations to play with all of those elements so they can reward their clients with the best possible results.

 

It might seem as if designing a home theater would be the same, but it’s not. We do work with specific elements within a theater, and some of them—like chairs, carpeting, lighting fixtures, and fabrics—are similar to what you would find elsewhere in a home. But that similarity only holds true up to a certain point, because each of these things must be treated somewhat differently in a theater room—or in any type of entertainment space.

 

The main difference is that, whereas the use of technology is optional in most other parts of a home, it is essential to a home theater. And that technology creates demands that make it very difficult to use the same elements that designers use elsewhere in the home without understanding their potential impact on the performance of the room. Things such as acoustics and sight lines must be taken into account. This alone makes designing a theater room much more difficult than designing any other room.

Few if any of the elements in these custom-designed theaters could be easily
and economically reproduced to be used in other theater designs.

Oakland & Park Ave theater photos by Phillip Ennis, Palace theater photo by Michael Weschler

For my entire career until recently, I treated each home theater as utterly unique—partly because each room was unique, especially when it came to its dimensions. Bigger rooms create radically different design demands than smaller rooms. Also, the clients may have preferences for things like colors that won’t work at all well in a home theater space, mainly because they would draw attention away from the screen.

 

Each time I approached a new design, I would have to take all of these variables—such as room size and layout, audio/video equipment, furnishings, fixtures, carpeting, and client expectations—into account and then create a new recipe from scratch. But after having done this repeatedly over so many years, I began to wonder if there wasn’t a better way to approach home theater design—one that would be far more efficient but without compromising the final product.

 

So I began to try to figure out whether we, as designers and architects, could codify what it means to design a theater, and if I could come up with a recipe that would deliver more consistent results. Top of my list was to create a way to protect us from the failure that often comes from mixing ingredients without really understanding if the end result will be pleasing.

 

In the next installments of this series, I will describe how I created a more disciplined approach to home theater design that allowed me to not only collaborate with other artists on my designs but to engineer the various elements of a theater so they could be manufactured in a way that allows luxury theaters to be installed in a fraction of the time and cost of my custom designs.

Theo Kalomirakis

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo
is the Executive Director of Rayva.

Ep. 2: Let There Be Light–And Shades

Episode 2 opens with Cineluxe contributor John Sciacca joining hosts Michael Gaughn & Dennis Burger to discuss the reasons why home theaters are making a comeback. At 6:56, Lutron Communications Director Melissa Andresko joins Mike, Dennis & John to talk about the increasing importance of lighting & shading in luxury home entertainment spaces. At 12:13, we all talk about how lighting control can be a form of creative expression, and how interior design is becoming a key element in the creation of multi-use entertainment spaces. And the episode closes out at 23:28 with a quick discussion of ways to beat the wintertime blues.

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Luxury TVs Come on Strong at CES

Luxury TVs Come on Strong at CES

Samsung’s 75-inch Micro LED TV

In a time when you can get a free 50-inch 4K TV as an incentive to buy a smartphone (see below), it’s pretty obvious that larger-screen flat-panel televisions are no longer considered luxury goods. They’re a commodity, spit out en masse in specific shapes, colors, and sizes. And while you still have to pay more to get better performance, you don’t have to pay that much 

more to enjoy a pretty darn good-looking picture. Companies like Vizio and TCL have seen to that.

 

This presents a challenge for specialty dealers trying to design higher-end luxury AV systems with larger screens, especially now that many of those systems are moving out of dedicated theater spaces where front projection is the display method of choice. How do you incorporate these huge, often generic-looking boxes into a high-end media room in a truly elegant way?

 

In the world of luxury home entertainment, design matters just as much as picture quality. (I know videophiles may 

bristle at that statement.) Thankfully, as evidenced by the recent CES trade show, TV manufacturers like LG and Samsung haven’t forgotten this segment of the market. Both companies showed off some truly drool-worthy TVs that push the design envelope.

 

For the past few years, LG’s OLED TV lineup has been a great case study in how to sell to the high-end market, and this year’s line is no different. Purely from a performance perspective, the new C9, E9, and W9 series should all be pretty much the same (i.e., awesome).What you get as you move up the price chain are design enhancements.

 

The entry-level C9 has a pretty straightforward look, the step-up E9 has a nicer picture-on-glass aesthetic, and the W9’s “wallpaper” design puts all the electronics in a separate box to give you that gloriously thin, sexy form that OLED promises. This year, LG upped the ante even further by adding a flagship Z9 that increases both the resolution (to 8K) and the maximum screen size (to 88 inches, a first for OLED) to appeal to customers who want a larger, more immersive screen.

Luxury TVs Come on Strong at CES

But the design that really had everyone talking was LG’s new rollable OLED TV (shown above). The screen hides inside a stylish metal cabinet until you’re ready to watch it, at which point it gracefully rolls up into place. We’ve been teased by the promise of rollable OLED for a while, but this is a real-world product that will ship this year, albeit only in a 65-inch screen size.

 

Samsung’s “The Frame” and Serif TVs, which cater specifically to the more design-conscious shopper, have been around for a while. But this year the company is putting its flagship QLED performance into them, which means you’ll get the best of both worlds: Performance and design. The Frame, in particular, is a cool, well-executed concept.

 

One of the most promising and potentially game-changing TV technologies is Samsung’s Micro LED, which can combine the thin form and gorgeous black levels of OLED with the high brightness levels of LED/LCD. But perhaps the most enticing feature for the 

luxury market is that the tech is both modular and scalable. At this year’s show, Samsung displayed a 219-inch Micro LED display dubbed “The Wall,” but also a more real-world 75-inch model. (Getting the Micro LED modules down to smaller sizes is the current challenge.) You’re also not locked to a 16:9 aspect ratio—you can configure the display

however you want, à la a video wall. Check out this video from the show (above).

 

So, can a TV still be a luxury item? Heck yeah it can. I, for one, am really excited to see these new designs come to life in real-world settings.

—Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.

So You Think Your Room’s Bad, Pt. 6

Six installments in, we’ve arrived at the end of our tale about turning a trade show booth into a reference-quality home cinema space. But we’re not here to pat ourselves on the back. Yes, the demo room ultimately drew scores of visitors, and praise from the people who experienced it.

 

But this series of posts was meant to be inspirational, not self-congratulatory. Our aim was to encourage you to not give up on “problem” spaces until you’ve exhausted all the possibilities. The technology and expertise definitely now exist to turn rooms that would have once been dismissed as impossible into killer luxury home entertainment spaces.

 

Here are the key takeaways:

 

Even rooms with weird dimensions can make for a great home theater

If we had focused all of our design efforts exclusively on performance, there’s no way we would have chosen an overgrown bay window as the geometrical inspiration for our room. The hacked-off corners inside the room were driven by the various needs of the outside of the booth. But with the right choice of gear and some optimization with the speaker placement, we made this kooky space sound great.

For more on how to make non-symmetrical rooms work 

to your advantage, see Part 1 and Part 2

 

Choose your speakers carefully—not all luxury speaker systems are made the same

This doesn’t mean that one speaker is necessarily the best answer for all applications. Speaker systems come in all sorts of shapes, sizes, and configurations. Some are designed like audio spotlights. Some deliver a wider swath of sound. Some subwoofers are designed for in-ceiling placement. Of course, if you don’t have attic space to work with, you might opt for in-wall subs, or even discreet in-room subs (like we did). The point is, you shouldn’t just assume that a speaker is a speaker. Find the right solution for your unique room.

For more on choosing the right speakers, see Part 3

 

Room correction can eliminate a lot of a “bad” room’s worst flaws

It wasn’t that long ago that the room-correction software solutions built into most surround sound systems created more problems than they solved, but in recent years they’ve made monumental improvements. These days, a good room correction system can practically eliminate the need for big bass traps and other gargantuan physical acoustical treatments. And the best of these solutions can even correct for sub-optimal speaker placement.

For more about room correction, see Part 4

 

Acoustic treatments can help solve the problems room correction can’t fix

Since room correction still struggles with some acoustical problems, don’t turn your nose up at physical acoustical treatments. You may find that you can even work these treatments into your interior design.

For more about acoustic treatments, see Part 5

 

And maybe most important of all:

 

Creating a premium entertainment space is a team effort, so pick your players wisely

If, for whatever reason, subtle acoustical treatments are an absolute no-no in your luxury entertainment space, encourage your integrator and designer to work together on alternative solutions. A carefully placed bookshelf or even draperies positioned in the right place can work wonders for the sound of your room. But this requires that all of the

Jack Shafton, Golden Ear VP of Marketing & Sales
GoldenEar’s Jack Shafton on the Finished Booth

 

GoldenEar VP of Marketing & Sales Jack Shafton co-authored the 3rd installment of this series with Dennis Burger. Here’s his reaction to experiencing the completed booth at the CEDIA convention in San Diego this past September:

 

“Upon seeing the finished product when the show opened, I was impressed with how the booth turned out (it looked great and highly functional), and also alarmed by the openness of the demo space. There was already a big crowd milling about the booth (kudos to Kaleidescape) and the theater demo was standing room only. The space was basically open to the show floor, just behind a draped entryway. I waited for the next showing and grabbed a seat before the room filled. I should have known, but the demo of Baby Driver caught me by surprise—this system, in this terrible room, just rocked! And other than the small subs, the sound system was basically invisible. It presented a seamless bubble of sound around and above with pinpoint imaging, and the the subs made the air move with a thunder. Of course I kept thinking ‘louder, make it louder’ because it was fun—although they had chosen a good compromise on volume level. I got the impression after the demo that the other people in the room would have liked to kick back and watch the whole movie!”

players respect one another and their specific design expertise. There will always be some give-and-take. All parties will have to compromise at some point. But if you can find collaborators who know when to hold ‘em and when to fold ‘em, your luxury entertainment space will be all the better for it.

 

If you’re ready to tame a problem space but aren’t sure where to look for help, the Home Technology Association (HTA) can be a great resource. And, by continuing to showcase unusual but successful home entertainment rooms, we at Cineluxe will do whatever we can to lend a hand.

 

Before we wrap this up, we’d like to thank some of the greatest experts in the business—in particular, Jack Shafton at GoldenEar, Jon Herron at Trinnov, and Anthony Grimani at PMI—for making our pitifully small demo room sound way bigger and better than it ever should have. And we’d like to wish all of you luck with turning your own problem rooms into amazing sight and sound experiences.

Dennis Burger & Michael Gaughn

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.

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.

So You Think Your Room’s Bad, Pt. 5

So You Think Your Room's Bad, Pt. 5

As Trinnov’s Jon Herron mentioned in Pt. 4 of this series, when you sit down to watch a movie or listen to music, the sound generated by the electronics and speakers is perceived in three key ways. Firstly, there’s the sound that travels straight from the speakers to your ears. Secondly, there’s the sound bouncing off the walls, floor, and ceiling one, two, or three times, which takes a slightly less direct path to your brain. Then there’s the fainter echoes and reverberations that ping-pong around the room.

 

Every room generates its own mix of those three elements. It’s what makes your room sound like your room—its unique sonic fingerprint. But here’s the thing: It’s also what makes your room sound decidedly unlike the claustrophobic interior of a submarine or the rolling dunes of Tatooine or the craggy and cavernous wastes of Cirith Ungol.

 

That’s one of the main reasons I selected the Trinnov Altitude 16 home theater preamp/optimizer to serve as the centerpiece of the trade-show booth’s audio electronics. But as Jon pointed out, to fully deal with all of the acoustical issues in a room, you need a combination of digital signal processing and passive acoustical treatments. The rule of thumb is that you should strive to absorb about 20% of the reflections and scatter 25% of the reflections from the walls and ceiling. You would generally place more absorption toward the front of the room, and interleave the absorption and scattering materials.

 

That last point was one of my biggest sources of stress in helping to design this room—or at least, it’s the source of stress that stands out most in my memory. Why the stress? Because at this point in the design process, my co-conspirators—Mike, Melinda, and Marcelo—were spending most of their time talking about midcentury modern furniture, lighting sconces, draperies, throw rugs, and other floor coverings. And all I could think was, “These people are going to murder me right in my neck if I start hanging egg-crate foam on the walls.”

 

Still, if we wanted the speakers and electronics to transport attendees to other worlds (or at least more interesting corners of this world) with minimal distraction from the room’s temporary and non-traditional construction, I knew we would need some sort of acoustical treatments. So, I reached out to Anthony Grimani—former Dolby Labs and THX exec and current owner of PMI (Performance Media Industries, Ltd)—for his guidance in treating the room as best as possible without making it look like a recording studio.

Anthony Grimani explains how a diffuser works

Not only was Anthony’s advice invaluable, but his company also just so happens to manufacture exactly the sorts of treatments we needed for the room. We did go back and forth a few times on placement, trading renderings until absorbers were optimally placed to deal with first reflections on the walls and ceiling, and diffusers at the back of the room to randomize reflections into a sense of reverberations and create a more enveloping listening environment.

Even after we had the passive acoustical treatments specified and virtually placed, with instructions passed along to the booth construction company, and a followup visit scheduled by Grimani to fine tune the placements during installation, I have to admit that I was still nervous about all of this. In my final rendered sketches of the room, the treatments just sort of looked out of place. They didn’t, to my eyes, evoke the living room environment I knew everyone else on the design team was shooting for.

 

Those fears were allayed the first time I actually laid eyes on the space once it was fully constructed. And they were further allayed as the first attendees filed into the room for a demo. As the first movie clip came to an end, I heard a woman at the edge of the room lean over to a friend and whisper-yell, “I love the 3D sculptures on the walls. They’re so abstract but so pretty!” It took me a second to realize she was confusing Grimani’s diffusers for artwork.

Dennis Burger narrates a very quick tour of the demo room. (If you
look really close at the video, you’ll notice that the circles in the
ceiling are the GoldenEar Invisa 650 speakers mentioned in Pt. 3.)

Lessons learned here: Sometimes you can’t plan for every single contingency when designing a home entertainment space. Things in the real world don’t always look like they do in quick 3D sketches. But just as importantly: Don’t assume that performance-oriented design choices will necessarily conflict with décor-oriented design choices. In the end, the acoustical treatments I was so worried about wound up giving the room a funky modern vibe that worked great with the look we were going for. And if we’d had more than a few weeks to work on the design, and if we knew then what we know now, who knows? We may have even made the acoustical treatments the design focal point of the room.

 

Granted, in the real world, that means having conversations with interior designers about the benefits of acoustical treatments, their physical design, and where they need to be placed for optimal effectiveness. But ultimately, all of the pieces that come together to create a luxury entertainment space should be a collaborative—not an antagonistic—process. No necks need to be murdered in the creation of any room.

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.

Luxury Made Easy, Pt. 2

Some of Rayva’s home theater design themes

In Pt. 1, legendary designer Theo Kalomirakis discussed the signature home theater he created in NY’s Westchester County for his company, Rayva. Here, we talk to Theo about Rayva’s streamlined approach to theater creation and its ambitious plans for the near future.

—Michael Gaughn

 

What are the differences between a Rayva theater and one of your custom designs?

 

That starts with the price. For a custom project, I am the one who will design the theater. Clients can make it very difficult to maintain a custom business because they are justifiably demanding. That means I must spend a lot of time just trying to keep them happy. That was OK for me in the past, but right now what excites me is focusing on Rayva. We can give clients a good-looking theater without the complications of a custom design.

 

The only real difference between Rayva and a custom design is that with custom you can pick and choose whatever you want. You want the Taj Mahal, you can have the Taj Mahal. If you want the Acropolis—God forbid—all you need to do is ask, and you will get the Acropolis. But with Rayva, there is a limited repertory of designs and that’s what you have to choose from.

 

It seems like Rayva is meant to speed up the whole design and installation process.

 

Absolutely. With the Configurator app on our website, a client can select the room size closest to their own room, the chairs that will go in, the electronics package, and the design theme, all in the course of about two minutes.

The main steps of Rayva’s Configurator app

We are in the process of engineering the hell out of our theaters. When the process is over, we will be able to inventory the various components so they can be available as parts. We’re creating a very large database of components that can be shipped by UPS or Federal Express for next-day delivery to the client. I believe that before too 

long, we will be able to have a theater ready to be delivered and installed in a matter of days. The only thing not included in a Rayva theater is the installation. For this, we work with audio/video integrators who not only install the theater but also service it after it is completed.

 

Are there any particular kinds of rooms Rayva is best suited for?

 

Dedicated rooms. If we try to put Rayva in an open media room, it’s not going to work that well. You need at least three walls. It can be a basement, it can be the extra bedroom, it can be the attic.

 

Do you consider Rayva to be a luxury product?

 

It depends on how you define luxury. We have solutions that start at less than $60,000 for a complete theater—design, chairs, electronics, lighting. But, depending on the electronics package and the design, the price can go up quickly. I guess at $60,000 or more we are talking about a luxury product, even though the price is low for a typical soup-to-nuts theater. I do consider a Rayva theater a luxury use of a space. A dedicated room is not something everybody has. But luxury in this case doesn’t indicate necessarily a high price point.

 

The Rayvas theater we talked about earlier [in Part 1] was definitely on the luxury end, because we used the best treatments, the best chairs, the best leather, and a pricey design.

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.

The Rumors of the Death of Home Theater . . .

The Rumors of the Death of Home Theater
Theo's Corner

Above: Theo’s personal home theater, the Roxy 2.0

The other day, while participating in a Cineluxe Hour podcast, I joined my colleagues Michael Gaughn, Dennis Burger, and John Sciacca to exchange—one more time—our thoughts about dedicated home theaters versus media rooms. Dennis seemed to believe that dedicated home theater has become less relevant in the last few years. A friend of his, he said, was selling his house in LA and the buyer wanted to reclaim the dedicated theater space and use it for something else. John chimed it to say that because consumers don’t want to cover over windows to make a room into a theater, dedicated theaters had become less popular than media rooms.

 

I respect both points of view, but I am not ready to accept that we’re witnessing the approaching demise of dedicated home theater. When I sold my past three homes—to people who did not know about me—it helped the sale every single time that there was a home theater in it. The argument that windows can discourage people from turning a room into a dedicated home theater is valid, although what really doesn’t help a dedicated theater is that most homes have no more than three bedrooms and they’re all used for the parents and their kids. Unless there’s a basement in the house, it’s hard to give up living space for a home theater.

The Rumors of the Death of Home Theater

There is yet another apparent foe of home theaters. Until recently, the only way to enjoy a movie without distractions was in the comfort of a well-equipped dedicated room. This is still mostly true, but something else is happening that has contributed to dedicated rooms losing some ground. No, our entertainment needs haven’t changed. 

What has changed is that we now have access to unlimited content that we can watch any way we want—on our phones while riding the subway, on a tablet while taking a lunch break, on a monitor while flying on a plane. That has to have trivialized somewhat the experience of watching movies.

 

I’ve noticed what happens to me when I’m on a long flight—all that available content makes me feel like a kid in a candy store. I start watching a movie, and then I drop it to watch another . . . and another . . . and another. The abundance of content has made us increasingly less focused, and I’m guilty of that too. My desire to enjoy a movie on the big screen of my theater is still there. But I also find myself watching Amazon Prime or Netflix on a regular TV, flipping through the content just like I do on a plane.

 

Has this hurt dedicated home theaters? Probably. Watching a movie in a dedicated theater or going to the movies used to be an event. It is less so nowadays. But those fortunate ones who have the space and the extra money for a dedicated theater—and appreciate the difference—aren’t going to settle just for casual viewing. They will want both. My take is that dedicated home theaters will continue to be the only option for those who want the focused experience that no TV, smartphone, tablet, or media room can compete with.

Theo Kalomirakis

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo
is the Executive Director of Rayva.

Luxury Made Easy, Pt. 1

Cineluxe Showcase
THEATER PHOTOS BY Phillip Ennis

Legendary designer Theo Kalomirakis not only created the whole concept of home theater but has been the standard-bearer for luxury home cinema for his entire career. His two best-selling coffeetable booksPrivate Theaters and Great Escapesare filled with lavish theaters created in every imaginable style.

 

Seeing the interest in dedicated theater rooms decline over the past few years, Theo has helped form Rayva, a company devoted to dramatically simplifying the whole process of designing, engineering, and installing high-end theaters. Rayva recently completed a signature installation in Westchester County, north of New York City, that’s meant to show that the company’s streamlined approach to theater design can yield a luxury result.

 

In Part 1 of our interview, Theo talks about some of the challenges and triumphs of creating this strikingly contemporary space.

—Michael Gaughn

 

Did this begin as a Rayva theater?

 

No. The client saw a custom theater I had designed for a friend of his and said, “Let’s do something like that for my house.” I told him, “We can come up with something based on one of the designs we are developing for Rayva. There is one I think would fit your house very well.”

 

The room was above the garage, in a new space, and it was ready for the theater. But it was perforated with windows on three sides. So I said, “It’s not good to put a home theater in a room with windows.The light creates a problem, but more importantly, the sound will bounce off the glass of the windows.” He said, “I don’t mind if you cover the windows. It’s the garage. We don’t need to touch them from the outside. You can close them from inside.”

 

That was an interesting challenge. I wanted to cover the windows but I wanted the client to still be able to have access to them. So the windows dictated the design. And because Rayva panels are in increments of four feet, I could place one in front of a window and have it removable if access to the window was needed.

 

I felt very vindicated that this process we have developed allows even difficult rooms to become theaters. Because of the flexibility of our design elements, we can deal with difficult design challenges.

 

What were the client’s expectations for this room?

 

He just wanted to have a great theater. He said, “Cost is not the issue. I would just like to have the best technology, the best design, the best seats.” I shared with him brochures with Cineak seating. He selected one of the best-looking seats, and picked the finest leather. He wanted the softest, more plush leather, which is what he got.

 

And then we selected the carpet. Usually that happens at the end of the design process, and the clients are overwhelmed with all the expenses of equipment and woodwork and everything. So I automatically suggested just a plain grey industrial-quality nylon carpet that in a room like that would cost, at most, five, six thousand dollars. But I also showed him something that was plusher, like wool. He immediately went with the wool. He said, “Listen—I’m not going to use a nylon carpet. I spent so much money on the theater, I want the carpet to match the quality of the rest.”

 

I was trying to protect his budget, but clients who know what they want are different from clients who do things just because they want to save a penny here and a penny there. I respect how the former type of clients focus on the ultimate quality.

 

What was the installation process like for this theater?

 

Rayva doesn’t do the actual installation, so when we started the project, we reached out to Nick Di Clemente, the owner of Elevated Integration. When Nick introduced himself to the client, it turned out the client had additional needs. This was a newly renovated house and he needed whole-house audio. So Nick got the contract for the rest of the house, and he was happy about that.

 

What are some of the highlights of the theater?

 

The client selected our Origami design. The good thing about the triangles of the Origami design is that they allow flexible placement. We were able to use Wisdom Audio speakers—and there were lots of them and they’re big—without any conflicts with the room design.

 

This theater has a very different, outside-the-box design. In home theater, you expect to see columns and panels repeating themselves. You expect moldings that are gilded, and walls panels that are upholstered with brocade fabric. With Rayva, we tried to move away from that aesthetic because we wanted to change the perception of what a home theater looks like.

 

That’s why we bring in artists and architects that are not related to home theater to create the Rayva designs. With our guidance, their visions can be turned it into something that’s functional and can work with a variety of room sizes.

 

Also, this theater used acoustical treatments specified by Steve Haas’s company, SH Acoustics. Steve worked to get the best possible distribution of acoustical treatments within the limitations of the design. When the theater was finished, he spent two days calibrating the Wisdom Audio speakers and made the theater sound unbelievable.

Luxury Made Easy, Pt. 1

What was the client’s reaction to the theater?

 

The client is very happy. He told me that his kids practically live in that space.

 

Was there anything else you wanted to mention about the theater?

 

I want to tell you something. We put pictures of the theater on Houzz, where we can monitor which pictures resonate with end users. We were surprised to find out that we got a lot of likes for the interior of the theater but got more likes for the marquee outside. Go figure. I didn’t take that as an insult but as an indication that clients still relate to having a marquee outside the theater. So we will be creating a marquee as a Rayva product and make it available as an accessory to the theater.

In Part 2, Theo talks about how Rayva is ramping up to offer luxury theaters that can go from ordering
to installation in just a week.

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.

Theo Kalomirakis

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo is the Executive Director of Rayva.

REVIEWS

Taylor Swift Reputation Stadium Tour
Black Mirror: Bandersnatch
Venom
The Ballad of Buster Scruggs

ALSO ON CINELUXE

Why You Have to Have Dolby Atmos
Luxury Made Easy, Pt. 2
The Rumors of the Death of Home Theater

CINELUXE SHOWCASE

Cineluxe Showcase: A Tribeca Trendsetter
The Cineluxe Hour

So You Think Your Room’s Bad, Pt. 3

Dennis BurgerAt the end of our previous post in this series, I teased the fact that one pair of speakers at the back of the room ended up driving the decision-making process for the entire Atmos surround sound speaker system. It’s worth digging a little more deeply into exactly why that’s the case.

So You Think Your Room's Bad, Pt. 3

Just to remind you what the geometry of our demo space looked like, here’s an overhead view of the back of the room. The rear wall is at the top. You can see a rough approximation of what we thought our seating may look like, as well as the canted walls that made the outside of the booth look so great, but crunched us a bit in the demo space.

 

If we had gone with seven ear-level speakers, that would have meant four speakers in the back of the room, at positions marked A and B. But this would have caused problems for anyone sitting in the back row. Someone sitting next to speaker A on one side of the room wouldn’t have really been able to hear speakers A and B on the other side, and the speakers at the front of the room—for dialogue and screen sound effects—would have been drowned out. Sometimes more isn’t necessarily better.

 

What I really needed was a speaker I could position somewhat closer to the points marked C, but a little higher on the wall so as not to overwhelm any one seat in the back row. The extra height was also added to accommodate anyone standing in the back of the room, so they wouldn’t block the surround sound effects for anyone sitting in front.

 

I desperately needed a speaker that would project its sound out into the room authoritatively, while also spreading its sound out less like a spotlight and more like a floodlight. 

 

I also needed an in-wall solution, for reasons discussed in our previous post. One speaker came immediately to mind: GoldenEar Technology’s Invisa MPX MultiPolar in-Wall speaker. The MPX’s bass/midrange drivers don’t point straight out into the room, as do those of most speakers. One of the drivers is rotated a bit to the right, the other a bit to the left. Combine that with the company’s High-Velocity Folded Ribbon tweeter (which squeezes air sort of like an accordion to create low-distortion, room-penetrating high-frequency sounds, rather than pushing air like a normal dome tweeter), and you have the makings of everything I needed here—wide, deep, enveloping sound that wasn’t diffuse.

So You Think Your Room's Bad, Pt. 3

And with that piece of the puzzle solved, the rest of the speaker system started to fall into place. To match the sound of the MPX, I specified three of GoldenEar’s Signature Point Source (SPS) in-walls for the front left, right, and center speakers, and four of the company’s Invisa 650 in-ceilings for the overhead channels.

 

We also had just enough space at the front of the room for subwoofers, so I opted for a pair of SuperSub X subs. Why two subs for such a small space? It wasn’t so much about producing enough volume as it was about delivering rich, even bass in such a weird acoustical environment and making sure every seat in the room experienced the same level of bass.

 

With those decisions made, I called GoldenEar’s Vice President of Marketing and Sales, Jack Shafton, and asked him if I could take him on a virtual tour of our most current 3D design for the booth. I wanted a second opinion from an industry expert, just to make sure I had made the right choices given such compromises. I also wanted his advice on exact speaker placement.

 

Here’s Jack with his reactions to seeing the 3D renderings for the first time, along with some thoughts on what makes GoldenEar’s architectural speakers unique:

Jack Shafton: When Dennis shared his plan for this booth at CEDIA, my first reaction was, “YIKES!” GoldenEar always uses a fully enclosed sound room for our own trade-show demos, so this was certainly a new challenge. We agreed that this room would never be ideal, but could certainly be done effectively using the Invisa speakers and SuperSubs. Dennis hit on one of the reasons the Invisa MPX was such a good choice: It’s a direct radiator (important for today’s surround formats) with very wide dispersion. But I would also mention that the power handling and efficiency of the speaker are of great importance given the semi-open nature of this sound room.

 

That’s just one speaker, though (well, two in the case of this room). As for why GoldenEar’s Invisa speakers were the right choice overall, remember that this system needed to impress consumer electronics industry members, not the average consumer who has never heard a great-sounding home theater. One thing that I think sets our in-wall and in-ceiling speakers apart is that we design them using the same drivers and technology employed in our award-winning Triton tower speakers. There is no good/better/best stratification in the GoldenEar architectural speaker lineup; just the best of everything we do. The folded-ribbon tweeter offers exceptional dispersion, amazing fidelity, and great power handling, and it is found in every Invisa speaker. Combine that with our mid/bass driver

So You Think Your Room's Bad, Pt. 3

GoldenEar Invisa MPX

technology, crossover design, and GoldenEar speaker voicing, and the result is exactly what Dennis needed to blow people away in a space that had no business sounding as good as it did. Of course, the two SuperSubs helped a lot, as they provide big sub performance in a tiny, vibration-cancelling design.

 

 

DB again: In addition to confirming my speaker choices, Jack gave me some helpful advice in terms of placement, especially of the front speakers and overhead channels. That guidance was invaluable given the weird geometry of the room. Mind you, the odds you’ll be installing a cinema sound system in a room as compromised as ours are slim. The lesson to be learned here is that when taming a problematic home cinema space, you’ll sometimes find that solving your most daunting problems first makes all of the other pieces fall into place.

 

Still, as amazing as GoldenEar’s speakers are, if we had merely slapped them in the walls and ceilings and provided them with power, they wouldn’t have sounded their best. In our next post, I’ll be discussing how Trinnov’s Altitude 16 home theater preamp/optimizer helped us tame some of the room’s worst acoustical problems and give the GoldenEar speakers room to shine.

Jack Shafton is a 40-year veteran of the consumer electronics industry who has been
involved in the design, manufacture, and marketing of some very successful specialty
audio products, including two highlighted in
Stereophile’s “100 Most Important Audio
Products in the Last 40 Years.” Jack’s love of music and movies, combined with a
passion to bring better sound into everyone’s home, has been the driving force in his
commitment to help the industry grow. He also loves fast cars and
cats. (Sorry, dog lovers.)

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.

A Tribeca Trendsetter

Cineluxe Showcase

Ed Gilmore casually bringing some shots of an install he’d done in Tribeca up on his computer monitor was a major “a-ha” moment for me. The first shot showed a stylish, obviously comfortable living area that also served as a billiards room, dining area, and kitchen. The second showed the same room transformed into a home entertainment space a lot of people would kill for. That, a completely intuitive part of me screamed, perfectly represents the new paradigm.

 

Others must agree with that conclusion because people just won’t leave Ed alone about that space. Ironically, even he admits it’s not perfect—but it’s getting there, as the client invests more and more in turning what was initially a whim into a room that can blow most movie theaters out of the water.

 

Having since visited the apartment, and shot some video there, I recently circled back around with Ed to talk about all things Tribeca.

—Michael Gaughn

 

 

People seem to love that installation because it says that almost any room can now be transformed into a legitimate entertainment space.

 

I think what we did was to, in a minimally invasive way, create a home theater experience in a room that, if you looked at it from any angle, you would immediately say it couldn’t be done there. There was just no way.

 

Aesthetically, the room had already been designed before you came into the picture. How were you able to navigate those waters?

 

We just needed to be open and try to find really unique solutions that would both satisfy a high-end level of performance as well as maintain a certain aesthetic value the client wanted us to maintain, and be true to the bones of that room. I don’t think that’s any rare talent. The issue was that he had interviewed a lot of other AV guys who told him right off the bat, “No, we won’t do that.” And that wasn’t the answer he wanted to hear. So we were lucky enough to be able to convince him that we could do it, and it could be compelling.

That communal area wasn’t supposed to be the main entertainment space, right?

 

Right. The den [shown at right] is the room where he really sits and watches most of his TV. That was the room he wanted to spend some money on. This other room was kind of an experiment for him.

 

But as he saw it implemented, immediately he thought, “I’m going to

A Tribeca Theater to Die For

photos by John Frattasi

sink some more money into this room.” And that’s exactly what he did. That’s what he did with the Kaleidescape Strato, that’s what he did with the Steinway Lyngdorf speaker system, and what he’s about to do with projection, by upgrading the projector there as well.

 

Are people fascinated by that room because it’s a kind of outlier or because it represents a trend?

 

I think it’s a little bit of both. It’s tapping into a trend, that trend being that people aren’t interested in having dedicated rooms for specific purposes like a theater, or even a dedicated music room.

The promotional media-room tour I produced of the Tribeca space.

There’s an aspirational aspect to it as well. It resonates with people because it’s well done. I mean, it’s a really beautiful space. And it’s well thought out. And that goes back to the developer, who did a really nice job on that building. The dimensions of the room are great, and it has this wonderful warm feeling to it without really needing much in terms of other types of interior design.

 

But these particular clients do have taste, and they’ve been around the block a few times in terms of renovations. He is a serial renovator. And so their choice of artwork, their choice of furnishings—those little details that they have there are great. And I think that resonates with a lot of people too.

 

If luxury is really about details—about somebody caring enough to make sure every last thing is done right—Tribeca would seem to qualify.

 

I think you and I agree on this, right? Attention to detail is really what matters in a luxury space. People have asked me about what luxury is, and I typically say that it needs to be inspirational. But that doesn’t mean it really needs to be noticeable. It’s something that kind of unfolds. And by the time you realize what’s happening, you’re kind of taken by surprise by it. And it’s organic—it feels like it was always part of what was meant to be there.

 

 

In a followup post, Ed will talk more about turning problem rooms into great theaters and about the increasing importance of interior designers in home entertainment spaces.

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.

Ed Gilmore

Since 1991, Ed Gilmore and Gilmore’s Sound Advice, Inc. have been designing, deploying, and servicing hundreds of integrated systems by strictly adhering to a word-of-mouth recommendation policy. Typical systems consist of audio & video distribution, home theater, lighting & shading systems, enterprise-level network/WiFi & telephony, along with HVAC & security systems integration. In 2016, Gilmore created one of the most unique showroom & event spaces in New York City. Increased space also allows GSA to rack-build, program, and test systems prior to deployment.

About HTA

The Home Technology Association is an independent organization that connects homeowners with the most reputable and qualified professionals in the home technology industry. In an industry that has no barriers to entry, it has created a rigorous set of standards for companies to adhere to. Only firms that meet the 60-plus points of evaluation criteria are granted certification status. Once certified, these firms must maintain HTA standards or risk losing certification.

 

Gilmore’s Sound Advice is an HTA member, and Ed Gilmore believes it provides an indispensable service. “I think the value of HTA is that it’s a vetted process. It’s a certification program that vets integrators and lets the general public know that we hold ourselves to very high standards. And no other organization does that.”

HTA Logo

REVIEWS

Mission: Impossible--Fallout
Blue Planet II
Netflix' "Filmworker"
Hans Zimmer: Live in Prague

ALSO ON CINELUXE

The Rumors of the Death of Home Theater
Luxury Made Easy, Pt. 1
So You Think Your Room's Bad, Pt. 4