Tech

Inside the Ultimate Home Entertainment Space

photos by Randall Michelson

Legendary designer Theo Kalomirakis and acoustician Steve Haas have collaborated on a number of cost-no-object home theaters, but probably none of those efforts has been as ambitious, versatile, or well-realized as the Paradiso. Seventeen years in the making, this Southern California gem is actually an entire home-entertainment complex built around an Italianate piazza. The reference-quality 15-seat home theater doubles as a fully-fledged concert hall. The nightclub features a hydraulic stage and can handle anything from a rock band to a jazz group. Next door to the club resides an arcade, containing the homeowner’s extensive collection of pinball machines and video games. There’s even a g-force flight simulator.

 

At a time when people are developing a new appreciation for what home entertainment has to offer, the Paradiso provides the ultimate example of what can be done when you venture outside the home theater box. I recently talked to Steve and Theo about the project’s genesis, execution, and legacy.

—Michael Gaughn

THEO KALOMIRAKIS: The client had been dreaming about doing a theater with me and asked me to do the basement of his house, which is next to where the Paradiso is now. It had a seven-and-a-half-foot ceiling, so it was only a modest room. I did it because I liked the guy very much. He was passionate about doing something, but there was not much I could do with the space. So he sensed I was kind of compromising.

 

One day, he called me and said, “Theo, I have good news and bad news for you.” I said, “What is the bad news?” He said, “I have to pull the plug on the theater downstairs because I cannot see myself working with you in such a compromised space.” 

“So, what’s the good news?” “I bought two lots next to my house, and I want to set you free to design whatever the hell you want. Let your mind soar. I trust you.” It was the best thing I was ever offered to do.

 

Since the house is located in an Italianate enclave, he said, “We need to do something that would be very much in keeping with 

the neighborhood.” Which is fine, but I realized the size I had in mind for the theater exceeded the one-story height that would be allowed there. That started our endless process of digging down to create a subterranean environment.

 

Originally, there were going to be two more floors below the piazza level, and he kept pushing. “Let’s dig some more. Let’s put the bowling alley there. Let’s have a restaurant for 30 people.” I said to him, “If we dig anymore, we’re going to reach China before we do the theater. So let’s put a stop on it.”

 

And then 2008 came. When the bubble burst, he called me and said, “There is no budget to excavate, so we have to scrap the basement. Can we limit the scope to make it into just the piazza level?” And of course, we redesigned the whole thing.

Inside the Ultimate Luxury Home Entertainment Space

click on the image to enlarge

The idea of adding multiple environments is an extension of what I have described in my book, Great Escapes, as my need to break away from the constraints of a very limited room where you only watch TV. I was dreaming of spaces where before you go into the theater, you have to go under marquees and through lobbies and other areas. And now, here I had the room to do it.

 

We ended up creating a city environment based on his desire to bring in Italian architectural influences. He sent me to Italy and I spent 10 days in Siena. I took about 2,000 photographs in nearby villages for reference. I came back and showed him some incredible charcuterie stores that sold cheeses, and pizzerias, and this and that, and he said, “Let’s do it.” The only things that were dictated by him were the arcade, because he had a very nice collection of pinball machines and video games, and the nightclub because he wanted to have gigs for jazz.

 

He basically gave me permission to go crazy. He didn’t ask me to do this village or do this or do that. I presented the ideas that he gradually grasped and accepted. It’s usually a collaborative effort. The client lets his imagination go to think about the things that mean something to him, and I put them into context.

 

Steve, you were obviously heavily involved in the theater space, but I would imagine you worked on the nightclub as well.

STEVE HAAS: We were involved in all the spaces, really, because acoustics and audio mattered in the pizzeria, the arcade, and even the lobby. For all of these, we provided general noise control, sound containment, and acoustic treatment, as well as audio system design and calibration. But the premier spaces were the cinema, the nightclub, and the pizzeria. This wonderful client was just so open in sharing his goals and desires. In addition to his love for arcade games, he also loved live music. His daughters were both learning to play string instruments, so he wanted the ability to have everything from a more formal concert environment to a loose hangout-type of club where you can have rock bands or jazz groups come and play. He can have a chamber trio performing in the theater and a rock band in the club with no sound bleed between them.

 

Somebody coming into the theater cold would think it’s just for watching movies, but it’s actually a fully-fledged performance space as well.

TK: I want to remind you, Mike, that the theaters that have inspired me over the years were never just for watching movies. The movie palaces were mixed-use spaces where you could have an orchestra and also acrobats or a comedy act or whatever, which is exactly what the Paradiso can do. So it’s not like we suddenly came up with the novel idea of using a

theater this way. This project brought us back, completed the circle to what the movie theaters were supposed to be.

 

Does the desire to be able to do live performances in a home theater come up very often with clients?

TK: Yes, but usually at a much more elementary level.

 

SH: It doesn’t happen nearly as often as it should. And, yes, that’s a biased perspective, but I think a lot of people just don’t realize what can be done. 

Inside the Ultimate Home Entertainment Space

And even if you don’t go to the nth degree like we did with the Paradiso, there are many ways to upgrade a theater space, and it starts with the layout. You have to have the space to be able to have one to four people be able to play and perform, and have a system that can support it—not just audio, but lighting, because that’s different from what you need for a home theater system.

 

TK: Because live performances require specific lighting, we brought in a very well-known lighting designer with a background in theater. This is probably the only project I’ve done in the US that incorporated so many different disciplines. It’s not just the clients who don’t realize all the possibilities. Even the designers cannot wrap their heads around how many wonderful things you can do in a space like that.

 

Steve, the theater had to have a traditional surround sound system for watching movies, but you also have your Concertino system in there for live performances. Are they two discrete systems or is there some overlap?

SH: I think we did share a couple of components. Maybe some of the subwoofers were relay switched back and forth, but inherently quite independent.

 

There was a lot of control programming. If you could see all the bells and whistles switching behind the scenes, it would be amazing. Almost a dozen processes switched in a sequenced manner to go just from theater mode to live concert and back, 

but the user interface was as simple as pressing a button for the initial selection and then there were custom presets within each mode.

 

What did the Concertino system bring to this project in particular, given what the client wanted to do?

SH: The Concertino, which is in the nightclub and pizzeria as well, expanded the ability to have various kinds of live music in an acoustically dry room. As Theo knows, we don’t design “dead” home theaters. However, even a mildly dry diffused home theater appropriate for cinema presentation doesn’t provide the right acoustic for many types of live music.

 

This acoustic-enhancement technology allows the performance space to become a true-sounding

concert hall, cathedral, or any other space you can imagine. So if they want to have a choir, string orchestra, or even a jazz group with a bit livelier sound, you can do that and then blend it with more traditional amplified sound as needed.

 

I’ve heard that people have been in that space and didn’t even know there was processing going on because it sounded so authentic, or is that an exaggeration?

SH: That’s exactly right. This is a world of difference from the Concert Hall and Cathedral modes you get in your car stereo or home receivers. This is recreating in the digital virtual electronic world exactly what a real hall of a different size, different shape, a different acoustic will do to enhance sound—the early reflections, reverberations in the proper timing and frequency manner. The technology can be described for days, but in the end it’s all about what happens when somebody presses a button and sits down and that string quartet, that cellist comes out, and just like, “Wow.” It’s just a great experience for performers and audience alike.

 

Theo, you weren’t here when Mike and I discussed how things are changing with music performances over livestream during the pandemic, but having spaces like this, whether it’s to this degree or even one or two degrees lower—I think a lot of affluent homowners are going to say, “You know what, I don’t want to be in a theater with 1,000 or 2,000 other people for quite some time. So why not create great-sounding spaces that will allow me to bring that type of experience home, literally, for not just movies, but for live music and other types of live entertainment?”

 

TK: I am hearing from people, “I don’t want to go to the movie theaters and catch a disease. I want to make my house be more like a theater.” This is an incredible new opportunity. And it’s up to us to capture it and relay the message that you can have this kind of theater space in your home.

 

SH: Am I hearing Theo saying he’s getting back into custom theaters again?

 

TK: I do want to do custom theaters but very, very selectively. If there is something of the caliber of the Paradiso, I will do it.

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

Steve Haas is the Principal Consultant of SH Acoustics, with offices in the NYC & LA
areas. He has been a leading acoustic and audio design & calibration expert for more
than 25 years in high-end spaces ranging from home theaters, studios, and live music
rooms to major museums and performance venues.

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.

Who’s Doing Livestreams Right?

Ben Folds takes requests—and gives piano lessons to kids—while stuck in Australia.

The audience for livestreams has exploded in recent weeks as people have exhausted their options for more traditional mainstream entertainment and musicians and other performers have embraced online performance as the best near-term solution for engaging their fans. I talked to acoustic designer Steve Haas about who’s doing a good job of broadcasting from the internet and what musicians can do to up the sonic quality of their streams.

—Michael Gaughn

Thanks to the boom in livestreams, a lot of people are being exposed for the first time to the idea of famous musicians doing intimate performances, but you’ve been aware of and helping to arrange home performances for a while now, right?

Yes. I’ve been very passionate about promoting house concerts, and have been creating private concert venues in people’s homes for a long time. Before the pandemic, hosts of house concerts were putting on monthly shows with some really great 

artists. It was just amazing, the quality and caliber of musicians you got to see several feet from you in someone’s living room. They would clear out the furniture, put 50 people in there on some loose chairs, and have a suggested donation of 15 to 20 dollars per person.

 

But of course now that can’t exist for a while in any environment, commercial or private—hopefully not as long as everybody’s predicting. Certainly when Mozart did his house concerts in the palace, he didn’t have to deal with a pandemic, and certainly didn’t have the internet to be able to convey his music to the masses. But people do now, and it’s amazing how many performers have jumped on this. They understand that the only way they can keep their music and their talents alive in the minds of their fans and the general public is through online presentations.

 

Whether it’s prerecorded videos or live streaming, some bands will go to great lengths to individually record their parts and overdub the video. And then somebody will put it together through video editing software and create a pretty amazing production.

 


In general, what is the level of quality you’ve been coming across over the past couple of months, from an acoustics perspective?

Most people are just finding a room in their home or their apartment—sometimes the bathroom, which everybody thinks has great acoustics. But that’s a little iffy—sometimes it’s good, sometimes it’s not. It can also be their kitchen, their living room, wherever they can set up an iPhone or a simple microphone. That’s the bare bones.

Performers are realizing they need to use this vehicle to get their music out there. And some are realizing they have to rise above the tide and separate themselves from the masses.

 

I get dozens of livestreams every day on my Facebook and other feeds, but I just don’t have time to listen to all of them. And that doesn’t even include the highly produced streams, like the Together at Home concert with Lady Gaga, Elton John, and others. So there has to be a way for artists—not just musicians, but actors and dancers, too—to convey their craft. But they have to step up the production. And the thing is, the ones I’ve seen do that haven’t had to spend thousands of dollars.

 

It’s really about thinking, “OK, what can I do to create an environment that will give me something better than what sounds like a typical living room? How can I get a little better balance? How can I get some good audio equipment? What do I need to do 

to make sure my video and audio are in sync?” I’ve seen some videos that were out of sync, which is very annoying.

 

They also need to think about lighting. How many people are doing livestreams with a window behind them? I’m not a lighting designer, but Lighting 101 tells us don’t have a window behind you.

 

 

I realize it’s difficult to advise people on acoustics from a distance, but is there any general advice you could give? For instance, they should probably take a moment to listen to the room they’re thinking of using and get a sense of its sonic characteristics.

Most normal rooms—living rooms, kitchens, bathrooms—don’t have a neutral sound, but tend to sound very colored. Bathrooms usually have an excessively bright sound because you’re dealing with porcelain and plaster and other hard surfaces with nothing to absorb it. Kitchens can sound like that too because they don’t have any soft furnishings, so they tend to emphasize the higher frequencies.

 

Living rooms, family rooms, and dens can have a very midrange boomy sound because you typically have all of the low-end sound sucked out—that is, absorbed—by the windows and the thin sheetrock and plaster. The high end can also be muffled by some of the furnishings, especially if you have carpet or area rugs.

 

And that’s really indicative of what I’m hearing on a lot on livestreams—that midrange honkiness that’s left once the highs and the lows are sucked out. It’s better to simply try to soak up or absorb some of that sound. I joke about it, but bringing every pillow and blanket in your house or apartment into the room while you’re recording will actually make a difference. But it depends. If you have a huge living room, just having three or four pillows is not going to do it.

 

If you want to take it to the next level, you can buy or make 

A BRIEF SAMPLING OF STREAMS
Steve Haas on High-Quality Livestreams

Brad Paisley and special guests perform
in real time on Facebook 

The Doobie Brothers perform a video
sync-up of “Black Water”

Steve Haas on High-Quality Livestreams

Singer Maysa Leak (of Incognito fame)

your own acoustical panels. It’s pretty easy, getting some insulation boards, which are typically about one or two inches thick, and wrapping fabric around them. It doesn’t have to be pretty, but it certainly can be very effective.

 

As a practitioner and somebody who designs spaces to sound fantastic, I don’t typically advocate the DIY approach to acoustical treatment. But, my goodness, in this situation we’re in, why not get something that will improve your recordings, improve your livestreaming, and set yourself apart a bit for a modest cost?

 

 

I know there are a lot of variables, but in general, should they be using smaller spaces?

It really does depend on what a space is giving you sonically. It’s all about the balance. Does it sound neutral? You can get a large space that has enough furnishings and other things to create that neutral sound, and have the added benefit of giving 

you a really nice visual backdrop, too.

 

There’s this thing going around the internet, a father and daughter out of Utah—Shaw, I think is their last name. They’ve gotten millions of hits for the songs they sing together. They sound wonderful and they’re in a very nice, voluminous living room. And yet you don’t hear excessive reverberation or other imbalanced sound because they seem to have paid attention to their room’s acoustics.

One option is to create the performance in two parts. I’ve heard people say they’ve recorded their audio literally in a closet to get the best sound possible and then dubbed it on the video. There’s nothing wrong with that, especially if you’re trying to get high-quality sound and visuals. They may not always go hand in hand.

 

 

I don’t want to go too far into the weeds, but how much impact does microphone selection or placement have on all this?

If they’re recording the audio and video at the same time and their space isn’t perfect, it makes a huge difference. There are professional artists where you can see they’re using closely held wireless or wired mics. And if you don’t have a balanced room, that allows the sound to be picked up much better without getting too much of the room. You want to make sure you have the best-quality microphone you can find with what you have to work with. You also want to make sure the mic’s control pattern is fairly narrow so it’s not picking up too much of the area around you.

 

 

I realize no one can know the future for sure, but where would like to see all of this go from here?

It’s great that during these difficult times people are still keeping that sensation of live music. We’ve been witnessing what I call the one-to-many type of presentations, whether it’s a single artist or band delivering a song or a performance or the big 

production concerts such as Together at Home. The Metropolitan Opera just did one. And I heard of a hip-hop artist who actually did one on Fortnite, a gaming platform. So everybody’s finding unique ways to deliver that one-to-many experience.

 

I do think the next step, as this continues, is that homeowners who can afford it will say, “You 

know what? I want a private concert.” Even if they have to do it on the big screen in their home theater and have Elton John or another type of artist use two-way communication where the performer can hear them applaud and they can interact in conversation between songs, ask questions, or whatever. That way they can react to the performance in a one-to-one or one-to-a-family or small-group situation.

 

I look forward to that happening because it really is amazing when you can have that experience with an artist. If they can’t physically be in the same room with you, then get the next best thing and have them be on Zoom or another stable platform. Have that same type of experience and same type of two-way communications instead of one-way. Feel the intimacy of the performance.

Steve Haas is the Principal Consultant of SH Acoustics, with offices in the NYC & LA
areas. He has been a leading acoustic and audio design & calibration expert for more
than 25 years in high-end spaces ranging from home theaters, studios, and live music
rooms to major museums and performance venues.

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 Cineluxe Guide to Media Rooms: The Basics

The Cineluxe Guide to Media Rooms: The Basics

photo by John Frattasi

It’s easy to think of a media room as a low-performance or “good enough” entertainment space with a cheap TV and a Best Buy soundbar—a sort of glorified version of the old family den or man cave. To put it another way, there’s this pervasive notion that to enjoy movies at home to the fullest, you need to either install a dedicated home theater or you can settle for 

second best.

 

That doesn’t have to be the case, though. As I’ve argued plenty of times in the pages of Cineluxe, you can actually build a high-quality media room space that legitimately qualifies as a home cinema experience. If you have a home office, master bedroom, kids room, or communal living space that you want to upgrade into a fantastic moving-watching space, you can totally do that.

 

 

In our ongoing Cineluxe Basics series, I’ve covered all of the things you need to keep in mind when doing so, but those articles deconstruct the modern media room a piece at a time, i.e., what you should think about when picking a TV and what you need to know about surround sound preamps. They don’t really give you a holistic overview of what a complete media room system looks like. So, if you’re looking to convert your home office or kids’ room into a top-notch movie-watching space for the entire family without ripping out all of the walls and starting from scratch, you may be left wondering how far you need to go.

That’s where this new series comes in. Over the next few posts, I’ll be painting a picture of what a complete media room system looks like in terms of electronics, starting with the simplest of all high-performance luxury media room systems. In other words, a system that will have minimal impact on your décor, but maximal impact on your movie-watching enjoyment. And despite the pithy intro, I think a great TV and a really high-end soundbar is a great basis for such an essential system.

The Cineluxe Guide to Media Rooms: The Basics
WHAT KIND OF TV, EXACTLY?

That depends, really. We at Cineluxe consider home cinema to be a shared experience, so we think any good media room display should be big enough to give at least two people a viewing angle of 40 to 45 degrees. So, if you’ll just be watching your movies with your significant other, and assuming you’ll be sitting no further than six or seven feet from the screen, a 75-inch TV should be sufficient. If you have more viewers on a regular basis or you sit further away, it’s probably better to upgrade to an 85- or even 98-inch class display.

 

Splitting the difference, we think something like Sony’s Z9G Master Series 8K LED TV is a good recommendation. In terms of technology, it’s ahead of the curve. In terms of design, it’s the leader of the pack, and with its built-in Android TV operating 

The Cineluxe Guide to Media Rooms: The Basics

the Kaleidescape Strato S movie player

system, the only source device you’ll really need for a complete luxury entertainment system is a Kaleidescape movie player.

 

Of course, your local integrator may not be a Sony dealer, but if not, chances are good they sell 

LG instead, whose Signature Z9 88-inch OLED is a step up in terms of design and technology, but also a big step up in price.

 

 

IS A SOUNDBAR REALLY ENOUGH?

There’s this pervasive myth that soundbars are nothing more than a compromise for people on a budget looking for a down-and-dirty surround sound solution. And that’s still largely true in the $200-and-below range. But these days, there are any number of truly high-performance soundbars that can deliver shockingly good sound.

 

If you’re simply looking for big, room-filling, impactful Dolby Atmos/DTS:X surround sound without running wires through the walls or around the perimeter of the room, Sennheiser has been turning heads in recent months with its new Ambeo Soundbar, an all-in-one sound solution that delivers 5.1.4-channel audio for $2,499. You might consider adding a subwoofer 

to the mix if you just can’t abide anything less than the deepest, hardest-hitting bass, but it’s not necessary. And if your local integrator doesn’t carry the Ambeo, the Yamaha YSP-5600 and Sony HT-ST5000 soundbars also deliver cinematic sound in a simple package. (Although, to be fair, neither of those is quite as technologically advanced as the Sennheiser.)

 

Luxury speaker manufacturers like James

The Cineluxe Guide to Media Rooms: The Basics

the Leon Speakers Horizon soundbar

Loudspeaker and Leon Speakers also make some truly gorgeous soundbars that, in some cases, can even be custom-made to perfectly match the width of your TV. They may be a little more complicated to set up, since they do require amplification, but if utter aesthetic sophistication is important to you, they’re definitely worth a look.

 

In my next post, I’ll start digging into what a slightly more elaborate—and indeed expandable—media room system looks like. But if you’re just looking for the basics, and if you’re looking to minimize the disruption to your design aesthetic, the Sony Z9G Master Series paired with a Sennheiser Ambeo Soundbar and a Kaleidescape movie player, properly installed and calibrated, will give you one heck of a movie-watching experience at home.

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.

A Guide to Luxury Control Systems

What is a Luxury Entertainment System?

In our ongoing series on the basic components of a luxury home media system, we’ve covered most of the big questions you need to ask and things you need to keep in mind when selecting your video display (TV or projector), sound system (both electronics and speakers), and the source components by which you access your entertainment. There’s one big category we haven’t covered yet, though. How do you plan on actually interacting with all of this gear? 

 

There are, of course, a number of DIY universal remote control solutions on the market, as well as basic smart-home systems you can pick up at your local Home Depot or Best Buy. And while some combination of those devices will give you control of

most of your home’s electronics, they’re not exactly the stuff of luxury (nor reliability).

 

That’s why you’ll want to invest in a professionally installed and programmed control and automation system, not only to provide you with a more reliable and elegant control experience, but also to integrate all of your home’s electronics, lighting, and comfort control into one unified system that works together.

 

What does this mean, exactly? Say, for example, you have a Kaleidescape movie server and you sit down to watch a film. With a good professional control system in place, you won’t have to worry about dimming the lights yourself or adjusting the thermostat to your preferred movie-watching temperature. A single press of a button can start the film, dim the lights, dial your Ecobee or Nest thermostat to 72 degrees, close the shades, and lock the front gate.

 

You’ll see that phrase a lot in any discussion of luxury home control, by the way: “A single press of a button.” The reality is, though, home control these days involves a lot less button-pressing than it used to. Sure, you may have a traditional wand-style hard-button remote on the end table in your home cinema or media room, as well as others of its sort near other TVs throughout the home. For channel-surfing, streaming video, or even pausing your Kaleidescape mid-movie, nothing beats a good hard-button clicker. But they’re not so great when it comes to operating lights, shades, climate control, or any number of other smart systems within the home.

 

For those, you’ll likely want to use a combination of dedicated touchscreens, mobile apps, and even voice control. Each approach—touchscreen, voice, hard-button control via remotes and keypads, and even motion-sensing—has its advantages and disadvantages. It’s great to fire up your AV system or initiate a lighting scene with a simple verbal command, but you wouldn’t want to use it to adjust volume in the home theater or turn on the hallway light on your trip to the fridge for a midnight snack when everyone else is asleep. The best control system is one that blends all of these methods of control to conform to your lifestyle and the way you use your home.

 

The good news is, all of today’s advanced control systems support all of these methods of control and more. Control4

Savant, and Crestron—the three biggest trendsetters in the home control and automation space—all support Amazon Alexa and Google Assistant to one degree or another. All also support a more upscale digital voice assistant called Josh.ai, which was designed from the ground up to provide more intuitive voice control for luxury systems. All also offer compatibility with other, more specialized manufacturers in the luxury home control space, such as Lutron for lighting and shade control.

 

As for which of the three main control systems you should opt for, that’s really a discussion for you and your installer/dealer to have, based on your unique needs and preferences. Control4, the most economical of the three, is an easier-to-program, 

one-size-fits-all control solution that supports more third-party devices (especially off-the-shelf smart home devices) than the rest, but also has a lot of Amazon first-party control solutions, including my pick for best intercom/doorbell system on the market.

 

Control4 also offers a nice level of user personalization and customization. But for the most part, any Control4 system is going to look like any other from the standpoint of their user interfaces. In other words, the system uses a pre-made template that automatically adjusts itself depending on what other components it’s programed to control. So if you have your heart set on making your home control touchscreens 

look like exact recreations of the bridge of the Starship Enterprise, Control4 might not be the right solution for you.

 

Next up the ladder in terms of price and customization is Savant. While it still very much relies on a template-based interface, Savant offers a little more in terms of personalization, and it’s probably the safest bet if you want to know for certain that your touchscreens will be as pretty as possible. I also think Savant has the best hard-button remote control of any control system, which may be enticing if you do a lot of TV watching. It even has Siri built in, which is a big plus for Apple fans. Savant isn’t quite as easy to retrofit as is Control4, though, making it better suited to new construction.

 

At the top of the home control food chain is Crestron—by far the most expensive home-automation solution, but also the most customizable. Honestly, you’re only limited by the imagination and programming skills of your installer. You want that bridge of the Enterprise aesthetic? Totally doable, as long as you don’t mind paying for the custom programming. Have a palatial estate with 100 rooms or more? Crestron will thrive there, where Control4 and Savant might start to choke. 

 

Ultimately, though, no matter which control and automation solution you gravitate toward, the skill of your installer will make all the difference in terms of functionality, personalization, and reliability. So, it may be wise to ask if they have a show home or other demo space where you can see their work in action.

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.

2019: The Year in Luxury Home Entertainment

2019: The Year in Luxury Home Entertainment

It might not have felt like it, but home entertainment changed in a big way in 2019. And, as Dennis Burger points out in “Beyond Discs & Cinemas,” that monumental shift wasn’t due to any technological breakthroughs or new formats, standards, or must-have devices. The arrival of 8K, which would have represented a major seachange in an earlier era, caused barely a ripple.

 

What happened instead was that the stars aligned—in other words, a variety of existing technologies reached just the right point of maturity to radically change how we experience entertainment. Downloading and streaming, until now maligned as the feeble stepchildren of the moviewatching experience, emerged decisively and undeniably as the future of movies.

 

Check out John Higgins’ post for a recap of this pivotal year in the streaming world. The focus here is more on what it took to achieve a state-of-the-art viewing experience at home in 2019, and how expanding beyond AV has allowed luxury integrators to become far more responsive to how people actually live.

 

Home Theater or Media Room?

Just as downloading and streaming are no longer dismissed out of hand, the once lowly media room has recently made great strides toward respectability—due in part to forces that have little to do with the technology that serves up the entertainment 

experience. And while many had declared the dedicated home theater room dead—or at least in rapid decline—there are signs of a legitimate resurgence.

 

It might seem counter-intuitive to say that both home theaters and media rooms are on the rise. And supporters within each camp will tell you their favored approach is way in the lead. But, in the luxury market at least, it seems to be a dead heat.

 

One big sign of change is that media rooms are becoming commonly referred to as multi-use spaces. “Media room” was a godawful moniker; “multi-use space” really isn’t an improvement, except that it emphasizes the room’s versatility instead of suggesting that it’s a slave to “media” (whatever that means). 

 

Multi-use spaces are nothing new. People have been setting up entertainment systems in rec rooms, dens, family rooms, bedrooms, and elsewhere since the advent of the Victrola. The arrival of TV didn’t do much to change that—and, to be honest, neither did the arrival of home theater.

 

It took the emergence of non-AV domestic automation like sophisticated and responsive lighting and shade control to make multi-use spaces a viable alternative. And 2019 was the year automated lights and shades became pervasive and flexible enough to help turn non-dedicated spaces into legitimate viewing (and listening) environments.

 

To give the AV world its due, the arrival of more designer-friendly acoustical treatments and, especially, the emergence of ultra-customizable, professionally-deployed digital room correction also had a lot to do with putting high-performance multi-use rooms on the map. So did super-sized flat-panel TVs, which can provide a brighter (and some would say better) image than a traditional front-projection setup.

 

But let’s step back a second. While multi-use spaces might be on the verge of offering the performance of a dedicated home theater, do you really want to be blasting out the Endgame finale at reference volume in the middle of your home at 1 in the morning? And do you really want various family members wandering through the room while you’re absorbed in an episode of The Crown?

 

For as good as multi-use spaces have become, they still can’t provide the uninterrupted focus on the viewing experience that a home theater can. And, even though they’re on the cusp, it’s still going to be a few more years before a multi-use room can compete performance-wise with the best dedicated theaters.

 

Ironically, we can thank the tremendous improvements in streamed audio and video for the home theater’s rebirth. People who know little or nothing of LaserDiscs or DVDs are beginning to realize that downloads and streams are rivaling or surpassing what they can experience at even the best movie theaters, and they want rooms that can take full advantage of what internet delivery has to offer.

 

Also, no matter how cleverly a multi-use space is designed, it still clearly signals that it serves more than one master. To have the ultimate entertainment experience, and to create a space that strikingly and unambiguously expresses the value of that experience, you have to have a dedicated room.

 

The Art Wall Revolution

I don’t expect many—or any—of you to buy into what I’m about to say, but please suspend your disbelief for a moment and allow that video art walls (a description as ungainly as “media rooms” or “multi-use spaces”) will eventually have a bigger impact on luxury home entertainment than multi-use spaces and home theaters combined.

 

Here’s why. Architects and interior designers have traditionally held their noses throughout the process of designing, building, and installing entertainment rooms—and for good reason. As much as AV companies might like to think their products are designer-friendly, the truth is that almost everything they put out has all the visual appeal of a WalMart boombox.

 

And creating entertainment rooms means having to deal with tech—a lot of it. AV enthusiasts would have you believe that gear has gotten more user-friendly—it hasn’t. It’s just found new and more intricate ways to be cumbersome and unpleasant. And interior designers have a longstanding, and not unearned, reputation for being technophobes.

 

Also, every home theater or multi-use space is essentially a unique machine. The greater the demands made on it, the more complicated that machine 

becomes. And unless you’re working with an integrator who’s something of a mechanical genius, you’re likely in for a decent amount of trial and error before your room is finally up on its feet.

 

Lastly, it’s hard to put a unique visual stamp on a home theater and especially on a multi-use space. Feeding generic content into your home in mostly generic ways tends to drain any meaningful personal touch from the environment—one reason why entertainment rooms tend to fall into disuse over time.

Video walls, on the other hand, are an opportunity to showcase unique, curated works of art via installations that can be seamlessly integrated into the decor (and structure) of a home. Interior designers love that idea; so do architects. And homeowners will too once they realize they can use these stunning installations to display something other than the usual mind-numbing mass entertainment.

 

This isn’t the place to provide more than just a glimpse of this emerging phenomenon, but it’s worth keeping an eye on—partly because, unlike entertainment-based tech, it’s a harmonious and complementary instead of disruptive and somewhat arbitrary experience. And no matter how they evolve, art walls will always remain a luxury affair.

 

Today & Tomorrow

With 4K HDR content and displays arriving solidly in the middle market, 2019 was also the year reference-quality playback made its way to the masses. Ironically, it was also the year luxury integration decisively separated itself from the world of trunk slammers, geek squads, and other purveyors of “good enough.”

 

Expect 2020 to be the year when professional-grade digital cinema systems, offering picture and sound exceeding the world’s best movie theaters, make serious inroads in luxury entertainment spaces. Expect to see 8K used not so much to create higher-resolution content as to significantly improve the quality of existing content. And expect to see interior design finally welcomed into entertainment spaces—and designers finally willing to accept the invitation.

—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.

CINELUXE TRENDSETTERS

the most influential people in luxury
home entertainment on 
the trends
that defined 2019

Sam Cavitt, Paradise Theater
on how home theaters are better than movie theaters
and the importance of 
dedicated theater rooms

Ed Gilmore, Gilmore’s Sound Advice
on tunable lighting
, voice control, apps vs. control
systems, 8K, and art walls

Al Patel & Cortney Combs, Enhanced Home
on 
media rooms, outdoor entertainment systems,
designer-friendly tech, 8K, and art walls

Cory Reistad, SAV Digital Environments
on 
media rooms, bulletproof installation, downloading
vs. streaming, and automated lighting

Tim Sinnaeve, Barco Residential
on the emergence of video art walls, and their influence on
artists, integrators, architects, and interior designers

Katherine Spiller, Steinway Lyngdorf
on 
designer-friendly tech, luxury audio systems, room correction, digital cinema, and no-compromise media rooms

Eric Thies, DSI Luxury Technology
on 
the return of home theaters, 8K, art walls, and the
sad lack of integration standards

ALSO ON CINELUXE

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Every Room Deserves Great Acoustics

2019: Beyond Discs & Cinemas

Beyond Discs & Cinemas

2019 was the year in which nothing new happened in the audio/video marketplace, and yet everything changed in the world of home entertainment. We saw no meaningful new AV standards or formats, unless you count the fact that a handful of 8K TVs and projectors hit the market. And we don’t. Not yet. We also saw Dolby expand the capabilities of Atmos in the home, 

upping the number of speakers that could be supported in media rooms or home theater. But that’s more evolution than revolution.

 

So, what changed? In a sense, you could say market forces that have been simmering for a while finally boiled over, and we all had to acknowledge that, whether we like it or not, commercial cinemas are no longer the gold standard by which we judge our movie-watching experiences. 

 

Why Go Out to the Movies?

Granted, blockbuster franchise films still dominate the box office, with billion-dollar worldwide hauls almost being taken for granted. The thing is, though, that’s really the only thing drawing us to the local cineplex en masse anymore. Scour the Top 20 list of highest-grossing films for the year, and you’d be hard-pressed to find anything that isn’t a superhero flick, Star Wars film, Disney movie, or sequel/ remake/reboot of some sort.

 

That doesn’t mean these are the only sorts of films we’re watching anymore. Far from it. It’s simply that these big event films are the only ones that really offer anything we can’t experience (arguably better) at home. They’re meant to be seen in crowds. They’re designed to trigger our popcorn-binging reflex. They are, in short, events.

 

With but a handful of exceptions, anything smaller, more meaningful, or contemplative in the world of cinema is far more likely to find its audiences on sofas or home theater recliners. And the underlying reasons for this are numerous (and a long time coming), but I would argue that the reason this trend hit a tipping point in 2019 is that 4K finally became mainstream. In fact, I would go so far as to say that it’s difficult to buy a new TV now at any price point that doesn’t offer a better image than you’ll find at your local cineplex, and that has a lot more to do with HDR than anything else. Granted, the device on which you do your streaming makes a big difference in terms of the quality of presentation, but who could have imagined just four or five years ago that we would soon be able to stream truly reference-quality imagery and sound into our home cinemas by way of a $99 box and a $15-a-month subscription service? 

 

The display is only half the equation, though. All of those people coming home with new UHD/HDR TVs are also discovering that there’s simply a ton of amazing-looking content no more than a click and a stream away. Sure, you could argue that Netflix has become the equivalent of the $5 DVD bin at Walmart, but the service is also the only place you can watch Martin Scorsese’s new film, not to mention David Attenborough’s latest planet-spanning documentary series

 

Ding Dong, The Disc Is Dead

The rise of new streaming services like Disney+ late this year further nail the coffin closed on commercial cinemas as the pinnacle of popular entertainment. But there’s another mainstay of the movie world that is taking an even worse beating as a result of the rise of streaming. This was the first year since 1993 that I didn’t buy a single movie on a disc of any sort. Discs have defined my entertainment experience since I plunked down $250 for thirteen pounds’ worth of LaserDiscs dubbed The Star Wars Trilogy: The Definitive Edition late that year. When I purchased my current home in 1998, one of its most appealing features was a closet off the main den that would perfectly store and conceal my burgeoning DVD collection. 

 

I’ve probably got one final disc purchase left in me—next year’s 27-disc, nine-film Skywalker Saga collection, which also, poetically enough, carries a $250 price tag and will finally bring my physical home video collection full circle, just as I begin to winnow it down. 

 

Make no mistake, though: I’ll continue to buy films for home consumption. They’ll simply be on Vudu and Kaleidescape going forward. I’m not alone in that, either. Disc sales have been on the decline since 2008 and show no sign of rebounding. We’ll almost certainly never have another disc-based home video format after UHD Blu-ray. And indeed, movie studios are already losing interest in that one (as evidenced by the fact that more and more films are receiving 4K home video releases purely in the digital domain, either streamed or downloaded). 

 

This was also the year in which completely non-traditional forms of media hit the mainstream in a big way, which has to be factored into the decline of cinemas and discs alike. A little show called Critical Role, which started a few years ago as a live-streamed home Dungeons & Dragons game, exploded into the public consciousness thanks to the most successful video Kickstarter crowdfunding project of all time  early in 2019. The eight best friends who started the show have also created a full-fledged “television network” around it, distributed mostly through Twitch and YouTube, which features shows ranging from art tutorials to video game live-playthrough/puppet show mashups to a weekly late-night talk show about painting miniature figurines hosted by that kid from Boy Meets World.

 

And I don’t mean to claim here that rolling dice and roleplaying as elves and half-

orcs is the future of home entertainment or anything, but it’s certainly part of it. The success of Critical Role not just as a show but as a network points to a pent-up desire for something different. Something genuine. And given that virtually anyone these 

some content from the Critical Role “network”

days can get their hands on near-commercial-quality video gear and upload their antics to the internet, it stands to reason that the real innovation in terms of what we view on our TVs and projectors will, in the coming years, increasingly come from the occasional lark of this sort.

 

Meanwhile, Netflix, Amazon, Apple, and other tech companies are sinking hundreds of millions if not billions of dollars into creating new films and TV shows that wouldn’t have looked out of place on cinema screens a few years ago, proving that there’s also still plenty of appetite for mid- to big-budget traditional media in all of the usual genres. It’s simply that the way we view that media has forever changed, and when the entertainment history books are written, I think 2019 will be undeniably viewed as the turning point.

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.

Every Room Deserves Great Acoustics

Every Room Deserves Great Acoustics

When most people think about good acoustics, the first area of a home that comes to mind is an entertainment room. The audio in this space should be pristine—from clear, intelligible dialogue to realistic, three-dimensional special effects. You feel as if you’re in the middle of the movie action, and proper acoustical engineering and treatment of the space contribute just as much as the equipment to delivering this experience. If the acoustics of the space are off, the listening experience will suffer.

 

To prevent this from happening, it’s important that a home theater include properly engineered and installed acoustics customized for the unique sonic attributes of the space. The floor, ceiling, walls, furnishings, etc. often require some level of modification to ensure that the movie audio sounds its very best, without reverberation, echo, or disruption from other sources of sound.

 

But why stop at the home theater? The same acoustical principles of a home theater can be applied in bedrooms, home offices, living rooms . . . really any space that suffers from unwanted external noise or acoustical conditions that conflict with the intelligibility of conversations. Just as a noisy heating and cooling unit can distract you from the plot of a movie, it can be a

literal nightmare when you’re trying to get a good night’s sleep.

 

And that’s just brushing the surface of the annoying sounds that can plague a household. Homes of all sizes and designs can be affected by excessive noise, lack of sound privacy, and an abundance of sound propagation.

 

Think about the things you hear at home on a daily basis: A delivery truck backing out of a neighbor’s driveway, the lawn maintenance crew working at the park across the street, barking dogs, the thump of the home gym treadmill at 5 a.m., and the incessant beat of your son’s garage band are just some of the many examples. They all add up to a lot of racket—most of which you’d probably rather not hear or at least muffle a bit. An acoustical engineer can minimize these audible distractions from any area of the house—not just the home theater.

 

Years ago, all of this commotion may have fallen on deaf ears. Most people worked in an office outside of the home, went to the neighborhood cinema to catch a show, and worked out at the gym. Today, though, we are home a lot, 

using it for a myriad of activities besides just eating and sleeping. We work in home offices, exercise in home gyms, entertain in home theaters, dine in gourmet kitchens, and shop online—subject to all of the audible chaos in and around the home. We cringe when the kids arrive home during a conference call, cover our ears during our son’s gaming marathon, and wait until the baby wakes up from a nap to throw in a load of laundry. Noise can disrupt our lives in so many ways. Thankfully, proper acoustical treatments applied by a professional can help.

 

Often, the remedy necessitates a structural modification of the ceiling or walls. Most homes are built in a way that allows sound to easily transfer from one room to another. Sheetrock is attached directly to studs and joists, which allows sound to move from one material to the next, one room to another. Separating these surfaces through the addition of isolation clips and hangers mitigates the sound propagation. It’s an expense, certainly, and more easily implemented during the construction of a home, but there’s no better way to preserve your sleep and sanity.

 

Other, less extreme remedies to tame the propagation of sound throughout a home involve adding aesthetically pleasing sound absorption materials to a room, such as acoustical plaster on the ceiling surface, fabric on the walls, specialty ceiling tiles, and even furnishings. If it’s sound from outside that’s bothering you, thicker, double-pane windows and heavy draperies can help.

 

Sound quality has an impact on more than just our ability to become fully immersed in a movie. It’s part of our everyday life, in good ways and bad ways. We might like how our audio system sounds in our home theater, but we’d rather not hear it in the bedroom upstairs. The same goes for other noises. They’re a part of the house and our lifestyle, but left untreated, they can interfere with work, play, and even our health. A professionally trained and experienced acoustical engineer can make these issues disappear, creating a more peaceful and healthy home environment.

Steve Haas

Steve Haas is the Principal Consultant of SH Acoustics, with offices in the NYC & LA
areas. He has been a leading acoustic and audio design & calibration expert for more
than 25 years in high-end spaces ranging from home theaters, studios, and live music
rooms to major museums and performance venues.

Why Aren’t Enthusiasts Honest (With Themselves)?

I would like to say AV enthusiasts are a weird bunch, but the truth is all enthusiasts of any genre are weird—present company included. One of the things I find most peculiar about enthusiasts of any persuasion is their—ahem, our—incessant need to “lie” to ourselves. What I mean by that is simple: We often lie or convince ourselves that we require, need, or even have

more than we actually do.

 

I have been running a YouTube channel aimed squarely at AV enthusiasts since 2013 (I think), and in all that time one “truth” has remained constant: Everyone claims to need or have more, when in reality they often do with less. For example, if I talk about or review an AV receiver, one of the common responses I get is, “Does it have [insert some insane request here]?” When I inevitably reply, “No”, the response quickly turns to, “Well, I would’ve bought it, but . . .”

 

Yeah, right.

 

What’s more interesting is the amount of data YouTube and other services provide creators like me that show just how not cutting-edge enthusiast are—or at least think they are. More often than not, enthusiasts shop solely on price and not on the features or performance they so dearly covet. Depending on what types of links within my videos they click on, I can quite literally see how they shop for AV gear. And I have to tell you, it’s never how they claim to.

 

More often than not, if enthusiasts choose to click on my

links in order to shop for AV gear, they often start by going to the product I talked about. But from there, they go on an exploration of other equipment that I would classify often as comparable, but which is almost always less expensive.

They only really buy what I’ve reviewed when it truly is their cheapest option—for example, Crown Audio’s XLS DriveCore 2 amplifiers (shown at right). These amplifiers cost a few hundred dollars each, but put out Krell-like power ratings. It doesn’t hurt that the Crown amplifiers also sound good, but you get my point.

 

All of this data flies in the face of enthusiasts’ public statements that products must offer the Earth, moon, and stars

Why Aren't Enthusiasts Honest (With Themselves)?

for them to consider purchasing, and that their purchasing decision is always about performance—absolutely.

 

I just don’t understand why we do this to ourselves. There’s no shame in having a $300 AV receiver if a $300 AV receiver gets the job done. There’s no shame in only having a 50-inch TV. I get the need to want to keep up with the Joneses, but the reality is the Joneses don’t even have what you think they do, for we’re all the Joneses.

Andrew Robinson

Andrew Robinson is a photographer and videographer by trade, working on commercial
and branding projects all over the US. He has served as a managing editor and
freelance journalist in the AV space for nearly 20 years, writing technical articles,
product reviews, and guest speaking on behalf of several notable brands at functions
around the world.

Does a Luxury Cinema Really Need a Projector?

Does a Luxury Cinema Need a Projector?

Here’s a pop quiz to start your day with: How big is the TV you see in the image above? If you’re familiar with this specific model (LG’s C9 OLED), the proportions of its pedestal may give you some idea. The rest of you probably think this is an unfair question. You’re trying to look for other clues that could give it away: How tall are those ceilings? How wide is that wall? More importantly, how far away from the screen was the camera when this photo was taken?

 

That’s actually exactly my point. For the record, the image is of a 77-inch display. But if I had told you it was 55, or 65, or even 88 inches, would you have balked? Probably not, because you intuitively understand that a display’s screen size isn’t the beginning and end of the conversation when it comes to how large it actually appears to your eyes. It’s the relationship

between the display size and the distance from seat to screen that determines the degree to which an image fills your field of view.

 

Not to pick on my colleague and friend John Sciacca here, but in his recent piece “Rediscovering My Joy for Home Theater,” he says, “Watching movies on a 115-inch screen is incredibly more involving than a 65-inch one.” What John is leaving unsaid there, though, is, “. . . from the same seating distance.” That last bit, that unspoken relationship between seat and screen, was taken for granted in John’s story, because to him it’s obvious. But that fact often gets tossed out the window completely when the gatekeepers of home cinema attempt to discredit the “lowly” TV as a legitimate screen for a proper home entertainment system.

 

I think this outdated perception of projectors as the only valid screens for home cinema systems is probably rooted in the equally outdated notion that commercial cinemas are the gold standard against which the home movie-watching experience should be judged. As I’ve argued in the past, that ship has sailed. 

These days, with a few rare and special exceptions aside, commercial cinemas are simply a way for most people to check out the latest Avengers or Star Wars flick before someone else ruins the plot for them. Or maybe they just want to view those big event movies with a few more subwoofers than their home AV systems can accommodate. But I guarantee you that almost none of the people who opt to go to their local movie theater to see the latest blockbusters would tell you that the allure of seeing an image bounced off a big sheet of perforated vinyl was what drew them out of the comforts of their own homes.

 

And mind you, I’m not claiming there aren’t plenty of valid reasons to install a projector at home. In his own media room, John sits roughly 12 feet from his screen, by his own estimation. He also has two kids at home, so movie-watching is often a whole-family experience. For his needs and his lifestyle, yeah, a projector is absolutely the right screen.

 

I, on the other hand, only have to worry about my wife and me. The only other permanent resident is Bruno, our 75-pound pit bull, and more often than not he either leaves the room when we watch movies or curls up in my lap and goes to sleep. We also only sit about six and a half feet from the screen in the main media room. The smallest high-performance home cinema projection screen I’m aware of is an 80-incher that would frankly be too much at that seating distance. A 75-inch display is pretty much perfect for this room, as it takes up a healthy 45.5 degrees of our field of view—a little more than

THX’s recommended 36 degrees, but so be it. We’d rather have a bit too much screen than a bit too little. But we don’t want The Last Jedi turning into a tennis match, either.

 

Interestingly enough, John’s 115-inch projection screen, when viewed from 12 feet away, takes up roughly 38.5 degrees of his field of view. In other words, my 75-inch screen looks bigger to me and my wife than his 115-inch projection screen looks to him and his family.

 

Am I bashing John’s choice of screens? Of course not. What works for him works for him, and what works for me

How to Determine Your Viewing Distance

 

If you want figure out your screen size based on viewing distance, or vice versa, but without having to wade through technical specs or do any heavy math, click this link.

works for me. And I’m sure he would agree. Different rooms. Different families. Different viewing habits. Different solutions. Without a doubt, we’re both enjoying a better movie-watching experience than we would at the local cineplex, and his system gives him one big advantage over mine: He gets to watch ultra-widescreen 2.4:1 aspect-ratio films without any letterboxing.

 

In addition to the larger perceptual screen real estate, though, my TV also gives me better black levels, better dynamic range, better peak brightness, and better color uniformity than any two-piece projection system could. And if for whatever reason we ever decided to watch a movie with the lights on, we wouldn’t have to worry about the screen washing out. (Not that we would, mind you. My wife and I prefer to keep any and all distractions to a minimum when watching movies, going so far as to put our mobile phones away or turning them off entirely. I’m just saying that we could leave a light on if we wanted to.)

 

And yet, the naysayers and gatekeepers would have you believe that for whatever reason my viewing experience is subpar. That I would somehow be better served by lacking black levels, middling contrasts, less peak brightness, and worse screen uniformity, simply because that would be a more faithful facsimile of the local cineplex.

 

To which I say this: The New Vision Theatres Chantilly 13 across town isn’t the yardstick by which I judge my movie-watching experience at home anymore. My home cinema system looks better and sounds better, and quite frankly has a better selection of films from which to choose. Granted, if we had a much larger room, or typically invited large groups of friends over to watch movies, a projection screen would likely be a superior alternative to our 75-inch TV on the balance sheet. If we had two or three rows of seating? No question about it—we would need a projector.

 

The beauty of current AV gear, though, is that you don’t have to change your lifestyle or viewing habits to have a better-than-movie-theater experience at home. You can assemble a reference-quality home cinema that conforms to your lifestyle, not the other way around. And if, like me, that means employing a gigantic TV as your screen of choice, you shouldn’t pay much attention to anyone telling you you’re doing it wrong, or that your system doesn’t count as “luxury.” Chances are, they’re trying to sell you something.

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.

Rediscovering My Joy for Home Theater

Rediscovering My Joy for Home Theater

I’d already planned to write a wrap-up post on my journey to get a new projector to update my personal home theater, but Andrew Robinson’s recent “4K is for Fanboys,” makes the timing of this post even more relevant.

 

As I mentioned in “It’s Time to Update My Theater,” technology had passed my previous Marantz projector by, and it had been quite some time since we had used it. Instead, we just watched our 65-inch TV screen full time. (I know, a first-world problem for sure.) Sure, it was still enjoyable, but it actually curtailed the number of movies we watched. When the projector was in action, we would generally watch two to three movies per week, making an evening around dropping the lights and focusing

on the big screen. But with the projector out of action, we went to watching two to three movies per month.

 

After the new projector arrived, I couldn’t wait to see it in action. Instead of waiting until I could get some help to properly install the JVC by retrofitting the new cabling required (sending 4K HDR signals upwards of 50 feet is beyond the limits of my old HDMI cable, and I’ve gone to an HDMI-over-fiber solution from FIBBR) and mounting the JVC, I just set it on its box on top of our kitchen counter, strung the FIBBR cable across the floor, did a quick-and-dirty alignment and focus, and settled in to watch a movie on the big screen.

 

And from the opening scene, I was ecstatic with my new purchase. The blacks were deep and cinematic, colors were bright and punchy, edges were sharp and defined, and, blown up to nearly 10 feet, the projector’s 4K image had incredible resolution and detail. For me, this is what true theater-at-home is all about.

 

Watching movies on a 115-inch screen is incredibly more involving than a 65-inch one. And with the projector, it is an active viewing experience, with the lights down and distractions minimized. In the short time I’ve had the new projector—less than two weeks—we’ve already watched seven films with it, and each time I’m giddy that this is something I’m actually able to enjoy in my own home.

 

Coupled with my 7.2.6-channel audio system, movies look and sound as good as virtually any commercial theater.

I’m not a filmmaker as Andrew is, and I’m not a student of film as site editor Mike Gaughn is. I don’t watch movies to dissect framing, composition, or lighting. And I’m sure there are many subtleties, references, and hat tips in films that I’m completely oblivious to. But, the fact is, most times when I go to watch a movie, it’s to relax and enjoy myself. And I’d imagine that’s what most people are looking to do with their home entertainment systems. I’m not looking for Ready Player One to change my world view, or for Alita: Battle Angel to offer a commentary on anything, or for John Wick to teach me any lessons, well, except for maybe on the benefits of rapid mag changes. 

 

I’m looking to sit back with a martini and be entertained for a couple of hours.

 

At the end of the day, unless you are a filmmaker evaluating your work, or a professional film critic getting paid to review the work of others, all of this “home theater stuff” is really just a hobby designed to be fun and enjoyable. And any technology improvements that can help people to achieve a better experience—be it 4K, HDR, Dolby Atmos, 3D, or other—is an improvement in my book.

 

To my eye, 4K HDR films look better, especially when blown up to large sizes. And, to my ear, Dolby Atmos (or DTS:X) soundtracks are more exciting and involving. And if I’m electing to spend my precious time watching something—be it Survivor on broadcast cable, Jack Ryan streaming on Amazon, the latest Star Wars, Avengers, or Pixar entry, or just some new release from the Kaleidescape Store, then I’d like to do so in the highest quality possible.

 

And if that makes me a 4K Fanboy as Andrew suggests, then sign me right up!

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.