Amplificador Reymio KAP-777 (via Combak site)

Uahooo….It’s a very musical! Sitting the way down deep on the sofa and comfortably keep listening. It’s the first impression and experience you will get out of KAP-777.

Reimyo KAP-777 is a new and first Solid-State Power Amplifier Combak Corporation has designed. It’s a unique Single Mos FET driven power amplifier.

Designed and manufactured through “High Tech Fusion” a technology cooperative program by major four audio and recording studio technology leaders combine their finest technologies to create “The State-of-Art” performance power amplifier.

The “High Tech Fusion” includes accumulated Know-How of the world-known K2 technology, Recording Studio technology, our traditional and the World-known Harmonix Resonance conditioning technology and company’s creative original audio technology.

7mm thick heat-sink machined from a huge size aluminum block, Own designed RCA connectors, home-made high speed and neutral sound internal wires, custom-made RIFA capacitors, custom-order toroidal transformers, special designed Harmonix tuning feet are fewer among numerous components designed specifically for KAP-777.

The sound of Reimyo KAP-777 is rarely musical, comfortable sound to listen. KAP-777 can manage all frequency incomparably well balance and precise with rich details. The sound is so clear and natural! The bass is powerful and deep. The wealthy harmony and natural sound of mid-range is realistic to live and the image is perfectly located in place. The vocal sounds catchy, lyrics and seductive.

Reimyo KAP-777 is virtually perfect power amplifier you have ever dreamed for a long. Now you can have it!


Circuitry Design Dual mono Construction. 2-channel Stereo Amp.
Amplification Solid State Single MOSFET
Frequency Range 5Hz~100kHz
S/N ratio Better than 100dB
THD Better than 0.05%
Inputs 1 x RCA (Unbalance)
1 x XLR (Balanced)
Impedance 40Kohms (Balanced)
Polarity Hot-2, Cold-3, Gnd-1
Voltage 117V or 230V (50/60Hz)
Speaker driving load
Above 1.5ohm
Continuous driving power 200W at 8ohm
400W at 4ohm
Input Sensitivity 0.77V
Power Consumption 95W
Actual size 200mm(H) x 430mm(W) x 460mm(D)
Overall 215mm(H) x 430mm(W) x 492mm(D)
(include feet & terminals)
Actual Weight 33.0Kg
Standard Accessory TU-505EX-MK2 Tuning Insulator set of 4 pcs.
A pair of XLR shorted Pin



・Editor‘s Choice 2017 Award

by Audio Video

・Editor‘s Choice 2015 Award

By What HiFi?

・Award 2013

By Image HiFi Gernany

・Best High End 2011

By Enjoy the music U.S.A

・Editor‘s Choice Most Wanted Components
2011 Award

By Stereo Times U.S.A.

・Grand Prix 2011

By Stereo Sound Japan

・Best Value ‘11 – ‘12

By Stereo Sound Japan

Saiba mais sobre o Dolby Vision (via YouTube / Dolby site)

Link para a página completa aqui.

Dolby Vision transforms your TV experience with dramatic imaging—incredible brightness, contrast, and color that bring entertainment to life before your eyes.

There’s More to the Story with Dolby Vision

  • Astonishing Brightness

    Your picture blazes from the screen up to 40 times more brightly than on today’s standard TVs.

  • Deeper Darks

    Dolby Vision™ provides a new level of richness and precision that makes every scene look more real and nuanced.

  • Expanded Contrast

    By using a much wider range of brights to darks, Dolby Vision more closely captures the look of the real world.

  • Ultravivid Colors

    Dolby Vision unlocks many more hues across the full brightness range—some never before seen on standard televisions.

  • Refined Detail

    Your display reveals the nuanced textures and patterns of our world through the precise use of expanded color and contrast ranges.

  • Enhanced Dimensionality

    The TV screen shows you more lifelike forms, with realistic shadows and crisp edges that impart a subtle but convincing three-dimensional feel.

The HDR Revolution

Dolby Vision™ is advanced high dynamic range (HDR). A new capability in today’s cutting-edge televisions, HDR complements HD and UHD (4K) displays. Rather than increasing resolution, as 4K does, HDR focuses on the brightness, contrast, and color of the image. While these benefits have been talked about in the past, one look at a new HDR display reveals a powerfully enhanced TV image.

Dolby Vision display technology is leading the HDR revolution.


Bridge Áudio está com ofertas imperdíveis de equipamentos e sistema para home cinema, e este ano realizará campanhas constantes para levar até você essas oportunidades. São muitas opções em condições especialíssimas para você materializar o seu desejo de ter um cinema em casa ou mesmo um sistema de áudio de alta fidelidade.

Durante todo o ano estaremos promovendo sugestões de sistemas para home cinema elaboradas com foco no custo-benefício e na integração com seu ambiente. Acompanhe em nossas redes sociais ou aqui, em nossa revista eletrônica.

Confira esse excelente combo, com parcelamento em dez vezes. Lembrando a todos que esta é uma oferta especial; disponível por tempo limitado e/ou enquanto houver estoque.



• 01 Receiver 5.1 Dolby / TDAS / Full HD Sherwood

• 01 Subwoofer Jamo

• 01 Blu-ray Sony

• 01 Projetor DLP Optoma

• 01 Tela elétrica widescreen 92 polegadas Elevare

• 01 Suporte para projetor Elevare

• 01 Filtro de linha 5 tomadas 2000W

• 01 Transformador 110v/220v 2KVA

• Kit Cabeamento (01 cabo hdmi 4K high speed 10m, 2 cabos hdmi 4K high speed 2m/cada, 03 cabos rca 2m/cada, 01 cabo rca 3m, 01 cabo óptico 3m, 50m de fiação OFC 2×1,5mm)

• Instalação e Configuração Otimizada

• Valor total do sistema: R$ 14.900,00 (quatorze mil e novecentos reais) 

• Condições de pagamento: parcelamento em 10 vezes com entrada de 30%

• 05 Caixas de embutir Wave (frameless, sem borda aparente)


Caixas acústicas Monitor Audio PL500 II (via Monitor Audio site)

A Bridge Áudio orgulhosamente apresenta um dos lançamentos mais celebrados do fabricante: Monitor Audio PL500 II. Uma distribuição oficial Mediagear.

Measured against its peers, there is no finer audio ambassador than the majestic PL500 II. Here you’ll discover the essence of Platinum II engineering: silken layers of the finest high frequency definition suspended on an explicit midrange, seamlessly underpinned by a deep, clean and responsive bass foundation. More than ever the sound has a physical authority, conveying the ‘live’ character of instruments, voices and atmospheres as if they had materialised three-dimensionally in the air around you.

This is fidelity in the raw, magnificent in stature, seductive for its rhythmic subtlety and utterly captivating in the sheer magnitude of its dynamic impact. Our most sophisticated system of no fewer than four 8” RDT®II bass drivers, twin 4” RDT II midrange transducers and MPD tweeter will render the entire harmonic sweep of every work with pin sharp timing and accuracy. Your music and film sound alive, immersive and uncompromised.

  • 4 x 8″ RDT®II long throw bass drivers
  • 2 x 4″ RDT II mid-range drivers
  • MPD (Micro Pleated Diaphragm) high frequency transducer designed specifically for Platinum II
  • 4 x HiVe®II ports
  • New patented ‘DCF’ (Dynamic Coupling Filter) mechanism for more natural sound
  • Bespoke speaker terminals and footings
  • Underhung, edge-wound voice coils: greater driver efficiency and lifelike dynamics, less distortion
  • Bolt through drivers: clearer sound and cleaner aesthetics
  • Anti-Resonance Composite (ARC) mid-range housings and baffle components: reduced cabinet vibration, purer sound quality
  • TLE (Tapered Line Enclosure) sealed internal enclosure for mid-range drivers: greater sound accuracy and reduced cabinet vibration
  • Hand-upholstered front baffle: the very highest quality Inglestone leather supplied by Andrew Muirhead
  • Individual driver grilles
  • Finish options: Santos Rosewood or Ebony natural wood veneers with clear gloss piano lacquer, or Piano black gloss lacquer

Projetor DLP Optoma GT1080 (via Optoma site)

Os projetores da Optoma você encontra na Bridge Áudio. Consulte.


Experience games and movies the way you have never seen before on an Optoma GT1080 High Definition gaming projector.

Designed for serious gamers like you, the Optoma GT1080 delivers super-fast 2800 lumens bright HD games to the screen with stunning color accuracy and a 25,000:1 contrast ratio for maximum image detail and improved visibility. Allowing you to acquire and assess information easily and to formulate a faster, more accurate response to defeat your opponents.

Equipped with the level of all digital connectivity you need for today’s gaming gear, the Optoma GT1080 will keep you on top with two HDMI ports, MHL connectivity, VESA 3D sync port, razor sharp 0.5:1 short throw lens to deliver larger than life images even in space constrained environments, powerful 10-Watt audio, 12V output, whisper quiet operation and up to 6500-hour long lamp life for worry-free gaming.


Tecnologia do display Single 0.65” DC3 DMD DLP® Technology by Texas Instruments™
Resolução Nativa HD 1080p (1920 x 1080)
Resolução máxima WUXGA (1920 x 1200)
Brilho 2800 lumens
Relação de contraste (típico) 25,000:1 (full on/full off)
Cores Reproduzidas 1.07 Billion
Vida e tipo de lâmpada 6500/6000/5000 (Bright/Eco/DB), 190W
Método de projeçãoa Front, rear, ceiling mount, table top
Correção Keystone ±40° Vertical
Uniformidade >80%
Compensação 116%
Proporção de tela 16:9 Native, 4:3 compatible
Relação de comprimento 0.5 (distance/width)
Distância de projeção 1.64’–11′ (0.5–3.35 m)
Tamanho da Imagem (Diagonal) 45.3″–303.2″ (1.06–7.74 m)
Lentes de projeção F=2.8, f=7.42 mm and focus
Zoom 0.8 ~ 2.0
Áudio 10-Watt speaker
Nível de ruído 26dB (Eco)
Controle Remoto Backlit IR remote control
Temperatura Operacional 41–104°F (5–40°C), 85% max humidity
Alimentação AC Input 100–240V, 50–60Hz, auto-switching
Consumo de energia Max 262W (Normal), Min 193W (Eco), <0.5W (standby-ECO)
Compatibilidade para Computador WUXGA, UXGA, SXGA+, WXGA+, WXGA, SXGA, XGA, SVGA, VGA
Compatibilidade de vídeo NTSC, PAL, SECAM, SDTV (480i), EDTV (480p), HDTV (720p, 1080i/p)
Compatibilidade 3D Supports all HDMI 1.4a mandatory 3D formats (Frame pack, side-by-side, top-bottom) and up converts frame rate from 60Hz to 120Hz or 24Hz to 144Hz (i.e 60 or 72 frames per eye). 3D glasses are needed and are sold separately. Refer to user manual for details.
Faixa de Varredura Vertical 24–85Hz, 120Hz
Faixa de Varredura Horizontal 15.375–91.146KHz
Latency < 14 msec
Controle do usuário Complete on-screen menu, adjustments in 27 languages
Conectores I/O Two HDMI v1.4a, 3D VESA, audio-out, USB mini-B, 12V trigger
Loop through Audio: VAO audio out, HDMI VAO audio out supported (VAO in normal mode, fixed in Standby)
Segurança Kensington® lock, security bar and keypad lock
Peso 6 lb (2.7 kg)
Dimensions (W x H x D) 12.4″ x 4.0″ x 8.8″ (315 x 102 x 224 mm)
Garantia 1-Year Limited Parts and Labor, 90-Days on Lamp
O Que Vem Na Caixa GT1080 projector, carrying case, lens cap, HDMI cable, AC power cord, remote control, batteries for remote, multilingual CD-ROM, user’s manual, quick start card, and warranty card.


Dicas para resolver problemas de acústica em sua sala de home cinema ou audição crítica

A Bridge Áudio oferece soluções de acústica para sua sala de home cinema, com projeto e consultoria especializada. Contamos com os painéis absorvedores, difusores e demais materiais das empresas Arqen, VK Acoustics, entre outras renomadas do segmento. Consulte.


Durante décadas a fio, testemunhei a maioria das revistas especializadas em “alta fidelidade”, daqui e do exterior, massacrando os ouvidos dos audiófilos com informações ambíguas e até mesmo incorretas sobre a acústica das salas de música. Infelizmente, cenário que ainda prevalece. Só que essa lenga-lenga migrou para a internet.

A consequência disso veio na forma perversa de muitas salas que, construídas com base nessas “orientações”, acabaram exibindo propriedades acústicas abomináveis. Foi sugerido aos consumidores que enchessem suas salas com cortinas, tapetes e estofados. E esses itens pouco ou nada absorvem de baixas frequências. Absorvem medianamente as médias frequências, e absorvem rigorosamente todas as altas frequências. Eis por que essa “técnica” de tratar acusticamente produz padrões sinistros de reverberação.

Quem não tem ouvidos treinados acaba se acostumando com o som medonho resultante. Os menos avisados desenvolvem referências medíocres, acreditando que atingiram píncaros de qualidade porque seguiram à risca instruções abalizadas de autoridades credenciadas.

Numa sala dessas, as altas frequências sequer são percebidas. Porque mal deixam os falantes e já são eliminadas de pronto pelos “aparatos acústicos recomendados”. No outro extremo estão as baixas frequências. Que ficam ribombando nas superfícies da sala por um tempão. No meio termo estão as médias frequências, que soam por um período intermediário entre os tempos de reverberação dos graves e os dos agudos. Dá para imaginar como é o som numa sala dessas? Amigos, é algo aflitivo. Nada a ver com qualquer noção de realidade.

Infelizmente, esse som hostil também resulta de outros três entraves acústicos. O primeiro deles é que as construções atuais se valem de paredes que classifico como “sonicamente transparentes”. O segundo é o tamanho miniaturizado dos cômodos. O terceiro é o formato “caixa de sapatos” das salas.

Paredes sonicamente transparentes permitem que ruídos externos penetrem com facilidade nas salas, prejudicando as audições. Reduzindo a subnitrato de pó de traque a gama dinâmica dos programas. Remédio: incrementar o isolamento acústico. Uma dica que sempre surte bons resultados: hermetizar melhor portas e janelas, pois esses itens isolam menos do que as paredes. Num patamar acima disso está o tratamento mais sério e, sem dúvida, que exige algum investimento. De preferência uma consultoria técnica experiente também.

Sobre o tamanho das salas, um dos principais basilares da acústica é: quanto menor o local, pior a acústica. E essa questão é 100% física, e não um daqueles indefectíveis tópicos subjetivos, passíveis de polêmicas intermináveis. A manifestação de tal inconveniente ocorre nas baixas frequências. Elas ficam consideravelmente fora de controle, por razões de comprimento de onda.

O formato caixa de sapatos produz três pares de superfícies paralelas: as duas paredes maiores, as duas menores e piso e teto. O resultado chama-se ‘ondas estacionárias’, nome dado a um fenômeno que combina o reforço de algumas baixas frequências com a forte atenuação de outras. Por vezes chegando ao extremo do cancelamento.

Com relação ao tamanho físico da sala, nada ou muito pouco a fazer. O excesso de reverberação, que não deve ser combatido com cortinas, tapetes e estofados, pode ser controlado com painéis absorsores especializados. As ondas estacionárias podem ser controladas com painéis difusores.

Estudos científicos de profundidade foram conduzidos por cientistas durante anos a fio para estabelecer os padrões de exigência das pessoas acostumadas a ouvir música e ir ao cinema. Os resultados nos permitem propor critérios modernos e precisos de onde instalar esses painéis visando atender aquelas exigências.

A primeira constatação, praticamente consensual entre as pessoas que colaboraram com as pesquisas, é que as reflexões frontais de baixas frequências são abominadas. Segue que as paredes atrás das caixas acústicas dos canais L, C e R devem ser revestidas com painéis absorsores de baixas frequências. Isso elimina de cara cortinas e tapeçarias, além de painéis construídos com fibra de vidro, lã de rocha e espumas tipo Sonex. Afinal, nada disso é solução para absorver as baixas frequências.

Outra constatação consensual é que as reflexões que chegam pelo chão e pelo teto são tão abomináveis quanto as frontais. Basta localizar os pontos nevrálgicos onde ocorrem as reflexões, que podem ser cirurgicamente determinados se você, de sua poltrona, mirar as caixas acústicas, uma por vez, através de um espelho localizado no chão e no teto.

Isto feito, uma das alternativas é aplicar painéis especializados no entorno desses pontos nevrálgicos. Como isso dificilmente pode ser feito no piso, recomendo o uso de um carpete especial para ao menos amenizar o problema. O carpete não precisa nem deve ser aplicado sobre todo o piso da sala. Apenas o suficiente para atenuar as reflexões frontais que chegam por baixo, com certa margem.

A parte frontal está resolvida. O prêmio são enormes benefícios para a estereofonia gerada pelos canais L e R, e aperfeiçoamento significativo dos sinais provenientes do canal C.

Muitas salas de home theater são montadas a partir de um móvel frontal. Nesses casos, os painéis especializados podem ser customizados para que suas faces externas coincidam com o fundo do móvel. Nenhuma dificuldade.

Painéis difusores ajudam a compensar os efeitos das ondas estacionárias. Alguns deles também absorvem parcelas consideráveis de energia.

Outro engano muito comum é imaginar que as reflexões laterais devem ser eliminadas ou combatidas. Aquelas pesquisas a que me referi antes deixam claro que todos nós apreciamos muito as reflexões laterais. Especialmente as que nos chegam com ângulos de 60⁰ e com intensidade ligeiramente abaixo das dos sinais diretos.

O que fazer? Nada. Deixar que as paredes da sala produzam as reflexões desejadas. Entretanto, se isso não acontece em seu caso, também é possível usar elementos reflexivos. Como biombos de madeira com espessura mínima 50 milímetros. Se preciso, os biombos podem ser montados sobre rodízios para facilitar a mobilidade.

Onde colocar os biombos? No alinhamento dos pontos nevrálgicos das reflexões, que podem ser determinados com a técnica do espelho. Digamos, um mínimo de meio metro para cada lado do ponto nevrálgico e um máximo de um metro para cada lado. A altura pode ser pouco menor que a da sala.

As reflexões laterais aumentam a largura aparente do palco sonoro, potencializando muito a qualidade da imagem estereofônica. As reflexões que chegam da parede do fundo precisam ser controladas. Como? Aplicando-se painéis difusores por toda a parede. Os cálculos matemáticos envolvidos são muito pesados e indispensáveis. Ou se joga dinheiro bom fora.

Ainda temos que pensar nas duas paredes laterais. O melhor a fazer é aplicar mais painéis difusores. Isso ajuda a compensar os males trazidos pelas ondas estacionárias, especialmente os efeitos perversos de uma distribuição de energia pela sala sem compromissos com a homogeneidade. Se você acha que há muitos difusores em relação aos absorsores, informo que os painéis difusores também absorvem parcelas consideráveis de energia.

Ainda assim, é possível que a sala necessite mais absorção. Nesse caso, o tapete do piso pode ser aumentado em área. Se apenas isso não resolver, ainda resta uma boa parte do teto que pode receber painéis absorsores. Claro, todos especializados. De preferência, com superfícies inclinadas, de sorte a quebrar o paralelismo cima-baixo.

Sobre os subwoofers, é provável que o vendedor da loja tenha dito que ele pode ficar em qualquer lugar. Não acredite. O melhor é adquirir dois subs e começar a pensar em sua montagem deixando ambos simétricos em relação ao eixo medial da sala. Serão no mínimo muitas horas para encontrar o melhor ajuste. Ainda assim podem sobrar graves na sala. Não vamos confundir extensão das baixas frequências com mais energia do que é preciso ter para reproduzir efeitos com qualidade de cinema.

E se sobrar graves? Lembre-se do que disse antes sobre não ter o que fazer em função dos comprimentos de onda. Entretanto, uma certa dose – bem modesta – de remédio pode ser ministrada com o uso dos famosos bass traps. Que preferencialmente são instalados nos cantos verticais das salas e eventualmente nos cantos horizontais.

Observe que essa maneira de tratar acusticamente o Home Theater contrasta com a ideia muito difundida de que o melhor é distribuir aleatoriamente os elementos acústicos pela sala. Por que? Porque levamos em conta as exigências das pessoas e criamos padrões reflectométricos customizados, e nada fortuito ou incerto.

*O autor é o engenheiro e professor Luiz Fernando O. Cysne. Texto originalmente publicado em novembro de 2015, no seu livro “A Nova Bíblia do Som”.


A Bridge Áudio está com ofertas imperdíveis de equipamentos e sistema para home cinema, e este ano realizará campanhas constantes para levar até você essas oportunidades. São muitas opções em condições especialíssimas para você materializar o seu desejo de ter um cinema em casa ou mesmo um sistema de áudio de alta fidelidade.

Durante todo o ano estaremos promovendo sugestões de sistemas para home cinema elaboradas com foco no custo-benefício e na integração com seu ambiente. Acompanhe em nossas redes sociais ou aqui, em nossa revista eletrônica.

Confira o primeiro de muitos combos. Lembrando a todos que esta é uma oferta especial; disponível por tempo limitado e/ou enquanto houver estoque.



• 05 Caixas de embutir Wave (frameless, sem borda aparente)

• 01 Receiver 5.1 Dolby/DTS/Bluetooth/4K Denon

• 01 Subwoofer Wave

• 01 Blu-ray Sony

• 01 Projetor DLP Optoma

• 01 Tela elétrica widescreen 92 polegadas Elevare

• 01 Suporte para projetor Elevare

• 01 Filtro de linha Panamax

• 01 Transformador 110v/220v 2KVA

• Kit Cabeamento (01 cabo hdmi 4K high speed 10m, 2 cabos hdmi 4K high speed 2m/cada, 03 cabos rca 2m/cada, 01 cabo rca 3m, 01 cabo óptico 3m, 50m de fiação OFC 2×1,5mm)

• Instalação e Configuração Otimizada

• Valor total do sistema: R$ 16.000,00 (dezesseis mil reais)

• Condições de pagamento: à vista ou em até 10 vezes com entrada de 30%



A nova linha RZ Series da Onkyo (via Onkyo site)

Onkyo's TX-RZ8207.2-Channel Network A/V Receiver

TX-RZ820   New!

7.2-Channel Network A/V Receiver

250 W/Ch (6 Ohms), 130 W/Ch (8 Ohms)

THX Certified Select Theater Reference Sound

VLSC Noise Filtering on All Channels

Onkyo's TX-RZ7207.2-Channel Network A/V Receiver

TX-RZ720   New!

7.2-Channel Network A/V Receiver

225 W/Ch (6 Ohms), 110 W/Ch (8 Ohms)

THX Certified Select Theater Reference Sound

5.2.2-Channel Dolby Atmos® & DTS:X™

Onkyo's TX-RZ6207.2-Channel Network A/V Receiver

TX-RZ620   New!

7.2-Channel Network A/V Receiver

215 W/Ch (6 Ohms), 100W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X™

HDMI® 7 In (1 Front) / Main Out, and Sub Out

Onkyo's PR-RZ510011.2-Ch Network A/V Controller


11.2-Ch Network A/V Controller

THX® Ultra2™ Plus Certification

11.2 Multichannel & XLR Pre-Outs

DTS:X™ & Dolby Atmos® up to 7.2.4 Channels

Onkyo's TX-RZ310011.2-Channel Network A/V Receiver


11.2-Channel Network A/V Receiver

200 W/Ch (6 Ohms), 140 W/Ch (8 Ohms)

THX® Select2™ Plus Certification

DTS:X™ & Dolby Atmos® up to 7.2.4 Channels

Onkyo's TX-RZ11009.2-Channel Network A/V Receiver


9.2-Channel Network A/V Receiver

200 W/Ch (6 Ohms), 140 W/Ch (8 Ohms)

THX® Select2™ Plus Certification

DTS:X™ & Dolby Atmos® up to 5.2.4 (7.2.4 with amp)

Onkyo's TX-RZ8107.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

200 W/Ch (6 Ohms), 130 W/Ch (8 Ohms)

THX Select2 Plus Theater Reference Sound

5.2.2-Channel Dolby Atmos® & DTS:X®

Onkyo's TX-RZ7107.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

180 W/Ch (6 Ohms), 110 W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X®

THX Select2 Plus Theater Reference Sound

Onkyo's TX-RZ6107.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

170 W/Ch (6 Ohms), 100 W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X®

AccuEQ Room Calibration with AccuReflex

Onkyo's TX-NR7777.2-Channel Network A/V Receiver

TX-NR777   New!

7.2-Channel Network A/V Receiver

THX® Certified Select™ Reference Sound

220 W/Ch (6 Ohms), 110 W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X®

Onkyo's TX-NR6767.2-Channel Network A/V Receiver

TX-NR676   New!

7.2-Channel Network A/V Receiver

5.2.2-Channel Dolby Atmos® & DTS:X®

210 W/Ch (6 Ohms), 100 W/Ch (8 Ohms)

HDR10 and Dolby Vision Compatible

Onkyo's TX-NR5757.2-Channel Network A/V Receiver

TX-NR575   New!

7.2-Channel Network A/V Receiver

5.2.2-Channel Dolby Atmos® & DTS:X®

170 W/ Ch (6 Ohms), 80 W/Ch (8 Ohms)

HDR10 and Dolby Vision Compatible

Onkyo's TX-SR3735.2-Channel A/V Receiver

TX-SR373   New!

5.2-Channel A/V Receiver

155 W/Ch (6 Ohms), 80 W/Ch (8 Ohms)

Dolby® TrueHD & DTS-HD Master Audio™

HDMI® 4 In / 1 Out (HDR / HDCP 2.2)

Onkyo's TX-NR7577.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

180 W/ Ch (6 Ohms), 110 W/Ch (8 Ohms)

THX-Certified Amp Quality

5.2.2-Channel Dolby Atmos® & DTS:X®

Onkyo's TX-NR6567.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

170 W/Ch (6 ohms), 100 W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X®

Chromecast built-in and AirPlay

Onkyo's TX-NR5557.2-Channel Network A/V Receiver


7.2-Channel Network A/V Receiver

140 W/Ch (6Ohms), 80 W/Ch (8 Ohms)

5.2.2-Channel Dolby Atmos® & DTS:X®

Chromecast built-in and AirPlay

Onkyo's TX-SR3535.1-Channel A/V Receiver


5.1-Channel A/V Receiver

140 W/Ch (6 Ohms), 80 W/Ch (8 Ohms)

True Driving Power from Discrete Amp Circuits

HDMI® 4 In / 1 Out




A Bridge Áudio está lançando mais um combo de sua promoção especial para 2017.

Nessa configuração premium apresentamos caixas tipo torre, sistema surround Dolby Atmos e um par extra de caixas de embutir/gesso para sonorização de um segundo ambiente (zona 2). Uma sugestão de sistema que atende ambientes médios e grandes com excepcional qualidade, além de dispor do que há de mais atual em tecnologia para áudio, vídeo e integração.

Essa promoção é válida por tempo limitado e/ou enquanto houver estoque dos itens. Confira abaixo:



• 02 Caixas tipo torre Boston Acoustics A-360

• 01 Caixa central Boston Acoustics A-225

• 01 Subwoofer Boston ASW-250

• 06 Caixas de teto Wave WSR 200 (surround e som ambiente)

• 01 Receiver 7.2 Dolby Atmos/DTS:X/THX/Bluetooth/4K Onkyo TX-RZ 710

• 01 Blu-ray Sharp BD-HP 20U

• 01 Condicionador de energia Panamax MR 4000

• 01 Transformador 110v/220v 2KVA Audiofix ATL-2000

• Kit Cabeamento (01 cabo hdmi 4K high speed 3m, 2 cabos hdmi 4K high speed 2m/cada, 03 cabos rca 2m/cada, 01 cabo rca 3m, 01 cabo óptico 3m, 100m de fiação Epic OFC 2×1,5mm)

• Instalação e Configuração Eletrônica Otimizada (DSP)

• Valor total do sistema: R$ 23.000,00 (vinte e três mil reais)

• Condições de pagamento: à vista, com 7% (sete porcento) de desconto ou em até 4 vezes no valor total aqui listado.

Automação sem fio Wi-Connect (via Legrand site)


Praticidade, conforto, economia e sem mudanças estruturais para instalação são as principais características da novidade do Grupo Legrand para a automação: o Wi Connect, sistema de automação sem fio, ideal para ambientes novos ou reformas com intervenções estruturais mínimas, baseada no protocolo ZigBee e compatível com a marca BTicino.
Certificado pela Anatel, o Wi Connect possui parte de seus produtos fabricados no Brasil (atuadores e controladora) e é baseado em uma rede de dispositivos que se comunicam utilizando um sinal de rádio com frequência de 2,4GHz, definidos pela norma internacional IEEE 802-15 4. Este modo de transmissão garante alta confiabilidade e eficiência. O Wi Connect oferece a possibilidade de criar sistemas elétricos avançados de fácil gerenciamento como iluminação (On/Off e dimmer), permitindo o controle das luzes de forma local ou remota; automação de persianas, áudio e vídeo, ar-condicionado, entre outros e a criação de cenários.
Ele possui controle local e acesso remoto e seu gerenciamento é feito através de smartphone e tablet com aplicativos. Seu acabamento é compatível com a linha New LivingLight, nos formatos redondos e quadrados, que possui diferentes possibilidades, conforme a decoração do ambiente.

Sistema sem fio para sistemas de automação simples e flexíveis

A solução Wi Connect, é um sistema de automação sem fio, ideal para ambientes novos ou reformas com intervenções estruturais mínimas. Oferece a possibilidade de criar sistemas elétricos avançados de fácil gerenciamento:

• Iluminação (On/Off, dimmer)
• Automação de persianas
• Automação de áudio e vídeo
• Automação de ar-condicionado
• Criação de cenários
• Controle local e com acesso remoto
• Gerenciamento através de smartphone e tablet com App



Graças a rádio transmissão e aos controles alimentados por bateria, os dispositivos são facilmente integrados à infraestrutura de um sistema elétrico tradicional, sem a necessidade de nenhum cabeamento adicional.

A utilização da tecnologia ZigBee®, para a comunicação entre os dispositivos, torna possível também o uso do sistema Wi Connect em espaços maiores com obstáculos e paredes divisórias.

Estrutura do sistema de rádio Wi Connect

O sistema de rádio Wi Connect é baseado em uma rede de dispositivos, que se comunica utilizando um sinal de rádio com uma frequência de 2,4GHz e o protocolo ZigBee®, definidos pela norma internacional IEEE 802.15.4.

O sistema de rádio Wi Connect pode ser utilizado em qualquer tipo de sala ou residência. Nenhum dos módulos do sistema interfere com os módulos sem fio presentes, como alarme, computador, rede de dados Wi-Fi etc.

Informações reunidas do site.

Vohaus Audio na Casa Cor Goiás 2017

A Bridge Áudio orgulhosamente apresenta uma marca de sua exclusiva distribuição: Vohaus Audio. O sistema de som valvulado de alta fidelidade (composto pelo amplificador integrado Titan e pelas caixas de estante Koel) está exposto na Casa Cor Goiás 2017, no ambiente do arquiteto Victor Tomé.

A Vohaus Audio é uma empresa formada por apaixonados em música, alta fidelidade, design, eletrônica e acústica. A reunião dessas paixões resultou em uma série de produtos com excelência em som e visual, tornado-os únicos no mercado.

Saiba mais sobre os produtos desse fabricante em nossa página no facebook ou no site.


Sistema Compacto Wireless Klipsch Heritage The Three (via Klipsch site)


The Three is possibly the most versatile loudspeaker I’ve used to date…it sounds great and looks great… I can’t think of a relevant audio source that isn’t compatible with The Three.

Computer Audiophile


The Three is a stereo tabletop system featuring two 2 1/4” full range drivers and a 5.25” long-throw woofer, bi-amplified for audio resolution and professionally tuned by Klipsch acousticians to deliver a premium audio experience.

Incorporating luxury materials such as real wood veneer and tactile spun copper switches and knobs, the Klipsch Heritage Wireless Three tabletop stereo system blends the acoustics and classic design legacy of Paul W. Klipsch with the latest technologies available today.


  • Astounding, room-filling acoustics
  • Mid-century modern design
  • Professionally-tuned stereo sound
  • Bluetooth® wireless connectivity
  • Supports aptX™ codec
  • Superior bass reflex
  • Wi-Fi connectivity for Klipsch Stream Wireless Multi-Room Audio System
  • USB audio
  • RCA line level /  phono pre-amp input


Conversor D/A Audio Research DAC 8 (Via Whathifi)

Link para a matéria completa aqui.

Pricey DAC but one of the most organic-sounding digital products we’ve heard

Tested at
Audio Research has used the tagline “There is only one reference” for years now. Such a slogan would seem pretty arrogant for most companies, but Audio Research’s track record of producing top-class kit over the past 40 years makes it much easier to swallow.

The DAC 8 – the company’s sixth standalone digital-to-analogue converter – lives up to both the company’s tagline and heritage.

Perhaps surprisingly, considering the company’s valve-based heritage, this is an all-solid-state unit.

Some DACs from rival companies have tried to sweeten the sound of digital with hybrid designs that use valves in the output stage, but in most cases this approach fails to fully satisfy.

Their sound tends to overplay warmth and smoothness, sacrificing precision and dynamic punch in the process.

Accepts high-res audio

Like an increasing number of DACs, this Audio Research product will accept signals up to high-resolution 24Bit/192kHz level.

To do this through the unit’s USB 2.0 input, though, you’ll need to download driver software specific to the DAC 8. It’s a simple enough process and relatively painless as far as these things go.

The DAC 8 is large. Some DACs come as small as a box of matches, so to find one that’s as big as most high-end integrated amps is something of a shock.

Look inside – easy thanks to the grilles on the lid – and you’ll find that most of the 14cm height is air. It seems the size is simply there to match other AR kit.

Workmanlike design

Those expecting something glamorous for their thousands are in for a bit of a disappointment, too. The casework fits in with the traditional Audio Research look, and is best described as workmanlike rather than luxurious.

The company’s kit, even the top-end stuff that costs many times the price of the DAC 8, has always been more about function than impressing through flashy finishes or extrovert design flourishes.

The DAC 8 is decently equipped but breaks little new ground when it comes to features. The standard range of optical, coaxial and USB are here, accompanied by the rarer BNC and AES/EBU alternatives.


Balanced and RCA analogue outputs are provided, too.

In our Bryston/ATC reference system, the DAC 8’s balanced outputs worked best, giving a bolder sound without sacrificing its impressive subtleties.

Big, authoritative and refined

Overall, it delivers a big, authoritative and refined performance. If you’re the kind of person who thinks all digital kit sounds cold and clinical, and you’ve the wherewithal, then this is definitely the DAC for you.

Play a 24-bit/192kHz recording of Shostakovich’s Symphony No.11 and

the DAC 8 delivers an unforced sound of spellbinding subtlety and, when required, brutish power.

The overriding sense of refinement never goes as far as rounding off the attack, or spoiling leading edge definition.

Some upmarket rivals put the spotlight on detail in a more obvious manner, but take a careful listen to this Audio Research DAC and you’ll realise everything is in place.

It doesn’t smooth over the fine details, either. Rather, the DAC 8 keeps it all in perspective, with edge definition and the harmonic information that follows being retained in proportion.

This kind of presentation is less impressive on a short demonstration, but is essential to a convincing sound.

One of this unit’s most impressive talents is the amount of space it uncovers in recordings. There’s a convincing sense of scale to the presentation and one of the most spacious soundstages we’ve heard from a digital piece of kit.

More after the break

Full of attack and vigour

Instrument focus and precision within this expansive sound stage is spot-on. And, importantly, the overall cohesion – the thing that ties together the instrumental strands and makes the whole make musical sense – isn’t lost.

In terms of outright authority and low-frequency power, the DAC 8 need fear no rival: it sounds as solid and muscular as they come.

There is always a danger that products which excel at smoothness and refinement will end up sounding pedestrian when asked to replay something that’s packed with energy. That’s not the case here.

Playing a rough and highly charged recording like Police’s Roxanne, this converter responds with vigour. It delivers a sound with all the attack and drive the song deserves.

The rough edges are readily revealed, but aren’t highlighted – which is an important consideration if your music collection is chosen on musical merit rather than recording quality or production values.

Some DACs don’t sound the same through every input, either. The DAC 8 works equally well through all. A sure sign of a well-engineered product.

The past four decades have shown that Audio Research is capable of turning out fine products on a consistent basis. The DAC 8 can be added with confidence to that long list.

Receiver Denon AVR-X2300W (via Whathifi)

We don’t envy Denon and the task set before the AVR-X2300W. Designing a replacement for the excellent AVR-X2200W can’t have been an easy task. This Award-winner marked a return to form for a brand that has struggled by its own high standards in recent times.

The X2200W rolled back the years with a combination of excellent sound and a feature list no rival could better. So how do you replace an Award-winner? Judging by this new amplifier Denon’s answer seems to be, ‘very carefully’.

MORE: Denon AVR-X2200 review

Video Review



At first glance, a comparison between the old and new models suggests little has changed. They look all-but identical, sharing a well thought out control layout and clear display.

Round the back, the X2300 features slightly reorganised connections, but the company’s determined drive to make its AV amps more approachable keeps things as simple as they can be without compromising usability.

Denon hasn’t skimped on the connections. This amp has eight HDMI inputs, all capable of 4K 60Hz pass-through and HDCP 2.2 certified.

Others include a sensible spread of optical digital and analogue stereo inputs plus legacy analogue video options such as composite and component. While not a major omission, it’s interesting to note that there isn’t a digital coax available.

MORE: 4K Ultra HD TV: everything you need to know

At first glance, a comparison between the old and new models suggests little has changed.


Elsewhere this amplifier is about as loaded as these things get. It will decode all current home cinema sound formats from Dolby and DTS, including Dolby Atmos in 5.1.2 form. The ability to handle DTS:X is a software upgrade away, expected later this year.

Spotify Connect, Airplay, Bluetooth are all supported, as is Internet radio and streaming from a NAS device on your home network. Denon has tried hard to make this amplifier stable when using wi-fi, even in electrically noisy environments, and it works well in our test rooms.

Helping matters is a new-found ability to work in the 5GHz waveband along with the 2.4GHz of its predecessor. Even so, given a choice we would still stick to using an Ethernet cable for the extra stability it provides.

The 2300 will stream just about every format across a network including 24-bit/192kHz PCM and DSD in both single and double speed form. The latter, along with the ability to stream AIFF files, is new for this model.

The X2300W’s power output is unchanged from the last version and rated at 7 x 150W per channel. Impressive, but it should be noted that – just like every other major AV amp manufacturer – Denon is quoting figures measured under very generous conditions (six ohm load, 1kHz, 1% THD and only one channel driven).

That output drops to a claimed 95W per channel into an eight ohm load, measured across 20Hz-20kHz with distortion held at 0.08% and two channels driven. The latter is closer to the way measurements are taken with traditional two-channel kit.

MORE: Dolby Atmos: What is it? How can you get it?

The 2300 will stream just about every audio format including 24-bit/192kHz PCM and DSD.

More after the break

While the headline features have hardly changed between this and the last model, it is clear that Denon has put in a lot of work at circuit level. Component quality has gone up and great effort has been made to reduce noise levels, both electrical and mechanical.

Signal paths have been shortened where possible, and components redesigned to optimise performance. The company has worked hard on the digital section.

The DAC chip itself remains unchanged – it’s a Burr Brown PCM1690 – however redesigning the surrounding parts has improved its performance, as has the retuned power supply.

A new power supply for the on-board MW/FM radio tuner is designed to reduce any interference from the radio circuit, which also helps to raise the overall sound quality.

MORE: Best DACs 2017

Signal paths have been shortened where possible, and components redesigned to optimise performance.


Set-up is as easy as it gets. Denon has gone to a lot of trouble over recent years trying to simplify its AV amps without compromising features, and we think it has done a fine job here. There are a few tweaks over its predecessor, but on the whole the experience is pretty much the same.

That is to say, really good indeed. The menus are simple and easy to follow, while the built-in Audyssey auto set-up system is accurate and fuss free.

The company not only supplies a dedicated microphone for auto-set-up purposes – par for the course – but also a folded, adjustable cardboard mic stand. Assembled from three pieces, it holds the microphone at an appropriate height.

It’s worth going to the trouble of doing this, as it will give you more accurate results. Go through the whole Audyssey process and you’ll have to take multiple measurements. It’s a bit tedious, but you only have to do it once.

Review do amplificador integrado Jolida JD301 BRC (via CNET)

Jolida JD301RC: A sweet-sounding $425 audiophile tube amplifier

Por Steve Guttemberg, em 21 de maio de 2011.

Jolida may not be the most recognizable name in consumer electronics, but the little company has been selling overachieving budget-priced audiophile tube gear in the U.S. since 1992. I have a few friends using Jolida gear, and they’re all enthusiastic supporters of the brand. I reviewed the Jolida FX10 all-tube amp late last year.

The Jolida JD301RC ($425) is a 30-watt-per-channel integrated stereo amplifier. It’s a “hybrid” design that uses a pair of vacuum tubes (12AX7) in its preamplifier section, and National Semiconductor MOSFET transistors in its power amp stage. The JD301RC has four line-level inputs (Tuner, DVD, CD, Aux), plus one 3.5mm jack on its front panel for convenient hookup of iPods or other portable devices. The amp is 11.5 inches wide by 8.75 inches deep by 3.25 inches high and weighs 8 pounds. The little remote handles just volume and mute. The JD301RC is available in “silver” and black finishes.

Improvisational jazz group Attention Screen’s latest CD, “Attention Screen Takes Flight at Yamaha,” puts the JD301RC’s power potential to good use. Recorded by Stereophile magazine’s John Atkinson, with apparently no dynamic range compression or equalization, the CD pushed the JD301RC to strut its stuff. The music sounded absolutely live, and Bob Reina’s piano and Mark Flynn’s drum kit were vivid in their presentation. Some tube amps can sound overly lush or mellow, but with the JD301RC the sparkle of the drummer’s cymbals was lifelike, without any overhyped edge or glare. I loved the way the notes of Don Fiorino’s lap steel guitar hung in the air between a pair of Wharfedale Diamond 10.1 speakers. The JD301RC may deliver just 30 watts per channel, but the small amp didn’t inhibit the band’s freewheeling, spontaneous grooves one bit.

Robert Plant’s recent “Band of Joy” CD demonstrated the JD301RC’s muscular sound. The band’s big bass drum thwacks provided a rock-solid foundation for a number of songs, but the bass never turned thick or bloated, staying as firm and tight as, well, a drum! The soundstage spread wider than the actual locations of the speakers in my room, and the instruments projected an almost physical presence. That’s what tube amps do so well, and the JD301RC lived up to my expectations.

To finish up I watched the “King Kong” DVD in my two-channel home theater with the JD301RC driving the Diamond 10.1 speakers (full review in tomorrow’s post). When Kong wrestles with the dinosaurs on Skull Island the little speakers didn’t sound so little. Kong’s heavy breathing and ferocious roars made me jump; paired with the right speakers the little amp can make a big sound!

The Jolida/Wharfedale sound, combined with my Oppo BDP-95 Blu-ray player, was definitely high-end, but the price was still in the affordable range (feel free to substitute a less expensive Blu-ray or CD player). The Jolida JD301RC goes for less than the cost of an iPad 2, and I can pretty much guarantee most Jolida owners will be enjoying their amps for many years after the average iPad winds up in landfill. My friend Gene still listens to the Jolida he bought in the late 1990s.

Como limpar a agulha do seu toca-discos (via U-Turn Audio)

How to clean your turntable’s stylus

Posted by U-Turn Audio on February 16, 2017

Vinyl may be known for pops and hisses, but it doesn’t have to be that way. Surface noise is almost always preventable. Step 1 is to make sure that your records are clean before playing. We strongly strongly recommend cleaning your records with a simple record brush every few plays. But even when playing clean records, surface noise can be caused by:

  • Dust or debris on the stylus
  • Damage to the record
  • Static

In this post, we’ll focus on one of the most common culprit: a dirty stylus. The diamond stylus tip is the only part of the cartridge that actually touches the record – so dust and debris on the stylus can have an enormous impact on sound quality. (To learn more about how the cartridge and stylus work, check out our cartridge guide.)

Why should I clean my stylus?

Cleaning your stylus on a regular basis not only ensures a better listening experience for you, but also ensures a longer life for your records. By practicing good stylus hygiene, you can avoid:

  • Playback issues: No cartridge will sound good once it has accumulated layers of dust. Accurate sound reproduction requires close contact between the stylus and record grooves. Dust interferes with this contact, causing muffled or scratchy sound that lacks detail. A dirty stylus is also more likely to jump out of the groove. In fact, stylus debris is one of the most common causes of mistracking.
  • Damage to records: Dust, dirt, and other debris act as abrasives when caught between the stylus and the record groove. Every time you play a record, you wear it down a little – a dirty stylus can accelerate this process and lead to a loss of clarity. Don’t believe us? Check out this video from The Vinyl Factory.

Here’s what a stylus can look like before (left) and after (right) being cleaned. Can you spot the difference?

Images courtesy of

OK, I get it. So how do I do it?

There are many stylus cleaning products and techniques available. We’ve chosen three that are simple, fast, and cost-effective. When using any of these techniques, please keep in mind that the stylus is incredibly fragile and must be treated with care at all times.

1. Onzow Zerodust Stylus Cleaner: The Zerodust is the only stylus cleaner we use here at the U-Turn factory. Onzow claims that this “mysterious material” is “softer than a baby skin and… will never damage a delicate stylus.” We don’t know about that. But we do know that it’s incredibly effective and easy to use. Simply lower your stylus onto the gel pad, then lift and repeat until your stylus tip is free of dust and debris. If your Zerodust starts to look a little dirty, you can run some warm water over it – it will basically last forever. Plus, it comes with a magnifying glass for inspecting your stylus.

2. Stylus Brush: This is the most traditional method, and is recommended by cartridge manufacturer (and brush maker) Ortofon. To use your stylus brush, simply move it across the stylus from back to front – the same direction that a record spins. Some brushes come with cleaning fluid, but we don’t recommend using liquid products on your stylus. According to Ortofon, “using liquid cleaners can dissolve glue that binds the stylus to the cantilever… interior parts of the cartridge can be affected seriously by the intrusion of solvents.”

stylus brush


3. Mr. Clean Magic Eraser: This is an inexpensive DIY method that has become popular on various audio forums. All you need is a Mr. Clean Magic Eraser, which can be found at just about any hardware store. Start by cutting off a 2” square. Next, place that square on either the plinth or the platter – anywhere that the tonearm can easily reach. Then gently lower the stylus onto the eraser and repeat until the stylus stops leaving residue behind. CAUTION: Some versions of the Magic Eraser have a blue side which is treated with cleaning agents. Make sure you only use the white, untreated side. Do not wet the eraser beforehand.

How often should I clean my stylus?

If you are a regular listener, we suggest cleaning your stylus about once a week. Opinions vary about cleaning frequency – ultimately, the rate of stylus dust accumulation depends on how often you play records and how clean those records are. Regularly cleaning your records before each play is your first line of defense against a dusty stylus. If you have older records with layers of dust in the grooves, it might be time to invest in a record washer.

Keep a close eye on your stylus during your next few listening sessions to get a better sense how quickly dust builds up and where it accumulates. Beware of subtle accumulation right behind the stylus tip. This can be easy to miss, but will cause distortion.

Jolida e as novidades que estão chegando ao Brasil

A Bridge Áudio orgulhosamente anuncia para muito em breve a chegada de mais um lote dos amplificadores integrados da norte americana Jolida (sua distribuição exclusiva para o Brasil). Acompanhem essa novidade aqui ou em nossas redes sociais.

Os modelos a caminho são:


Jolida Fusion 801

”The Fusion 801 is a makeover of a favorite model the JD 801BRC. We have kept all the well liked sound characteristics of the older model and improved the unit with an easy interchange of 6550 or El34 tubes, lower noise, increased clarity and a smooth presentation with midrange weight and enhanced 3 dimensionality. With its distinctive good looks and power the Fusion 801 can be a step up for your music pleasure.”


Rated Output Power:                      70 W per channel at 8 ohms, 22Hz to 19KHz

60 W per channel at 4 ohms  22Hz to 10KHz

Frequency Response:                      (at 1 watt into 8 ohms) 5Hz to 100KHz   + 1dB

Bandwidth:                                        14Hz to 70KHz + 3dB; 0dB = 70 W 1KHz, 8 ohms

Distortion THD:                                Less than 0.1% at 100 W output, 22Hz to 18KHz

Input Impedance:                              47Kohms

Input Sensitivity:                               500mV at 1KHz and 8 ohms for 100 watt output

Noise and Hum:                                80dB below rated output

Tube Complement:                          2 pairs (4) of 6550/KT88 or EL34/6CA7 power output tubes; 1 pcs. 12AX7A preamplifier; 2 pcs. 6SN7GT power drivers

Power Requirements:                      110V-120 VAC 60Hz 180 watts-standby, 450 watts maximum (220VAC 50Hz option)

Dimensions:                                      18.25 inches (46.5 cm) wide by 13.5 inches (34.5 cm) deep by 8.5 inches (22 cm) high

Weight:                                              53 pounds (24 Kg) net, approximately 57 pounds (26 Kg) packaged

Warranty:                                           18 months limited parts and labor. Six months or 1000 hours whichever comes first on Jolida Tubes.

Fuse:  110 – 120 VAC, 6.3 Amp Slo Blo; 200 – 240 VAC, 3.15 Amp Slo Blo


Jolida JD 1501 BRC

”Combines the best of two worlds, a tube pre-amp with a solid state power amplifier. A smooth silky sound with pace and bass at an affordable price and the convenience of remote control.”

Rated Output Power:                       100 W per channel at 8 ohms, 22Hz to 19KHz

180 W per channel at 4 ohms  22Hz to 10KHz

Frequency Response:                      (at 1 watt into 8 ohms) 5Hz to 100KHz   + 1dB

Bandwidth:                                        22Hz to 19kHz + 3dB; 0dB 100 W 1KHz

Distortion THD:                                Less than 0.1% at 100 W output, 22Hz to 18KHz

Input Impedance:                              47Kohms

Input Sensitivity:                               500mV at 1KHz and 8 ohms for 100 watt output

Noise and Hum:                                90dB below rated output

Tube Complement:                           2 pcs. 12AX7 for the preamplifier

Power Requirements:                      110V-120 VAC 60Hz 180 watts-standby, 450 watts maximum (220VAC 50Hz option)

Dimensions:                                      17 inches wide by 13 inches deep by 4 inches high

Weight:                                               32 pounds net, approximately 33 pounds packaged

Warranty:                                           18 months limited parts and labor. Six months or 1000 hours whichever comes first on Jolida Tubes.

Fuse:  110 – 120 VAC, 6.3 Amp Slo Blo; 200 – 240 VAC, 3.15 Amp Slo Blo

Jolida JD 301 BRC

”Who says good things don’t come in small packages. Combines the best of two worlds, a tube pre-amp with a solid state power amplifier with remote control. A smooth silky sound with pace, bass and power at an affordable price. Available in Black or Silver finish.”


Rated Output Power:        30 W per channel at 8 ohms, 22Hz to 20KHz

55 W per channel at 4 ohms, 22Hz to 20KHz

Frequency Response:      (at 1 watt into 8 ohms) 5Hz to 100KHz   + 1dB

Bandwidth:                          22Hz to 20kHz + 3dB; 0dB 30 W 1KHz

Distortion THD:                  Less than 0.1% at 30 W output, 25Hz to 18KHz

Input Impedance:               47Kohms

Input Sensitivity:                400mV at 1KHz and 8 ohms for 30 watt output

Noise and Hum:                  90dB below rated output

Tube Complement:            2 pcs. 12AX7 for the preamplifier

Power Requirements:       110V-120 VAC 60Hz 180 watts-standby, 250 watts maximum (220 VAC 50Hz option)

Dimensions:                        7 inches wide by 6 inches deep by 4 inches high

Weight:                                  8 pounds (3.65 Kg) net, approximately 11 pounds (5 Kg) packaged

Warranty:                              18 months limited parts and labor. Six months or 1000 hours whichever comes first on Jolida Tubes.

Fuse: 110 – 120 VAC, 1 Amp Fast Blo; 200 – 240 VAC, 0.5 Amp Fast Blo

Construction Details and Features: 

Fully Integrated Stereo Amplifier: Input 400mV driving 30 watts

Multiple Inputs:  Front mounted selector switch – Input, Tuner, DVD, CD, and  Aux. (for TV, VCR or Computer|).

State of the Art Components: ALPS audio potentiometer, gold plated RCA input jacks, and front panel  minjack input.

Remote Control: Volume and mute

State of the Art Components: ALPS audio potentiometer, gold plated RCA input jacks.

Low Feedback Design: Only 5 dB

Comes in Black or Silver

Triangle Magellan Grand Concert (via Triangle site)

The Flag Ship

Its structure comprises three distinct enclosures designed to ensure elimination of standing waves and vibration. The considerable weight of the loudspeaker (100 kg) required the development of the new exclusive Fixocal locking system, which locks the three enclosures together with up to 1.6 tons of clamping pressure. Grand Concert is not just a technological showcase; all of triangle’s passion for music has gone into it. We have pushed our thrive for perfection to its limit. Bass is abysmally deep, the mids and highs simply go beyond the walls, you can feel the ambiance in the hall and it is totally gripping. At last, you can now enjoy a genuinely realistic listening experience.


With the Grand Concert, triangle’s engineers have managed to blend together seemingly incompatible elements: the full texture of the timbre coupled with sublime airiness and power which conserves all its femininity. In collaboration with Hutchinson, we developed an exclusive coupling process for the T16PG midrange driver.

The resulting elimination of any vibration creates a sound image which is totally transparent and exceptionally sharp. This principle of mechanical coupling is drawn upon for the configuration of the filters which are separate and isolated, each one functioning uniquely within its own individual module.


FREQUENCY RANGE 28 Hz – 20 KHz (+/- 3 dB)
SPL MAX 116 dB
DIMENSIONS 2150 x 600 x 450 mm
WEIGHT 100 kg

Triangle Magellan Cello (via Triangle site)

The Reference loudspeaker

When listening to this loudspeaker, the magic of music unfurls before you. triangle has succeeded in adapting the performances and the immaculate control of the magellan Grand Concert to this reasonably sized loudspeaker.


All the technologies of the Grand Concert in a reasonably sized loudspeaker. Without even realizing it, you are tapping your feet. You are in the heart of the music and you want the moment to last.

Cello provides that extra something which conveys the intense emotion of a musical performance without appearing to make any particular effort. The listening experience is pure unlimited pleasure regardless of the type of music, delivered with magnificent scale and it’s never tiring. It has a wide array of musical skills. It’s as perfectly at ease at high volume level as it is for intimate listening, and is suitable for rooms measuring 25 to 50m².

The sandwich technology developed by the aerospace industry ensures that the two bass drivers are extremely lightweight and also particularly rigid.

FREQUENCY RANGE 35 Hz – 20 KHz (+/- 3 dB)
SPL MAX 112 dB
DIMENSIONS 1138 x 423 x 371 mm
WEIGHT 34 kg

7 dicas para obter um som limpo e perfeito dos seus discos de vinil (via Snazzy Labs / Youtube)

Muitas pessoas estão ”tirando a poeira” dos seus toca-discos e lp’s antigos e pondo-os pra tocar, assim como muitas pessoas estão comprando seus primeiros discos de vinil e também novos aparelhos de som.

O que essas pessoas na sua maioria não sabem, no entanto, é como obter uma excelente qualidade de som do equipamento que já possuem (o som do vinil sem chiados, ruídos, etc). Claro, existem toca-discos que são muito superiores aos outros, mas o cuidado com o manuseio dos lp’s e sua limpeza apropriada  em tanta – se não mais – importância do que o cuidado com o seu equipamento.

Neste vídeo do canal Snazzy Labs vocês poderão conferir 7 dicas importantes de como cuidar do seu acervo de discos de vinil (novos ou mais antigos), a fim de evitar os famigerados ”plocs” e ”clics” que tanto atrapalham ou às vezes comprometem as audições.

As 10 melhores tv’s e smart tv’s em 2016 (via Zoom)

Por Ricardo Bergher para o site Zoom. Link para a matéria original aqui.
Que tal comprar uma TV novinha e curtir a sua casa assim: relaxado no sofá assistindo aos seus programas favoritos? Se você curtiu a ideia, então está no lugar certo! Selecionamos para você as melhores TVs e smart TVs do momento. Aproveite!

Leia também: Qual a distância ideal para assistir TV?


10. Smart TV LG 32LH570B 32″

Para quem quer uma TV 32’’ com acesso à internet

Se você quer uma Smart TV mais básica, aqui pode estar o melhor modelo. Uma das vantagens dessa TV LG é que ela já vem com Wi-Fi integrado, facilitando na hora de usar a internet. Para garantir boas imagens, o televisor ganhou painel IPS, que melhora o ângulo de visão. E vale lembrar que ela já tem conversor digital, para acessar canais digitais da TV aberta, e com mais qualidade de som e imagem.

Destaque da TV:

  • Wi-Fi integrado

Ver mais sobre este produto

Foto Smart TV TV LED 32" Samsung Série 4 Netflix UN32J4300 2 HDMI

9. Smart TV Samsung UN32J4300 32″

Junte a torcida: tem TV com Função Futebol!

Nossa lista de melhores TVs de 2016 não podia deixar de fora a Samsung UN32J4300, que é muito buscada aqui no Zoom! Com esta TV 32 polegadas, você pode acessar vários sites, por meio do navegador, ou ainda se divertir assistindo a vídeos do Youtube. E sabe a partida do seu time que você não perde por nada? Com a Função Futebol, o som e a imagem do jogo ficam ainda melhores.

Destaques da TV:

  • Wi-Fi integrado
  • Navegador Web

Ver mais sobre este produto

Foto Smart TV TV LED 40" Samsung Full HD Netflix UN40J5500 3 HDMI

8. Smart TV Samsung UN40J5500 40”

Tem smart TV fácil de usar e navegar

A Samsung J5500 entrega uma excelente qualidade de imagem e tem interface intuitiva e fácil de usar. Ela é uma TV 40 polegadas com tudo o que uma boa smart TV deve ter: Wi-Fi integrado, para você acessar a rede da sua casa e poder navegar na internet, conexão com outros aparelhos, grava a programação e ainda vem com Netflix e Youtube já instalados, assim você assiste a filmes, vídeos e seriados com a maior facilidade.

Destaques da TV:

  • Full HD
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Ver mais sobre este produto

Foto Smart TV TV LED 43" LG Full HD Netflix 43LH6000 3 HDMI

7. Smart TV LG 43LH6000 43”

Uma smart TV da LG cheia de tecnologia!

Além de ser uma smart TV com Wi-Fi integrado, vale a pena você ficar de olho em outras tecnologias da LG 43LH6000. Como ela conta com Miracast, é possível espelhar conteúdos (como fotos e vídeos) de um smartphone compatível, e sem precisar usar fios e internet. E com a tecnologia WiDi, também pode deixar fios e a internet de lado para espelhar a tela de notebooks compatíveis com esta TV 43 polegadas. Ah, e todos esses recursos em uma TV LG com preço atrativo!

Destaques da TV:

  • Full HD
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Ver mais sobre este produto

Foto Smart TV TV LED 55" LG 4K Netflix 55UH6500 3 HDMI

6. Smart TV LG 55UH6500 55”

Tipo cinema, só que na sua casa

Imagine uma TV de 55 polegadas com resolução 4K bem na sua casa? Com a smart TV LG 55UH6500 isso é possível. Assim, você navega pela internet ou assiste a vários filmes com muita qualidade de imagem. E essa TV conta com o sistema operacional WebOS 3.0, que é bem fácil de usar, além de vir com o controle remoto Smart Magic, que funciona praticamente como um mouse de computador, também para melhorar a usabilidade da TV.

Destaques da TV:

  • 4K
  • Frequência de 120Hz
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Ver mais sobre este produto

Foto Smart TV TV LED 49" Samsung Série 6 Full HD Netflix UN49K6500 3 HDMI

5. Smart TV Samsung UN49K6500 49”

TV com tela curva! E boa para jogos

O maior diferencial dessa TV Samsung é, claro, a sua tela curva, que dá uma sensação maior de imersão no conteúdo exibido. E se você curte bastante o mundo dos games, aqui pode estar a melhor TV! Com esse modelo, é possível, por meio de uma assinatura mensal, jogar vários títulos famosos. E não precisa de um console, apenas de um joystick compatível.

Destaques da TV:

  • Tela curva
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Ver mais sobre este produto

Foto Smart TV TV LED 50" Samsung Série 6 4K Netflix UN50KU6000 3 HDMI

4. Smart TV Samsung UN50KU6000 50”

TV 4K com bom custo/benefício existe. E está aqui!

Tela grande de 50” e com resolução 4K já está muito bom, mas essa TV Samsung ainda ganhou processador quad core, que oferece alto desempenho. Para você aproveitar essa TV 4K com ainda mais qualidade de imagem, a tecnologia PurColor faz as imagens ficarem ainda mais realistas. E tudo isso com ótimo custo/benefício, um bom motivo, aliás, para ser a melhor TV.

Destaques da TV:

  • 4K
  • Wi-Fi integrado
  • Navegador Web
  • Grava programação

Ver mais sobre este produto

Foto Smart TV TV LED 49" LG 4K Netflix 49UF6400 2 HDMI

3. Smart TV LG 49UF6400 49″

TV da LG tem prático e eficiente sistema operacional

A LG 49UF6400 é a prova de que não é preciso investir alto na hora da compra para ter uma TV 4K! Além da incrível resolução, esta smart TV já vem com navegador Web, ou seja: você pode acessar vários sites, praticamente igual a um computador. E destaque aqui para o sistema operacional WebOS 2.0, que permite navegar pelos menus de um jeito bem mais prático.

Destaques da TV:

  • 4K
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Produto Indisponível

Este produto não possui preços cadastrados

Ver mais sobre este produto

Foto Smart TV TV LED 3D 55" Sony 4K Netflix XBR-55X855C 4 HDMI

2. Smart TV Sony XBR-55X855C 55″

Android TV em uma das melhores smart TVs Sony

Aqui temos uma TV com Android! Isso quer dizer que você pode aproveitar várias vantagens do sistema operacional, como baixar apps e jogos, navegar pela internet usando o comando de voz e acessar as redes sociais na tela desta TV Sony de 55 polegadas. E uma das melhores smart TVs da lista tem muito mais, como o fato de ser uma TV 4K que, com o seu processador X1, é capaz de oferecer imagens bem reais em uma resolução quatro vezes maior que a Full HD. Além, claro, de ser uma TV 3D!

Destaques da TV:

  • 4K
  • 3D
  • Wi-Fi integrado
  • Navegador Web
  • Grava a programação

Produto Indisponível

Este produto não possui preços cadastrados

Ver mais sobre este produto

Foto Smart TV TV Nano Cristal 49" Samsung Série 7 4K HDR Netflix UN49KS7000 4 HDMI

1. Smart TV Samsung UN49KS7000 49”

Frequência de 240Hz e 4K na melhor TV de 2016

O primeiro lugar na lista de melhores smart TVs de 2016 não podia ser ocupado por outro aparelho. Esta Samsung é realmente completa: é uma TV 4K, tem acesso à internet de maneira prática, e sua frequência de 240Hz é perfeita até para quem gosta de jogar videogame. Outro destaque desta TV 49 polegadas é a tecnologia da tela. Chamada de nano cristais, ela é uma evolução da LED, que oferece uma gama maior de cores para dar mais realismo às imagens.

Destaques da TV:

  • 4K
  • Frequência de 240Hz
  • Wi-Fi integrado
  • Navegador Web

Ver mais sobre este produto

Caixa acústica Vienna Acoustics The Music (via Vienna Acoustics site)

The Music

Passion, skill, leadership, innovation, vision, harmony, teamwork: the words that evoke Klimt and his Art were also always target for Vienna Acoustics and the company’s latest achievement, the first model out of the Klimt Series, “THE MUSIC”.


Vienna Acoustics´ “THE MUSIC” introduces a truly revolutionary new flat, concentric 18 cm driver that closely approximates the Platonic ideal for which speaker designers have been striving. It places 7 octaves of music in a single, phase coherent time plane. With a wave launch that mimics a “pebble dropped in a still pond”, this remarkable driver reproduces spatial coherence unfamiliar to anyone, save perhaps the original recording engineer. The physics of this patented driver are an outgrowth of Vienna´s longstanding use of reinforced cones designed to maximize strength at nodal multiples, while keeping mass to a functional minimum.

Flat cones actually do not provide stiffness, but we turned a disadvantage into an advantage by our patented one-sided-cone-light-weight-framing. Not only this delivers the best weight-stiffness ratio of any construction (the construction coming close in stiffness is sandwich, but it is too heavy as it needs a second layer and a dense honeycomb mesh), it also allows specific and calculated sound and impulse-response tuning by varying the quantity of ribs, their shape, their thickness, radial or concentric orientation, and specified placements on critical spots.

Basis for the cone material is TPX, in a proprietary mix with other materials for the optimum result of stiffness/inner-damping ratio in combination with light-weight-framing on the cone’s rear side. The maximum final stiffness is defined by adding glass fibres to the compound, aligned in the optimum arrangement by according injection moulding tool execution.  All cones are developed and produced by Vienna Acoustics in Austria, afterwards manufactured to a complete driver by Eton Germany.

By using finite element analysis, Vienna Acoustics´chief designer Peter Gansterer was able to create a radial-vaned structure (like architecture scientists we place a rib where necessary), cast into the flat cone that produces an enormously stiff, flat surface (thereby eliminating time and frequency specific phase shift across the driver), with a new state of the art silk dome tweeter, using a vented neodymium magnet structure placed in its center.
Years of development made the flat cone possible, for Peter Gansterer the prerequisite of a realization of the optimum reproduction unit, a coax. Having 2 drivers at the same center (point source), results in otherwise inaccessible homogenous sound, but current technology of cone shaped midrange diaphragms disqualifies itself by unacceptable colorations of the tweeter by the cone induced hornloading. In our technology it enjoys a flat surrounding as usual in highend applications. Similarily, the midrange itself is uncomparable in its lack of coloration: Cone-shaped drivers reproduce upper midrange mainly by the inner part, which again suffers from the hornloadings distortion.
At the same time our flat cone is ultra-stiff because of the ribs and the glassfibers, but exhibiting smooth musical sound due to the soft inner damping of the TPX material. The resulting piston like behaviour extends the frequency span, resulting in a range from 100 Hz to 20.000 Hz from the coax alone, defining it as the heart of the speaker, thereby being also the heart of music reproduction. We are that enthusiastic about this music center that we gave it its own cabinet.

Above and Below

While the top-unit handles mid and upper bass in its own enclosure, below this primary driver we built a separate large enclosure, featuring 3 proprietary bass drivers, each with our on proprietary 25 cm ultra rigid NAWI cones die cast by Spidercone-framing (finally assembled also by Eton Germany), handling the frequencies from 18 Hz to 100 Hz.

The 3 units are working in parallel, while the upper bass operates in its own chamber.

Finally, a remarkable Supertweeter, manufactured by the Danish high-end specialist ScanSpeak, tops the lower enclosure, extending response from 20.000 Hz upwards to 100.000 Hz.
During development we revealed that piezo technology, which is used in the super-tweeter, has superior advantages above 20.000 Hz (optimum dispersion, acting like balloon inflating).

Form follows function

The total decoupling from the bass chambers allows the coax music center, in its dedicated housing, to reach the absolute optimum in clarity and naturalness in sound.

The cabinetry is clearly evolved to make the most of this technology; the separatetop-unit enclosure is decoupled from the bass enclosure by a high-tec, drawn aluminium swiveljoint, which allows optimum room tuning by enable not only adjustment for rake, but also for toe-in.

This allows you to create a sweet zone rather than a narrow sweet spot. By adjusting the dedicated coax point source cabinet and directing it like swivelling a flashlight you are able to easily create the sweet zone wherever wanted. Furthermore this allows for optimizing the sound to any room condition as many rooms will strongly benefit from the reduction of the disturbing early reflections which cannot properly be separated from the direct signal by the human ear.

As always, the speakers´veneer and finish quality is to the highest of standards. “THE MUSIC” is available in true Piano Black version and Sapele veneer finish.
Link para o site do fabricante aqui.

Toca-discos Marantz TT42 (via Marantz site)

O toca-discos Marantz TT-42 você encontra aqui, na Bridge Áudio. Pronta entrega.

Combining classic turntable design with modern audio technologies, the Marantz TT42 Turntable plays back your vinyl collection with stunning audio quality. This turntable features a fully automatic mechanism that plays records with a touch of a button. A low-coloration tone arm, DC servo motor, and belt drive ensure pristine, interference-free playback.

Enjoy your vinyl collection with stunning audio quality thanks to modern audio technologies.
View larger.

Marantz TT42 Turntable Product Shot

Low-coloration tone arm, DC servo motor, and belt drive ensure pristine, interference-free playback.
View larger.


Vinyl Record Playing with Modern Convenience

Have you noticed the resurgence of vinyl record sales in recent years? Fueled by the fact that many treasured albums have not been issued in digital format, and with newer artists continuing to release music on vinyl, turntables are popping up in living rooms all over the world.

The Marantz TT42 Turntable combines old school record playing with convenient, high-performance features. The turntable is fully automatic: with a push of the “play” button, the tone arm precisely lifts itself onto the record groove, saving you the trouble of having to manually position the stylus. Once playback has concluded, the tone arm safely returns to its resting position without scuffing your record.

A Quality Mechanism for High-Fidelity Playback

The TT42 turntable is outfitted with a low-coloration tone arm that resists resonance for a clear, balanced sound. A high quality, moving magnet cartridge is preset at the factory for proper tracking and smooth response. In addition, the turntable’s DC servo belt drive keeps the motor running at a constant speed for optimum performance. The TT42 is designed to produce a stunning, nuanced, and distortion-free audio performance.

A version of the TT42 with a phono preamp, the TT42P, which features built-in phono input circuitry, is also available to accommodate multi-channel receivers that lack a proper phono input.

The Marantz TT42 Turntable comes complete with a clear plastic dust cover and is backed by a three-year limited warranty, subject to the full warranty terms and conditions.

O que é a tv 4K? (via ZOOM

Após a adoção generalizada do padrão de TV Full HD, mais um horizonte se abriu para quem curte televisores de ponta: a resolução 4K – também conhecida como Ultra HD. Mas você sabe o que é TV 4K? A tecnologia é nomeada assim pois garante uma definição quatro vezes maior (3840 × 2160 pixels) do que a Full HD. Resumindo: o que já era uma imagem boa, com a tecnologia 4K fica ainda melhor!

Mas, afinal, o que é TV 4K? Qual a vantagem dela para assistir aos conteúdos? Para você não ficar com dúvidas e ganhar muito mais realismo nas suas programações, confira mais detalhes sobre essa tecnologia.

Entenda a tecnologia 4k

A TV 4K apresenta algumas características diferenciadas. O principal efeito percebido é uma redução drástica no efeito de pixelização, os pontos formadores das imagens em TVs e monitores. Você quase não percebe o efeito e a imagem parece ser, em resumo, real. Vale lembrar que tal efeito é conseguido apenas quando a cadeia inteira de produção (da câmera ao sinal que chegará até a sua casa) for concebida para esse padrão.

Outro diferencial que a resolução das TVs 4K traz para as casas é que as distâncias mínimas para as telas podem ser alteradas. Nem tanto pelo conforto visual, mas em função da qualidade e nitidez. Ou seja: mesmo de muito perto você enxerga imagem em qualidade total.

Uma das vantagens na hora de escolher a sua TV 4K é que várias marcas disponibilizam modelos com essa resolução. Em fabricantes tradicionais, como Sony, LG e Samsung, você pode encontrar a tecnologia Ultra HD.

E aqui vai uma dica: não pense que para ter uma TV 4K dentro de casa é preciso fazer sempre um alto investimento. Os modelos são muitos – e as opções de preço também variam bastante. Há desde modelos bem avançados, que realmente exigem um investimento maior, até modelos mais acessíveis, com bom custo/benefício.

Vários tamanhos de TVs 4K para você escolher

Além de diferentes fabricantes, você também vai encontrar uma grande variedade de tamanhos nessas televisões. Se você está pensando em escolher uma TV grande para seu ambiente, a maioria das TVs 4K tem mais de 60 polegadas, e é possível encontrar modelos com mais de 90 polegadas!

Mas calma que tem tecnologia 4K para televisores menores também. Por exemplo: modelos de TVs 40″ também estão disponíveis, mostrando que, mesmo para cômodos menores, você pode ter conteúdos com bastante qualidade de imagem.

Como assistir aos conteúdos em 4K?

Ter uma TV 4K na sua casa pode ser muito bom, claro. Mas para você aproveitar toda a qualidade de imagem, não se esqueça de que o conteúdo também precisa ser em 4K. A boa notícia é que muitas empresas têm se dedicado a isso. Se no lançamento dessas TVs era bem difícil encontrar conteúdo em Ultra HD, a realidade já é outra.

Isso quer dizer que algumas empresas já oferecem conteúdos com suporte à tecnologia 4K. A Netflix, por exemplo, conta com alguns documentários em 4K, e até mesmo na TV aberta é possível assistir a novelas com essa resolução.

E sabia que até mesmo você pode produzir material em Ultra HD e reproduzir em uma TV 4K? Pois é, essa possibilidade existe porque há alguns modelos de celulares que filmam em 4K. Assim você mesmo pode filmar e visualizar os conteúdos com a melhor experiência.

A TV 4K é mais um avanço da tecnologia, o que comprova que os televisores não param de inovar. Ter uma TV dessa em casa é sinônimo de alta qualidade e, claro, diversão garantida enquanto você assiste aos conteúdos.


Escrito por Ricardo Bergher para o magazine Zoom. Link para a matéria aqui.

Caixa Acústica Wilson Audio Gran Slamm X-1 (via Stereophile)

How can a reviewer possibly put a value on a loudspeaker as costly as the Wilson Audio Specialties X-1/Grand SLAMM? When he reviewed Wilson’s WATT 3/Puppy 2 system ($12,900-$16,000/pair, depending on finish) a few years back (footnote 1), John Atkinson said that it was “one of the more expensive loudspeakers around.” The Grand SLAMM costs almost five times as much!

On the other hand, we’ve all heard about the legendary Wilson WAMM system, which costs a staggering $130,000. At a mere $65,000, the X-1 could be regarded as something of a bargain, especially as it’s said to provide a performance envelope approaching that of the bigger, more expensive speaker. Even so, the new Wilson system costs way more than most enthusiasts can afford. (According to Stereophile‘s most recent reader survey, the average price of a complete high-quality audio system is around $11,700.)

Other big, costly speaker systems represent their designers’ attempts at achieving the state of the art. In historical order, we have the Infinity IRS in its various incarnations, the Goldmund Apologue, the MartinLogan Statement, the Apogee Grand, the Genesis I, and the B&W Nautilus. Reviewing such systems can be something of a contest between designer and critic: Can the former win over the latter by the quality of his work alone, regardless of price?

To judge by his WATT/Puppy design, David Wilson of Wilson Audio Specialties is a formidable opponent. I lost the battle several years ago when I bought a pair of WATTs/Puppies for my own use.

The X-1/Grand SLAMM

X-1 stands for the “First eXperimental” system of this type, and SLAMM for “Super Linear Adjustable Modular Monitor.” “Super Linear” derives from Wilson’s own design target: to make the system subjectively distortion-free over a wholly natural and realistic dynamic range. “Adjustable Modular” reflects the user’s control of drive-unit delay, hence system phase accuracy.

What exactly do you get for your $65,000? A pair of imposing, 6′-tall, impressively engineered loudspeaker systems, each containing seven moving-coil drive-units ranging in diameter from 15″ to 1″. The speaker is finished like a fine piano in black mirror-gloss varnish. (Alternative auto-finish colors, such as Mercedes Gold, may be ordered; a range of veneered side panels is also available.) Together, the two enclosures weigh about half a ton; when I spiked them to my floor, they partly sank into it.

Following the idea that the proportions of the X-1 should roughly follow those of the WATT/Puppy, albeit on a larger scale, the speaker looks slim.

The SLAMMs exert a definite presence in any room; it’s definitely a case of beauty being in the eye of the beholder. Responses elicited from visitors ranged from “No way!” to “Superb functional beauty,” with “Engineering as art” noted along the way. Silent, the X-1s stand like monoliths, their dark silhouettes reminiscent of the black transmitter on the lunar surface in Kubrick’s 2001. But feed them audio signals in electrical form and one’s view changes—the resulting sound quality has power and beauty.

The claimed performance envelope approaches that of the WAMM. Key X-1 features include easy, trouble-free use with a single pair of input terminals (see below); and a comparatively kind amplifier loading. This speaker has a very high dynamic range, typically capable of 120dB spl at 1m with a music-related peak program input of 350W—well within the compass of the Krell KSA-300S, for example. The high sensitivity (95dB/W, 8 ohms) is as equally important as the high dynamic range; pretty decent 102dB in-room sound levels will be possible from 20W of single-ended triode power, even if the speaker could never be driven to full stretch by such a source.


The X-1 is a pure example of the art of loudspeaker engineering—its form truly follows its function. Those requirements inherent in its design concept are realized without compromise, the angled, faceted surfaces of the functional, structural elements accented by their mirror-gloss finish.

The foundation of the design is the generous bass system, the lower of the two modules of the stack. Everything starts here: contact with the floor, the reference plane for the mid and treble enclosures, and, last but by no means least, the location and support for the bass drivers themselves. Above 30Hz, the bass range is handled by two large moving-coil drivers, a 15″ and a 12″, working in tandem. Instead of the usual four-point mounting, eight Allen-head bolts securely bind the drivers to the rigid enclosure.

Why do two differently-sized bass units share the same enclosure? They don’t. Subcompartments in the bass enclosure have specific damping and air-flow control elements graded to ensure the appropriate acoustic power sharing between the two drivers. Working as a pair, they’re equivalent to a single 18″ woofer, but the combo chosen by Wilson has far superior transient control and maintains higher quality into the low midrange—necessary in view of the overlap required for the first-order crossover (see below).

The considerable enclosure-panel area of such large speakers potentially increases the cabinet’s ability to re-radiate unwanted resonant energy. Setting reference standards for low panel resonance and coloration in such a large enclosure is a daunting task; a designer must work much harder than he or she would on a more modest system’s far smaller panel area.

In his previous designs, Dave Wilson has shown an uncompromising approach to enclosures and their acoustic signatures. In the case of the WATT, itself a landmark in low coloration, a cast, mineral-impregnated resin material was used. Many panel materials were researched for the X-1’s bass cabinet, including everything you might have thought or heard of, and then some. Wilson especially sought to avoid the characteristic, if not necessarily unmusical, sonic signature of wood and wood-composite materials. That overlay of “panel sound” common to the construction of nearly all box loudspeakers was considered to act as a barrier to both the bass articulation and to the ability of a speaker to clearly differentiate types of bass instruments. In the Sonus Faber Guarneri, for example, curved, laminated wood surfaces are deliberately exploited to impart a more natural sound to the system. Impulse analysis led to trials with a proprietary phenolic material—a very hard, very high-density laminated polymer long used in the electrical power industry because of its strength, fine electrical properties, and dimensional stability. Figs.A and B (supplied by Wilson) show the difference in cumulative spectral-decay behavior between the ubiquitous MDF and Wilson’s high-density composite used in the X-1. This material is generously cross-braced in the X-1’s 140-liter (5ft3) bass enclosure to an almost matrix-like complexity. The result feels almost solid, like a block of stone.

Fig.A MDF panel, cumulative spectral-decay plot of accelerometer output (linear frequency scale).

Fig.B Wilson X-1/Grand SLAMM, phenolic bass enclosure panel, cumulative spectral-decay plot of accelerometer output under the same conditions as fig.1 (linear frequency scale).

Bass-reflex tuning is provided by a huge ducted port, 6″ in diameter by 17″ long, made from machined alloy and bolted into the center of the rear panel. (This port’s 8.5-liter volume of moving air is greater than that enclosed by many sealed-box miniature speakers!) Bass-reflex ports are characterized by terms such as “volume velocity,” whose magnitude describes how much acoustic output can be delivered over what frequency range for a given distortion criterion. Even when tuned to a demandingly low 24Hz, as in the X-1, where the useful output covers a range of about three-quarters of an octave (18-30Hz), this size of port is capable of producing room-shaking acoustic bass power without significant distortion.

System & Crossover: The low-frequency crossover filters are potted in resin to minimize self-induced and drive-unit vibration effects, and are isolated from acoustic pressure changes by being mounted in their own sealed section of the main enclosure. The speakers are fitted with large, low-profile, alloy cone feet which in some cases may be sufficient for optimal floor coupling. As specified, however, hardened steel spikes are threaded into the cones and adjusted to give the best lock to the floor, as well as to facilitate system leveling.

It may use seven drive-units, but the X-1 is a four-way system. The first crossover is set at a low 120Hz, but as it’s electrically first-order, 6dB/octave, there will be considerable overlap between the outputs of the bass and midrange drivers. Significant output from the woofers will be present up to 500Hz, this intended to reinforce the lower midrange and to help drive the system toward maximum conversion efficiency. Likewise, the “reach” of the high-power midrange drivers down into the upper bass improves the low-frequency “speed” and overall transient performance, helping to define the leading edges of notes. It also blends the transition between the different acoustic heights of the bass and mid sections. This increase of the effective vertical length of the overall low-frequency source tends to reduce the depth of the reflected floor-notch effects by spreading them over a wider frequency range.

Such a low-order crossover is made possible thanks to the use of two 7″-cone midrange drivers—high-power bass-midrange units that would be capable of full-range performance in a smaller system. Sealed in their own enclosures, the midrange drivers will also have a natural second-order acoustic rolloff below 70Hz or so to give an ultimate 18dB/octave rolloff slope. As a consequence, they’re not called on to deliver any musical information of significance below 40Hz.

These units cover a nominal 4½ octaves up to the second crossover at 3kHz, where both high- and low-pass transitions are second-order, 12dB/octave. This doesn’t appear to make immediate sense for a vertical midrange/treble array that has the tweeter located between the two midrange units. However, the Grand SLAMM’s facility for fore and aft displacement of these three modules—lower and upper mids and treble—may be independently varied, and their acoustic delays adjusted for near-perfect phase integration through the crossover region. Such is the glorious freedom this unfettered high-end speaker design allows!

The front tweeter operates full-range to its limit beyond 20kHz, while the third crossover point at 12kHz (damped second-order) feeds to the fourth “way” of this four-way speaker system. This is a pair of rear-facing “ambience” tweeters that are run some 10dB or so below the main level.

A front-facing tweeter of the usual 1″ type becomes increasingly directional above 10kHz due to its small size, this dimension approaching the actual wavelength of the frequencies reproduced. Additional smaller tweeters could be fitted adjacent to the main tweeter, but it’s hard to blend their acoustic output; the result often mars the main signal. Ideally, a touch of extra treble energy is required to drive the room acoustic in the upper range where the energy output of the main tweeter is beginning to fall. Bi-directional panel speakers naturally have this “open” quality: rear-directed treble energy helps “open” the excitation of the room acoustic in the uppermost part of the frequency range. Many designers of box speakers have recognized this loss and tried various solutions—eg, the Shahinian designs, the Mirage bi-directional models, the top-mounted second tweeter of the Linn Isobarik, and almost all the Snell range.

Wilson’s ambience tweeters are mounted on rear-angled facets of the uppermost X-1 enclosure module. They nicely dispense a proportion of delayed, reverberant air and sparkle without any apparent loss of focus or wavefront accuracy from the main tweeter.

The mid-treble crossover is accorded its own solid, cast-resin enclosure at the back of the module stack, well clear of acoustic, vibrational, or electromagnetic interaction with the enclosure or the loudspeaker drivers. Wilson puts great emphasis on removing the induction-sensitive crossover coils from the reach of the distorted magnetic flux field of the drivers. He reports a smearing of transient decay due to this type of poor crossover isolation.

Drive-Units: Both woofers are made by the French company Focal specifically for the Grand SLAMM. (If sold on the consumer market, these units alone would cost upward of $1000/pair.) They both feature a diecast chassis and have the same type of very large magnet and motor system. The high-power motor coils (2kW short-term) are wound on 3″-diameter Kapton formers—Kapton withstands very high working temperatures—and are ventilated to improve long-term thermal dissipation. The woofers use a distinctive composite, ventilated-magnet design. The pole pieces are chromed, while the high-intensity magnetic flux required for the target sensitivity is achieved by using an array of smaller ferrite magnet rings, their red-painted finish lending them a distinctive appearance.

The cones are made of a glass-fiber-reinforced pulp impregnated with a catalyzed resin, and are both rigid and pistonic over the required frequency range. Placed uppermost on the baffle, the 12″ driver has an additional surface treatment to damp cone resonant modes, since in terms of its natural response and position in the stack, it reaches further into the low midrange than the 15″ unit. The edge suspensions are foam half-roll surrounds of high mechanical “Q.”

These are low-loss drivers, with high electrical damping and consequently great electromagnetic control (high Qm and low Qts, a highly desirable if expensive combination). Their corrugated spiders are surprisingly stiff; these are no “soft,” long-throw units. Instead, their motor design is directed toward linear control under high-power excitation, while their fundamental resonances are matched to the requirements of bass-reflex loading. By using two differently sized bass units, sharing a common enclosure and vent, the usual single, sharp port resonance peak is broadened, extending its range and smoothing the response both in the port range and in the upper enclosure-resonance range (footnote 2).

Given the high power capacity of the bass pair, the choice of midrange driver was critical. In addition to the usual requirements for response smoothness, low coloration, and transparency, the X-1’s midrange also had to be efficient, dynamic, and remain linear under high power inputs. To meet these demands, two 7″ drivers, custom-made for Wilson by Dynaudio, are operated in parallel. Their high sensitivity is reinforced by a double-magnet system, 2.83V driving the pair to 96dB at 1m in the upper midrange. These drivers use rigid pressed-steel baskets and high-power 1.5″ alloy voice-coils with dense “Hexacoil” windings. Copper shading rings and caps minimize magnetic third-harmonic distortion. The polypropylene cones are flared BBC-style, mineral-loaded to improve both rigidity and damping, and suspended on natural rubber surrounds.

Much development has gone into the new 1″ tweeter built by Focal for Wilson Audio. It has a double magnet to raise its sensitivity to an all-time high for a direct-radiator type of 96dB. While the WATT 3 used a fiberglass material for its distinctive inverted dome (not Kevlar, as is commonly stated), the new version of this tweeter uses titanium. This metal’s great stiffness helps push the primary resonance up to 23kHz from the 16kHz of the earlier fiberglass type. Now the intrinsic response is essentially flat to 20kHz at the greatly increased sensitivity.

The new, highly stable synthetic suspension is fitted with a small half-roll termination to control sub-harmonic rocking. Wilson has also fine-tuned the viscosity of the ferrofluid cooling medium in the gap, as well as the size and treatment of the air volume behind the dome. A tapered hollow pole leads to a sealed rear chamber within the ferrite magnet rings. The 1″ ambience tweeters are single-piece titanium-dome units sourced from Audax, chosen for their good performance in the final audible treble octave.


Description: Four-way, seven-drive-unit, floorstanding, reflex-loaded loudspeaker system. Drive-units: 1″ (25mm), ferrofluid-cooled, inverted titanium-dome tweeter; two 6.5″ (170mm) plastic-cone midrange units; 12″ glass-fiber-reinforced pulp-cone upper woofer; 15″ pulp-cone lower woofer; two rear-firing 1″ metal-dome tweeters. Crossover frequencies: 120Hz, 3kHz, 12kHz (rear tweeters). Electrical crossover slopes: first-order, 6dB/octave woofer/midrange; second-order, 12dB/octave, midrange/tweeter. Frequency response: 19Hz-22kHz ±3dB. Low-frequency extension: 20Hz, -6dB. Sensitivity: 95dB/W/m (2.83V). Nominal impedance: 5 ohms. Amplifier requirements: 15-500W.

Dimensions: 72″ (1830mm) H by 16.5″ (420mm) W by 25″ (635mm) D. Weight: >500 lbs each.

Price: $64,500/pair (1994). Approximate number of dealers: 12.

Manufacturer: Wilson Audio Specialties, Inc., 2233 Mountain Vista Lane, Provo, UT 84606. Tel: (801) 377-2233. Fax: (801) 377-2282. Web:

Link para o review completo aqui.

Caixas acústicas Boston Acoustics A26 (via whathifi)

Our Verdict   ★★★★★
The A26 is a smooth, entertaining performer that works well in a range of systems
For: A refined and full bodied presentation
pleasing dynamics and scale
good bass weight
Against: Some listeners might find the overall balance a touch polite

Up until now if you were looking for a high-quality standmounter for around £250, the answer was simple: buy the Monitor Audio Bronze BX2s.

Very little we’ve heard at this price can compete with the Award-winning Monitor Audios when it comes to all-round sonic ability. But that all changed when a pair of the Boston Acoustics A26s arrived in our listening rooms.

This chunky-looking standmounting speaker is a beautifully accomplished performer that trades the last word in attack for a wonderfully fluid and engagingly musical presentation that positively brims with refinement.

Place them properly and reap rewards • The A26’s insight into recordings as diverse as Tchaikovsky’s 1812 Overture and Adele’s 21 is impressive at this price level, as is its ability to communicate scale and authority.

It also times decently, delivering the rhythm track from the Black Eyed Peas’ Elephunk with precision.

It’s worth taking an extra bit of care when setting up these speakers. Soundstyle’s excellent Z2 stands (£70 are the minimum requirement as far as supports are concerned; add a hint of toe-in towards the listening position and you’ll get a pleasingly layered and well-focussed sound stage.

Excellent build quality impresses • A look at the A26s’ build quality sees them continue to pile on the points. They’re well-built, and available in either the Black gloss of our review sample or a cherry finish.

These speakers are also relatively unfussy about positioning provided there’s around 20cm between them and a rear wall to allow the rear-firing port to work properly.

Single-wire connections – no bad thing at this price level – complete the package.

If you skip forward to the Awards section of the website, you’ll see that the Monitor Audio BX2 has picked up the gong at this price level. It’s an excellent speaker, but these A26s are good enough to be considered a viable alternative. And that’s high praise indeed.

Link para a matéria original aqui.

Novidade: os toca-discos da Scheu Analog

Muito em breve mais uma super novidade para os amantes do som analógico: os toca-discos da alemã Scheu Analog. Acompanhe aqui no blog e também em nossa página no facebook.

Abaixo mais informações diretamente do site do fabricante.

Turntables from SCHEU are synonymous from Berlin to Ushuaia with a most audiophile sound quality, tonal balance and, last but not least, outstanding durability. They are all belt-/string-driven heavyweight turntables and they all use an inverted bearing.

Production quality is of the utmost importance to us, and we work exclusively with suppliers from Germany. This means that our final products are `Made in Germany´ through and through – apart from the Rega arm on some models, which fortunately is being built to the same exacting standards.

Our turntables are carefully manufactured by hand and offer a suitable solution for everyone, no matter what your requirements, from the beginner´s turntable Cello to the very sophisticated reference-beater Das Laufwerk No.2.

Das Laufwerk

Bridge Áudio na Casa Cor Goiás 2016

A Bridge Áudio está presente na CASA COR GOIÁS 2016, nos ambientes elaborados pelos arquitetos Pedro Ernesto Gualberto, Anna Paula de Melo, Natália Maciel e Rachel Borges (Studio Borges Maciel).

12 de Maio a 22 de Junho de 2016

Antigo prédio da CMAC Juarez Barbosa, localizado na Rua 30 com Avenida Tocantins, Setor Central 

De R$22 à R$165

Mais informações na página do evento.

Amplificador integrado Hegel H300 (via The Absolute Sound)

Outra aquisição da Bridge Áudio para o seu sistema de som de alta fidelidade: amplificador integrado Hegel H300. Um dos produtos mais surpreendentes lançados no últimos anos, que figura entre os componentes recomendados pelos editores dos principais magazines de áudio e na classificação referencial de outras publicações pela rede.

O teste abaixo foi veiculado no magazine ”The Absolute Sound” em setembro de 2013. Confira.



Audiophiles searching for a combination of high performance, multi-component convenience, and reasonable price would be wise to considerHegel’s H300 integrated amplifier-DAC, which Hans Wetzel reviewed for the SoundStage! Network’s SoundStage! Access in December 2012. With it, you need only a digital source (e.g., a disc transport or computer), speakers, and cables for a topflight sound system.

The H300 is Hegel’s largest, most powerful integrated amplifier. Company reps say that its design was mostly inspired by Hegel’s own upper-end separate preamplifiers, amplifiers, and DACs, and is easily comparable with them. As Hans said in his review, “The H300’s class-AB amplifier section produces a solid 250Wpc into an 8-ohm load, or 430Wpc into 4 ohms. Its signal/noise ratio exceeds 100dB, and its damping factor is greater than 1000. Distortion is listed as a negligible 0.005% at 100W into 8 ohms while outputting a 1kHz tone. The power supply is a 1000VA dual-mono design, armed with 90,000µF of capacitance. As with their reference H30 amp, Hegel engineers hand-match the FET transistors in the H300’s input stage. They claim this greatly reduces the higher-order harmonic distortion that would otherwise occur, as transistors may behave linearly when fed a symmetrical sinewave, but not when fed asymmetric signals, such as the vast majority of recorded music. Also harnessed in the H300 is Hegel’s patented SoundEngine technology, which allows for the elimination of the local signal errors inherent in traditional class-AB designs. The proprietary amplifier stage is ostensibly correction circuitry that eliminates nonlinearities in each section of the output stage. All of this knowledge is wired to a single pair of binding posts on each side of the H300’s rear panel, which look identical to those used on Musical Fidelity’s tank-like M6 500i integrated.”

The H300’s high power output — it’s claimed to be stable into loads down to 2 ohms — means that it should easily drive most loudspeakers on the market, and that a speaker upgrade shouldn’t require a new amp as well. Yet the H300 also provides interesting options for users wishing to upgrade to separates someday, including preamplifier outputs and, most notably, the DAC-Loop feature. This permits the insertion of an external DAC in a way in which the sound still benefits from the H300’s built-in reclocking circuitry. A home-theater-bypass input is also included so that the H300 can be used with a full multichannel system.

The only thing the H300 lacks is flashy looks. In typical Hegel fashion, it’s a no-frills design with a sparsely decorated faceplate containing only the essential controls. It’s a testament to Hegel’s longstanding philosophy of concentrating on what they feel counts most: the sound.

Hegel H300

And it’s the H300’s sound that makes it special — particularly to audiophiles and, obviously, to Hans, who was impressed with everything he heard from the H300, including a DAC section that he described as “highly resolving and almost dead neutral,” and an exceedingly neutral amplifier section: “The amplifier section was the H300’s soul, and it was a standout. All manner of music took on an unimpeachable purity that was difficult not to appreciate. Voices were rendered smoothly and gracefully, but not so kindly as to abbreviate any detail of their sound. Till Lindeman’s voice, in the closely miked introduction of ‘Spieluhr,’ from Rammstein’s Mutter(16/44.1 AIFF, Island), was so clean and clear, yet not strident or edgy or in any way warm or rounded. Words like athletic or propulsive don’t do justice to the Hegel, as they imply a perceptible sense of effort on the amp’s part. Rather, the class-AB H300 had a sound that seemed unadulterated. This was in contrast to Musical Fidelity’s M6 500i, whose 500Wpc gentleman-thug of an amp section sounds unabashedly relaxed and slightly warm, making almost everything I played through it sound a little more disarming. While I thoroughly enjoy that signature, it’s a signature nonetheless.”

Hans was also struck by the H300’s low-end performance: “I’m fond of bass that is both ample and well defined, and have occasionally been seduced by components that provide a dose of low-frequency extension that I haven’t heard elsewhere. With the Hegel, the nether region of the audioband was as extended as I’ve heard through my reference Krell and the Musical Fidelity. But while the M6 500i viscerally pounds out bass, the H300 was viscerally incisive in the low end. At about 3:30 into ‘Why So Serious?,’ from Hans Zimmer and James Newton Howard’s score for The Dark Knight (16/44.1 AIFF, Warner Bros.), there’s a bass line that’s more felt than heard. Proper stuff, and what the Hegel gave up to the Musical Fidelity in fulsomeness it made up for in agility.”

The H300’s across-the-board high level of performance is mainly why we’re including it in our list of Recommended Reference Components, but there’s another reason, one not mentioned in Hans’s review. He didn’t buy the review sample, because that was already scheduled to go elsewhere; but Hans did buy a brand-new H300 to use as his reference integrated amplifier and DAC. It’s one thing for a writer to recommend a product for someone else to buy; it’s quite another for him to believe in it enough to buy it himself and use it as his reference for that component category. In fact, it’s the highest compliment a reviewer can give to any product, and to the company that makes it.

Manufacturer contact information:

Hegel Music Systems
PO Box 2, Torshov
NO-0412 Oslo
Phone: +47 22-60-56-60
Fax: +47 22-69-91-56


Pré-amplificador Unison Research Unico Pre e amplificador Unico DM (via The Absolute Sound)

A Bridge Áudio orgulhosamente apresente mais uma excelente opção para sistemas de som de alta fidelidade, voltados à apreciação musical: o conjunto pré-amp e power da italiana Unison Research, o consagrado Unico. Confira a matéria abaixo publicada pelo magazine ”The Absolute Sound”, com o review técnico e as especificações. Link para o texto original aqui.
By Alan Sircom
| Jul 08th, 2010

Solid-state power amplifiers,
Tubed preamplifiers
Unison Research Unico DM,
Unison Research Unico Pre
Unison Research Unico Pre Preamplifier and Unico DM Power Amplifier (Hi-Fi+)


Unison Research really lives up to the name; it’s a true unison; a combination of loudspeaker manufacturer (Opera) along with two parallel electronics brands ? the all valve Unison and the valve/transistor hybrid Unico ranges. The Italian company has one of those richly deserved reputations for building lovely looking products, and even if the powder-coated Unison models represent the diffusion line, these aren’t exactly fugly products, either.

The looks are new, even if the names aren’t. There was a Unico preamplifier that came before, also called the Unico Pre. But that was big and tall and slightly clunky looking line-and-phono affair, where the new Pre just looks like a well-built, standard sized one-box line-only preamp. It’s a hybrid design, featuring J-FETs in the input stage and ECC82 double triodes in the gain stage. This, the company considers, gives the best overall balance; the J-FETs for linearity, the triodes for four-o (smooooth) smoothness across the mids.

It’s a four-input pre, marked CD, tuner and two auxiliary inputs. There’s also a tape monitor circuit. The inputs are run through both balanced and single-ended pathways, with a selector at the front. In theory, you could run four separate balanced and four single-ended sources (and the single-ended only tape) through the Pre. The chassis is laid out dual-mono style, with all the left and right channel inputs and outputs at either side of the pre, and the IEC mains and odd-ball spring-clip speaker cables-for-amplifier link in the centre of the rear panel. Each side of the Pre has one balanced and two single-ended connections to the power amp.



The DM power amp is also derived from its squared-off predecessor. It’s still a big case, but shorter and wider than before. The DM name is short for ‘Dual Mono’, and once again it’s two amplifiers in a box, sharing a common central power supply. The 150 watter is capable of being driven in bridged mode, at which point its power rises to a whopping 500 watts per channel. Like the Pre, the DM is a hybrid design, but this time uses a pair of ECC82s in the input stage (again, think smooth, this time just a three-o) and push-pull MOSFETS at the meaty end. It can be used in balanced and single-ended mode.

Aside from the more conventional lines, the biggest changes to the amps involve increased logic control, especially on the Pre. Both models still have soft-starts and carefully controlled warm-ups (no sound for the first 30 seconds to give those tubes a gentle nudge into life), but now without the pink light show from the power button. In addition, the Pre now moves source selection from a simple four-position rotary dial to a logic-driven affair. This means little green indicator LEDs at each source and a central LED volume display. It also means the control surfaces have some of the worst feeling knobs around, completely free from resistance and with some deliberate play. This isn’t a deal-breaker, as it’s a sign of moving away from ‘hard’ controls on the front panel, but some still want their volume dials to feel ‘right’ and that’s not going to happen here. The remote, on the other hand, feels wonderful thanks to its wooden back panel. Unison alternates between handsets with the bare minimum of buttons and ones that can control anything in a 20 metre radius. This falls into the latter category ? given the limited level of control on the front panels, this handset can operate balance, control matching CD players and more. Comprehensive, but you might spend a lot of time swearing at it because the pause button looks identical to the station selection control.



There is a schoolboy error to the reporting of the sound of the Unico Pre and DM, one that I confess to (almost) making. It’s a remarkably natural sound, which can easily be dismissed as a ‘soft, smooth, rock-free wallpaper’ approach. This is almost a knee-jerk reaction to Italian amplifiers, as if we can’t get past it coming from the land of gelato. But Italy is the land of espresso too, and there’s more strength behind that smoothness.

If you begin with John Martyn and travel all the way to Lambchop, you’ll hear a sumptuously natural, inviting presentation, with plenty of detail and good dynamics. There’s something of the hybrid to the sound; not in terms of triodes and solid-state, but the way it manages to convey much of what American audiophiles look for in audio (expansiveness, precise and three-dimensional imagery, and that sort of macro-lens up close dynamic contrast and detail) while retaining a lot of what ticks the box for British hi-fi buffs (a sense of rootedness to instruments within a soundstage, well-ordered and deep bass and a good sense of rhythm).



Even here, it’s easy to still fall into that trap of thinking the Pre and DM are ‘nice’ rather than ‘good’. But it’s here you turn to the darker, stormier side of things; nasty, kiddy-scaring music like Tool or John Pickard, or grunty, rude bass-heavy leftovers from the 1990s like Leftfield or Aphex Twin. Even some evil jazz from the likes of Fringe Magnetic. It takes the lot in its stride and dispels the notion that this is merely some kind of laid-back smooth ride.

Whatever you put through the Unico duo comes out extremely natural sounding. The sense of scale to instrument sounds, and the way those instruments separate out within the soundfield is particularly exact and beguiling. It’s not an imposition on the sound and the duo won’t try to turn processed pop into events dripping with ambience. But it does seem to step out of the way more readily than most.

Then there’s the bass. Rich, deep and full, it can be understated when the music demands it and gut-churning when called for. This is the one time where the Pre takes a step forward past the DM though. The amp, though very good, doesn’t have that sort of absolute control over the drive units as demanded by some of the more demanding loudspeakers. This may change when used bridged, but this isn’t the first choice to drive amp-crusher speakers like the Magico Mini II. That’s pushing it way out of context though, and in partnership with the sort of speakers you might expect on the end of a few grand’s worth of amp (I used ProAc Response D Twos), it worked like a charm.

There’s still a touch of softening to that naturalness on single-ended inputs and especially on the single-ended pre-to-power connection. On, ahem, balance, the sound of the amps in balanced mode is perhaps preferable to single-ended. Not by any significant amount, but balanced just seemed to give music an edge that it lacked in single-ended. Drums were snappier and tighter, with the buzzing decay of the snare springs more ably delineated from the beat itself. This wasn’t down to improved detail in balanced mode, but the fact that the single-ended combo could sound too smooth at times, as if it were papering over cracks that didn’t need papering over. A lot of this might come down to personal taste (in part because the difference is not substantial); if you listen to a lot of power chords, balanced will do it for you, but if your music tastes are pitched more toward the Francois Hardy/Scott Walker school, go single-ended (we could make the same statements between Beethoven and Mozart, or between Thelonious Monk and Dave Brubeck). So, when it comes down to it, I’m not sure if the ‘preferable’ part of balanced mode here is actually ‘preference’. I’d certainly be happy with the amp in either mode.

Splitting the two apart for a brief period showed both were very good at their jobs, but were such an obvious partnering that the chances of someone considering one without the other seems almost absurd. They work together like conjoined twins. If you do split them apart, the pre has a character not unlike a classic Conrad-Johnson model, while the power sounds a little like a Counterpoint or Coda. In other words, taken separately, the sound of each starts to sound less ‘honest’ and more ‘warm’, but in combination the two ‘warm’ sounds patently cancel one another out.

I must confess to holding on to this amplifier for a lot longer than a reviewer has any right to. In part that’s simply down to sheer weight of hi-fi traffic in the review roll-call, but another part simply didn’t want to give it back any time soon. It may not have the sort of cachet of the big names in the game, and it doesn’t make for shiny-shiny audio sounds that instantly attract listeners, but instead the Pre and DM play the long game. They are the natural choice for long-term listening.


Line inputs: Four balanced and single-ended inputs, one tape monitor input
Outputs: One balanced and two single-ended outputs, one tape monitor output
Valves: 2x ECC82 (12AU7/5814A)
Bandwidth: 10 Hz – 100 kHz at -+ 0.5 dB
Input impedance: 47 kOhm
Output impedance: <100 Ohm
Power consumption: 700 watt maximum
Dimensions (WxHxD): 240x170x520mm
Net weight: about 12 kg
Price: £2,160

Balanced and Single-ended inputs
Output power: 150 watt per channel
Bridge mode: 500 watt
Output impedance: 2 – 8 Ohm
Bandwidth: 2 Hz – 100 kHz at – 0.5 dB
Input impedance: 20 kOhm / 15 pF
Output Stage: Improved dynamic class A symmetrical with power MOSFET complementary pair
Damping factor: > 50
Total feedback factor: 9.3 dB
Power consumption: 700 watt (at full output power)
Dimensions (WxHxD): 240x160x440mm
Net weight: 18kg
Price: £2,880

Os toca-discos da U-Turn Audio (via U-Turn site)

Em breve estaremos recebendo algumas unidades do toca-discos revelação do mercado, U-Turn Orbit. Acompanhe.

Abaixo as informações sobre o toca-discos, diretamente do site do fabricante.



Performance priced right

A turntable should be reliable and easy to use, but most importantly it should sound great. High-performance tables can be prohibitively expensive, and budget tables too often sacrifice quality for unnecessary features. So we set out to build a turntable that outperforms its price tag.

By redesigning classic audiophile components and leaving out nonessentials, we created a remarkably simple table that provides warm and detailed sound. Easy to setup and use, the Orbit delivers a dynamic and distortion-free listening experience.

Learn more about our manufacturing process

A quiet revolution

The Orbit’s low voltage AC synchronous motor provides excellent speed consistency and minimizes pitch variation (wow & flutter). The motor is decoupled from the plinth by a unique rubber suspension that prevents unwanted vibrations from seeping into the sound.

The Orbit’s CNC machined pulley turns an exposed drive belt and plays both 33 1/3 and 45 RPM records. The platter rides on an inverted main bearing – providing superior stability and reduced bearing noise (rumble). In other words, all you hear is the music on your record.

A perfectly balanced tonearm

The tonearm is the crucial link between your record and your speakers. To do its job well, it must achieve harmony between tracking force, mass distribution, and rigidity. The Orbit’s innovative unipivot arm turns effortlessly on an inverted pyramid of precision ball bearings, and works with the arm’s low center of mass to provide accurate tracking.

Every Orbit comes pre-fitted with your choice of an Audio-Technica, Ortofon, or Grado Labs moving magnet (MM) cartridge, which is balanced by an adjustable stainless steel counterweight.

Take it for a spin

The Orbit is ready to play out of the box. Cartridges come pre-installed with tracking force properly adjusted, so all you have to do is turn the table on and lower the arm. A dust cover, felt mat, and RCA cables are all included with every table. Check out the Orbit Basic or Plus, or you can use our Orbit customization toolto select your own color, platter, cartridge, preamp, and add-ons. Parts are interchangeable so you can upgrade down the line and tailor your turntable to your needs.

Made with love in Boston

Every Orbit is assembled by hand in our Woburn, Massachusetts workshop. Prior to shipping, each turntable goes through comprehensive listening, wow & flutter, and rumble tests, as well as a 15-point performance evaluation. Every Orbit comes with a one year warranty.

The vast majority of our parts are sourced within the US. Our acrylic platters are turned in Ohio. Our plinths come from Minnesota, and our metal parts from Connecticut. By keeping our suppliers close and our assembly in-house, we are able to maintain a high level of quality.

  • Unipivot tonearm
  • MM cartridge
  • Fully manual belt-drive
  • Two speed pulley (33/45)
  • 24V Synchronous motor
  • Machined MDF plinth
  • Vibration damping feet



  • Dimensions: 5″ x 17″ x 13″
  • Weight: 11 lbs
  • W&F (basic platter): 0.175%
  • W&F (acrylic platter): 0.125%
  • Signal / Noise ratio:  -79 dBA
  • Rumble: -63 dBA
  • Power supply 115V / 60Hz
  • 24V synchronous motor


In the box

  • Orbit turntable
  • Dust cover
  • Drive belt
  • Felt mat
  • AC adapter
  • Shielded RCA cables
  • Setup guide

Receiver Cambridge Audio CXR120 (via Sound &Vision)

Audio Performance

Video Performance





Nuanced, open, uncolored sonics
Stream Magic module
Auto setup imposes no room correction


Bluetooth requires adapter
A $2,400 AVR with no Dolby Atmos or DTS:X
Auto setup imposes no room correction

The Veredict

This receiver makes idiosyncratic audiophile choices—omitting Atmos, Bluetooth, and other features—but the revamped look and feel are great, and the sound is reliably musical.

 At first glance, the cosmetic difference between Cambridge Audio’s new CXR receivers and the company’s previous Azur line is almost shocking. The older receivers were stellar performers, but their look was strictly utilitarian, even a bit dowdy. They were the consumer electronics equivalent of Queen Elizabeth II. Whatever her traditional virtues may be, she hasn’t won many beauty contests lately. What a difference a new look makes! The CXR receivers have a cleaner, sleeker front panel, with fewer controls and a generously oversized display. They’re less QEII, more Kate Middleton—who, coincidentally, is also known as the Duchess of Cambridge.

Full Disclosure Specs

The CXR120 ($2,399) is one of two new Cambridge receivers, the other being the CXR200 ($3,299), which has twice the rated power. The Azur name has been retired. While CXR receivers still use fan cooling, it’s a new design with new components. Using the industry-standard (if slightly deceptive) method of power rating, the CXR120 offers 100 watts into 8 ohms with two channels driven. At 6 ohms, that rises to 120, and at 4 ohms, 155. In an unusual and praiseworthy step, Cambridge also specifies the receiver at 60 watts into 8 ohms with all seven channels driven. That is the kind of information that most manufacturers prefer to conceal. Compare it with our Test Bench measurements—and competitive AVRs.

Cambridge has dramatically reduced the number of buttons on the front panel. The old same-priced Azur 651R had 22 buttons. The CXR120 has eight, and seven of them are cunningly camouflaged, tucked into the four corners of the large display. When the receiver is powered down, you hardly notice them—but when it’s powered up, the backlit legends pop up brightly. If only I could be that cheerful when I wake up in the morning.

The pair of buttons in the lower right corner are home menu and back keys. In an inspired touch, the volume knob scrolls up or down menu items; press the knob for enter. Brilliant! While I’ve seen this before, I haven’t seen it often enough. Two other keys cycle among sources. The remaining controls operate the direct modes and the tuner. Yes, older Cambridge receivers offered more front-panel functionality independent of menus, but their control layouts were harder to learn. The new ergonomic choices make it simpler to find what you need.

The cosmetic redesign extends to the graphic user interface. The new look, like the old one, is mostly monochrome except for a speaker-setup diagram in color. But the font is more attractive and smaller, presumably sized for a large HD screen. The remote distinguishes controls by shape but, oddly, not by color. The home menu and volume buttons are both integrated into the ring surrounding the navigation controls, which is convenient but takes some getting used to.



An increasing number of manufacturers are integrating Wi-Fi, Bluetooth, and AirPlay while eliminating extra-cost adapters. Cambridge does bake in Wi-Fi, including a supplied antenna, but Bluetooth requires the BT100 adapter ($109). If you want AirPlay, buy Apple’s AirPort Express.It’s not that Cambridge is uninterested in audio streaming. The CXR120 includes the same Stream Magic module found in Cambridge’s CXN and 851N network music players. As most receivers do, Stream Magic supports Spotify and streams lossless audio via Wi-Fi or Ethernet or from a USB hard drive. But it offers wider file support than some, benefits from regular firmware updates and improvements, and consolidates streaming and simple receiver control features in the Cambridge Connect app. The app is for both Android and iOS. One of the HDMI ports is MHL capable, though the USB port isn’t iOS compatible—so Android users have the advantage in streaming with a wired connection.

This is one of the few receivers I’ve seen that entirely omits the HD component video interface—and the first I’ve seen that omits SD composite video as well. Thus, Cambridge eliminates the need for an analog transcoder and scaler, simplifying the design and freeing up resources for sound-enhancing components. HDMI 2.0 is supported, not 2.0a, so you’ll have to do without being able to pass HDR video to a 4K display. But the receiver does support Ultra HD at a 60-hertz frame rate, 4:4:4 color depth, and 21:9 widescreen passthrough—and it offers the updated HDCP 2.2 digital rights management, so it can pass copy-protected UHD.

Read more…

Caixas acústicas Earthquake Tigris (via Hometheaterhifi)


Earthquake Sound is a company best known for producing knock your socks off subwoofers and amplifiers for home theater. They also manufacture several lines of speakers, including the Titans. The Titan Tigris weighs 89 pounds each and stands nearly 5 feet high. They are certainly imposing speakers that look the part, and are priced to compete with the crème-de-la-crème of tower speakers. In this review we’ll see how they perform.


  • Design: Floor-standing, 4-Way, Ported Enclosure
  • Drivers: One 1″ Silk Dome Super Tweeter, One 2″ Silk Dome Tweeter, One 8″ Midrange, One 8″ Woofer
  • MFR: 25 Hz – 40 kHz
  • Sensitivity: 89 dB ± 3 dB
  • Nominal Impedance: 4 Ohms
  • Crossover frequency: 350 Hz, 3.2 kHz, 10 kHz
  • Recommended Amplifier Power: 100 – 500 Watts RMS
  • Dimensions: 50.5″ H x 9.8″ W x 18.3″ D
  • Weight: 89 Pounds/each
  • Available Finishes: Gloss Black
  • Earthquake Sound

Design and Setup

The Titan Tigris speakers arrived via freight service on a pallet. I was barely able to wrestle the giant boxes inside the house, and there was no chance I could get them upstairs to my listening room without the help of a friend. Once I got them upstairs, unpacking was straightforward due to excellent instructions provided on the outside of the box. The speakers come double-boxed with foam separating the two boxes. Inside the inner boxes, three pieces of foam secure the speakers, which come enclosed in a velvet bag. Cloth gloves are provided to prevent scratching the piano black lacquer finish during setup. The speakers need to be handled carefully to avoid damaging the top mounted tweeter enclosure. I found the gloves a bit slippery in trying to get a grip on the super smooth finish. I just removed my watch and wedding ring and moved them around with bare hands.

The Tigris is a very well made and handsome speaker. The sculpted and curved MDF case is finished in very high quality 3mm thick piano black lacquer paint, with silver colored trim encircling the drivers. Beefy, gold plated dual binding posts with gold plated copper jumpers allow for bi-wiring and bi-amping. The binding posts do accept banana plugs. No grilles are supplied, and there is nowhere to mount them, with the exception of the tweeter. A permanently mounted perforated grille protects the 1″ neodymium magnet silk dome super tweeter. The main tweeter is a 2″ silk dome with ball loading, and the midrange and woofer are Kevlar cone long excursion drivers 8″ in diameter. A port vents to the rear of the cabinet just above the binding posts. The base accepts four low profile carpet spikes, which are invisible once set up.

This speaker certainly needs to make no apologies when it comes to fit and finish, component quality and design. I have a small listening room, and from the look of the Tigris, it is obvious they are designed for big rooms that will encompass their very large sound production.

The speaker is rated at a nominal impedance of 4 ohms, with frequency response from 25 Hz to 40 kHz. In my room, I got good response down to 20 Hz, as we’ll see later.

I set up the speakers near the location where my Gallo Reference 3.1s normally live. This is about three feet from the sidewalls and four feet from the back wall of the listening room, with the speakers separated by about seven feet. I toed the speakers in toward the listening position, which I found to give the best imaging. I ended up moving my listening position about two feet farther back from normal to about twelve feet from the speaker plane to get away from room modes in the bass (more on this later). I broke in the speakers with several weeks of TV and home theater use before getting down to the listening tests.

In Use

I was a bit concerned about such a large loudspeaker in my modestly sized listening room (16′ x 21′ x 8′). This turned out to be an issue I struggled with throughout the entire review period. Initially, the sound was characterized by a seriously over-prominent mid-bass. The speakers were exciting room modes in the 100-200 Hz region. I moved my listening position two feet further back (to ten feet). This helped tame the excitation of the room modes, but did not completely solve the problem. I tried moving the speakers around a bit, but the room setup did not allow complete freedom in positioning. I think these speakers would work just fine in the mid-bass if you have a large room. Speakers of this size are not made for small rooms like mine, and the mid-bass is where the issue usually shows up.

Putting aside this room-size-caused-artifact, the performance of the Tigris was stellar. The tall speaker, with high mounted midrange and tweeter resulted in a very tall and expansive soundstage. This gave me some of the most realistically sized images I’ve heard in my room, with vocals sounding about the height of a standing person. The soundstage width did not give up much to my excellent Gallos, a great feat for a speaker with such a large cabinet. The soundstage plane was typically at or behind the location of the speakers, which added to the great amount of space created by the Tigris.

The bass extension on the low side of the mid-bass issue was excellent, offering very good weight and impact with extension to the lowest frequencies. The bass power was superior to my Gallos, with eye blinking transients. Extension on electronic music, like Orbital’s In Sides or Daft Punk’s Human After All, the bass extension and weight shook the inside of my stomach, as it should. The midrange had great smoothness and detail, with great extension provided by the pod-mounted tweeter. The introductory portion of Gomez’ Revolutionary Kind was probably the best I’ve heard, with great accuracy and realism to the drums, vocals, and acoustic guitar. Once the bass line came in, the mid-bass issue was apparent, but again, that is a problem caused by my small room. On Beth Orton’s Best Bit, the production on the vocals was clearly audible, making the detail offered by the Tigris a double-edged sword.

On all tracks, the dynamics presented by the speakers was exceptional. Not only were big transients delivered with shocking impact, the small scale dynamics that preserve the live quality of the music were there in spades. I haven’t heard that level of excitement in my listening room since I listened to the super high sensitivity Zu Druids. This is another feature I wouldn’t have expected in such a large speaker. Many big speakers struggle with dynamics without colossal amplification behind them.

What I heard from the Titan Tigris says that if you have a large room where the prodigious bass capability of these speakers can do their job, they will be certainly compete with the best $10k-$20k speakers. If you don’t have a big room, I would suggest caution. They might work for you, depending on how much furniture you have in there. If for example, you have a devoted music listening room, with just one or two chairs, wall and corner treatments, they could be terrific. Of course, this applies to any large speaker. On the other hand, if you are using the speakers in a home theater system, with just about any modern receiver, the built-in EQ, such as Audyssey, can flatten the response so that you don’t have that extra mid-bass.

On the Bench

The Titan Tigris was measured in my listening room using my M-Audio ProFire 610 Firewire audio interface with a calibrated Earthworks M30BX microphone and SpectraPlus FFT analysis software. Impedance was measured using a Smith and Larson Woofer Tester.

The impedance was measured from 20 Hz to 20 kHz and is presented as traditional stacked amplitude vs. frequency and phase vs. frequency plots and on a Smith Chart as I have described in previous reviews. The impedance of the Tigris is specified at 4 ohms. The impedance drops to this level over most of the audio band, but rises to well above 10 ohms at a peak around 55 Hz (revealing the port tuning) and at around 500 Hz. The wide variation in both the magnitude and phase of the impedance indicates that you will need an amplifier that has plenty of power, and the specs state a 100 watt RMS minimum.

Total harmonic distortion measurements made at frequencies of 50 Hz, 1 kHz and 10 kHz show good results, similar to my Gallo 3.1s, but not quite as good as the Thiel 3.7s or Legend Tikandis I reviewed in the past.

The frequency response was measured at 1 meter on axis from a single speaker, both at midrange height and listening height and at the listening position with both loudspeakers. In both cases, the test tone was white noise.

At 1m from the speaker and at the height of the midrange driver, the response shows broad response peaks at around 1.5 kHz and 80 Hz, or a response valley between 100 Hz and 1 kHz, depending on how you want to look at it.

At listening height, the midrange peak is gone, but the peak at around 80 Hz still remains. It is exacerbated by a room suck-out (a null in the floor-ceiling standing wave) at around 150 Hz.

At the listening position, the bass is smoothed out, but the 1.5 kHz peak shows a little. A fairly prominent broad peak at 100 Hz is also visible.


The Earthquake Titan Tigris is proof-positive that the room and the speaker must be matched. In my small room, the speakers sounded uniformly fantastic, but with an overactive mid-bass. In a bigger room where the speakers won’t excite room modes to the same degree, these speakers will be absolutely wonderful and a serious player when compared to the similarly priced competition. Just be sure to try these out in your own room before you commit!

Caixas acústicas Klipsch THX Ultra2 Series (via Klipsch)

A linha THX de caixas acústicas da Klipsch você confere aqui, na Bridge Áudio.



To say the Klipsch THX Ultra2 System delivers mind-blowing intensity, consciousness-altering realism, and soul stirring magnificence is an understatement. You’ve never experienced home theater sound so accurate, dynamic, detailed and immersive. Few professional theaters can match the stunning high-output, low-distortion sound that earned this system the highest THX certification — THX Ultra2.


Drawing on our decades of experience as a leading supplier of professional cinema sound systems, we know how to fill every square inch of a space with extraordinarily intense and realistic sound.



The front left-channel, center-channel, right-channel array is the beating heart of every home theater sound system. Our KL-650-THX speakers effortlessly pump THX Ultra2-quality sound through Tractrix® 90° x 60° horns, raising the efficiency of their 1-inch titanium-dome compression driver tweeters while optimizing radiation patterns.

Their dual 6.5-inch woofers feature rigid, low-mass Cerametallic anodized-aluminum cones for exceptionally high output with minimal distortion. The KL-525-THX with 5.25 woofers is also available for smaller rooms.

Either way, your DVDs thank you.



Immerse yourself in Klipsch Wide Dispersion Surround Technology. The KS-525-THX delivers the enveloping surround field of diffuse-radiating speakers as well as the precise effect localization of direct-radiating speakers, with the drawbacks of neither.

How? Two 1-inch titanium-dome compression drivers loaded by 5-inch square 90° x 60° Tractrix Horns and two 5.25-inch Cerametallic cone woofers, set on the diagonal to minimize output interference.

In other words, if they’re out there, you’ll hear them.



240-ounce magnets. Cast aluminum frames. 12-inch Cerametallic cones. Explosive, indeed. KW-120-THX high-output, low distortion passive subwoofers deliver the room-quaking bottom end today’s film soundtracks require, with astonishing clarity and detail.

The KA-1000-THX external amp and front-ported sub allow maximum installation flexibility, while professional-grade construction and premium components throughout ensure sonic purity, consistency and reliability.




Armed with explosive dynamics that won’t disrupt your home’s décor, the THX Ultra2 in-wall and in-ceiling speakers create dramatic and realistic experiences that rival those found in large movie theaters.

Mix and match with our other THX Ultra2 products. So powerful, you’ll wonder if it’s legal.


Klipsch Heritage Line La Scala II (via Klipsch)


The original La Scala was unveiled in 1963 and named after the Teatro alla Scala in Italy. Cosmetically improved over the years, the La Scala II provides Klipschorn-like performance from a smaller cabinet that does not require corner location.

La Scala Made In Usa Hope Ar 2000x1125 V02


The Klipsch La Scala II is proudly handcrafted in Hope, Arkansas just like it always has since 1963.

Made in USA. Made to last.

La Scala Drawing


When the La Scala first launched in 1963, audio pioneer Paul W. Klipsch offered it to Arkansas gubernatorial candidate Winthrop Rockefeller to use as a public address speaker, and he did use one on a train car during a subsequent campaign.


Klipsch La Scala Ii Closeup


Compared to the original, the La Scala II includes a grille to cover the mid and high frequency horns. The bass horn cabinet walls are now constructed of 1-inch thick MDF rather than ¾-inch plywood to offer more support, decrease resonance and deliver cleaner bass response.

The La Scala II is available in a variety of high-quality wood veneer finishes, including cherry, walnut and black ash.

Please note: Klipsch Heritage Series products are built to order, handmade in the US at our Hope, Ark. manufacturing facility. Choose “standard shipping” and allow up to 8 weeks turnaround time.

La Scala Finishes 2000x1125
Klipsch Legacy Pwk


Our founder, Paul W. Klipsch, was an engineer, inventor, madman and certified genius. He spent his life trying to bring the world better sound. Since 1946, we have carried on our founder’s passion for delivering the best home audio experience possible.
You’re not buying a speaker – you’re buying a piece of American audio history built on more than 70 years of badass acoustic technology.

Cyrus unveiled a new phono stage (via Audiolifestyle)

The Cyrus R&D team have been thinking ‚outside the box’ for our latest addition to the Cyrus component range; reinventing the phono stage to significantly improve vinyl performance.

David Maroto Head of R&D says: “Our prime engineering aim is to satisfy the most demanding hi‐fi fan, so clearly sound quality was our dominant goal. However, with the addition of remote control memory functions, we have enabled audiophiles not only to match their cartridge perfectly but also to interact with and correct frustrating tonal limitations in real time. Vinyl fans know all records sound different, some being better mastered/pressed than others.”

Many believe that vinyl offers the most emotionally involving medium for recorded music. A perfect new record will sound wonderful. However records in a collection will vary in mastering and pressing qualities and will therefore benefit from subtle tweaks made to the phono stage settings that can brighten or calm an imperfect disc. The Phono Signature allows this fine adjustment from both the front panel and from the listening position via the remote control.

We have enjoyed a long history with vinyl, launching our first audiophile phono stage (aEQ7) back in 1998 to add a premium vinyl solution to the Cyrus family of components. Now for 2016 we are releasing possibly the most exceptional design ever, offering potentially the most advanced phono pre amplifier available anywhere in the world today.

Technically Phono Signature has been designed to exceed the expectations of serious vinyl audiophiles, particularly in areas such as; dynamic performance, accurate cartridge matching and flexibility of use. By adding IR remote control of cartridge matching we can for the first time ever, provide invaluable tonal control to rebalance imperfect discs. Stereo level meters working in real time allow clear and accurate level adjustment between inputs.

Phono Signature allows up to four turntables to be permanently connected enabling listeners to enjoy multiple cartridges, turntables or arms. Each of the four inputs can be accurately matched to the exact specification of the cartridge, and now, the acoustic preference of the user. Adjustment is provided for MC cartridges in gain, resistance and capacitance facilitating a huge 160 possible combinations. In addition a switchable warp filter is provided to maximise amplifier performance.

Phono Signature enjoys a high capacity and very low noise DC power supply that enables the pre amplifier to provide an extremely wide dynamic range ensuring extended signal levels long before clipping. Attention to circuit layout and component placement ensures a very low noise floor to further expand musical dynamics. The RIAA passive de‐emphasis filter uses very high performance metallised polyester capacitors for ultimate sonic performance.

Additional performance will be gained by connecting the optional external PSX‐R₂ power supply. This provides highly regulated DC power for the signal amplification.

Tag price: £1195

Amplificador integrado Vincent SV-400 (via Vincent Audio)

Venha se encantar com a magia da alta fidelidade proporcionada pelos equipamentos da alemã Vincent. Produto disponível, pronta entrega aqui na Bridge áudio.



An authentic Vincent in terms of power. The weight alone shows that a solid power unit has been integrated, capable of guaranteeing stability. The 6800uF filter capacitors, a ring core transformer and electronic volume control all make a clear statement. The SV-400 is also equipped with a D/A converter in order to playback music formats offered by a PC or music server. A USB socket acts as the input here.

Technical Specifications

  • Frequency response: 20 Hz – 20 KHz +/-0.5 dB,
  • Nominal output power: 
RMS 8 Ohm: 2 x 50 W,
    RMS 4 Ohm: 2 x 80 W,
  • Harmonic distortion: < 0.1 % (1 kHz, 1 W),
  • Input sensitivity: 200 mV,
  • Signal-noise ratio: < 90 dB,
  • Input impedance: 47 kOhm,
  • Inputs: 5 x Stereo RCA, 1 x USB,
  • Outputs: 1 x Stereo RCA Pre Out, 2 x 2 Speaker terminals,
    2 x 3,5 mm Jack sockets (Power Control)
  • Colour: black/silver,
  • Weight: 9,5 kg,
  • Dimensions (WxHxD):430 x 98 x 345 mm

BenQ focuses on colour accuracy with new ‘Cinematic Colour’ projectors (via Whathifi)

Hoping to continue its success at this popular price bracket, BenQ is prioritising colour accuracy with its two pricier models. Under its new ‘Cinematic Colour’ umbrella, the W2000 and W3000 are calibrated to Rec. 709 colour space – an industry-wide, universally accepted standard for high-definition TV – for accurate colour reproduction ‘as the film director had intended’.

BenQ says that in order for every projector to meet the standard, the angle and coating of the colour wheel had to be considered, as well as software optimisation and quality control.

W2000 is all curves and sports a lovely gold finish

BenQ says the two Cinematic Colour projectors take the home cinema experience ‘to another level’.

With short-throw under their belt, the trio of projectors can deliver a 100in image from 2.5m, with zoom and vertical lens shift onboard for flexible positioning. The W2000 and W3000 also offer side projection, while the big-daddy W3000 adds horizontal keystone adjustment alongside improved optics and picture processing for enhanced motion and colour performance.

While the fan noise of BenQ’s previous-gen W1070 was 30dB, newly enhanced airflow and fan design reduces that to 27dB on the W1100 and W2000.

The projectors can also connect to your HDMI sources – a Blu-ray player or Sky box – wirelessly via an optional add-on kit (£200).

Sound quality hasn’t been left behind either. The W1100, W2000 and W3000 all feature built-in speakers with audio enhancement processing powered by MaxxAudio for a more immersive experience, as well as four preset sound modes and EQ adjustment.

We’ll be taking a closer look – and listen – in our upcoming review.

While 4K projection isn’t yet a reality for the brand, a spokesperson for BenQ hinted that it will unveil a high-end laser projector with an 8000 lumen output at ISE next February, coincidentally where Epson announced its first-ever laser projector earlier this year.

5 cuidados que você deve ter ao assistir filme 3D (via Revista Crescer)

Seu filho adora filmes 3D? Então, confira aqui itens que merecem a sua atenção para garantir a diversão em família.

cinema_3d_familia (Foto: Shutterstock)

Ao colocar os óculos para assistir a filmes em 3D, a retina do olho precisa se adaptar para fazer as imagens se transformarem em terceira dimensão e, para algumas pessoas, o esforço cerebral pode ser maior e levar a uma fadiga ocular. Há adultos e crianças que colocam os óculos e já enxergam a imagem em 3D imediatamente. Outros, não.

Mas fique calma. Essas reações do organismo não são frequentes – e nem há um dano a longo prazo. Já as mais graves, como ataques epilépticos, podem ocorrer em quem já sofre com o problema, ainda que esteja sob tratamento. Veja mais 5 itens que merecem sua atenção:

1. Antes de usar os óculos em 3D, observe se estão bem limpos;

2. Procure ficar o mais distante possível da tela. Se for no cinema, escolha uma poltrona mais para o fundo da sala. Em casa, coloque a TV o mais distante que puder do sofá;

3. Se o seu filho se sentir mal durante o filme, não se desespere. Peça para que ele tire um pouquinho os óculos e feche os olhos por alguns minutos. Se persistir o mal-estar, é melhor deixar a diversão para outro dia e conversar com o pediatra;

4. Ao terminar de ver um filme, seja em casa ou no cinema, nunca levante imediatamente. É preciso fazer uma adaptação para os olhos voltarem à visão real. Oriente seu filho a fazer esse exercício junto com você: ainda sentada, retire os óculos e olhe para sua mão e para outra imagem mais distante, por 5 minutos;

5. Lembre-se de que as regras valem para qualquer tela que emita luz, como computadores, videogames e televisores. Mais um motivo para as crianças não passarem muito tempo na frente desses aparelhos.

Fonte: Célia Roesler, neurologista e membro da Academia Brasileira de Neurologia

Soluções Com fio vs Sem fio (via Lutron Brasil)

Os produtos para iluminação/integração da Lutron você encontra na Bridge Áudio.

Acesso à residência

Controles Maestro Wireless, Controle Pico para carros

• Com o controle sem fio Pico o morador será capaz de acender as luzes a 30 metros de distância.

• Conecte os controles Maestro Wireless ao interior e exterior da residência para permitir que ela esteja iluminada (interna e externamente) na chegada dos moradores sem que a iluminação precise ficar ligada o dia todo.


Dimmer Maestro Wireless, Controle sem fio Pico


Controle as luzes por sistema de toque. utilizando o controle sem fio Pico

Sala de estar

Dimmer para lâmpada de mesa, Controle sem fio Pico


• Controle facilmente lâmpadas de mesa e piso de qualquer parte da casa com um controle sem fio.

• Atenue as luzes para reduzir o brilho na TV e aumente os níveis de iluminação para leitura.

Salas de aula ou salas de treinamento

Módulo de dimerização PowPak, Controle Sem Fio Pico, Sensor sem fio de ocupação/vacância Radio Powr Savr para montagem na parede e sensor de luz natural


• O módulo PowPak instalado no teto, permite o controle das luzes através de sensores com fios e controles sem fios Pico.

• Aumente a economia de energia ao utilizar o conjunto de dimmers, sensores de presença e aproveitamento da luz natural.


Interruptor Maestro Wireless®, Sensor sem fio de ocupação/vacância

Radio Powr Savr para montagem no teto


• Economize até 60%* de energia nos banheiros com os sensores sem fios de Lutron®.

• Os sensores de teto asseguram que os usuários nunca ficarão na escuridão. Coloque sensores adicionais para maior cobertura nos banheiros grandes ou de cabines múltiplas.

Salas de Conferência

Controles Maestro Wireless, Sensor sem fio de ocupação/vacância Radio Powr Savr para montagem em esquina, Controle Sem Fio Pico



• Controles Maestro Wireless, Sensor sem fio de presença/vacância Radio Powr Savr para montagem em canto, Controle Sem Fio Pico.

• A maior oportunidade para economizar energia em edifícios de escritórios é na iluminação já que com nossos sistemas de controles sem fios, os sensores instalados apagam as luzes de espaços desocupados.

• Os controles sem fios Pico podem ser utilizados também para ajustar as luzes durante apresentações, reuniões e conferências.

Para mais informação sobre este e outros produtos, você pode visitar o espaço Lutron em nosso Catálogo de Produtos ou ir diretamente a

Receivers com Dolby Atmos (via Dolby)

  •  The Center of Your Home Entertainment System

    If your home entertainment system is easy on the eyes but leaves your ears less than impressed, you need an audio/video receiver (A/V receiver) to create a stellar sound performance every time you watch a movie or enjoy home videos.

    An A/V receiver is the hub of your home entertainment content, unleashing the audio capabilities of all your devices.

    Dolby® technologies in your A/V receiver, with flexible speaker configurations and autocalibration, let you experience the thrill of every action scene and the emotion of every poignant moment in movies and TV shows.

Dolby Atmos supports up to 128 simultaneous audio objects in a cinematic mix, offering an extremely powerful experience.

Dolby Audio is a set of technologies that use advanced audio formatting and signal processing to deliver enhanced sound.

Dolby TrueHD gives you high-definition audio support and 100 percent lossless audio that improves top-tier Blu-ray™ movies with sound that’s identical to the studio master.

Dolby Digital Plus provides a surround sound experience with up to 7.1 channels of high-fidelity audio.

Dolby Pro Logic technologies fill any room with an enhanced sense of dimension, even with two-channel source content.

Dolby Volume ensures that your content stays at the same volume level from channel to channel.

Home Theater Audio Technologies

Change the way you experience entertainment at home.

Dolby Atmos

Dolby Audio

Dolby Digital Plus

Dolby TrueHD

Dolby Pro Logic IIz

Dolby Volume

Dolby Atmos Home Theater Components

Equip your home theater with the latest Dolby Atmos A/V receivers, speakers, and home theater systems.

Hear the Dolby Difference

We work with innovative entertainment and technology companies to enhance the way you experience everything from movies in the cinema to music on your phone.

 Onkyo A/V Receivers

Enjoy stunning audio with Onkyo® receivers featuring Dolby audio technology.

Por dentro do Dolby Atmos (via Webinsider)

Texto de Paulo Roberto Elias para o site Webinsider. Link para a matéria original aqui.

O lançamento dos receivers preparados para a reprodução do Dolby Atmos começa um novo momento da reprodução de um codec moderno, com flexibilidade para se adaptar às instalações domésticas e dos cinemas.

Dolby Atmos (ou Dolby Atmosphere, se quiserem) é um codec preparado para as novas trilhas sonoras, com o objetivo de aumentar o envolvimento da plateia de cinema na imersão das emoções das cenas com a ajuda do campo sonoro. Lançado nas salas de exibição no ano passado, e sem muito alarde, o codec passa agora para os receivers, pré-amplificadores de áudio e vídeo e processadores, voltados ao ambiente doméstico.

Os primeiros equipamentos foram recentemente para as revendas preparados para a decodificação do codec, mas em alguns casos sendo ainda necessária uma atualização de firmware, que instrui os chipsets a ler o bitstream e fazer o processamento corretamente.

O Dolby Atmos foi programado para ser uma extensão dos codecs Dolby TrueHD e Dolby Plus. A decodificação do Dolby Atmos exige a instalação de chips novos. Por isso, equipamentos anteriores não poderão ser atualizados por firmware para identificar o codec. Se o usuário tentar reproduzir uma trilha Dolby Atmos com equipamento pré-Dolby Atmos a reprodução ficará restrita aos codecs anteriores (Dolby TrueHD ou Dolby Plus), base do novo bitstream, por motivo de retro compatibilidade.

Sala de cinema versus home theater

O Dolby Atmos foi projetado para aumentar a ambiência e a precisão da trajetória e do deslocamento do som surround. Para tanto, a sala de cinema é equipada com dois conjuntos de alto-falantes instalados em duas fileiras paralelas, no teto da sala:


Atrás da tela é instalado um mínimo de três canais, sendo recomendados cinco canais em cinemas maiores. O número de caixas surround laterais e traseiras varia de instalação para instalação. Da mesma forma, os alto-falantes do teto são instalados de acordo com as dimensões do cinema. As especificações para esta instalação estão documentadas no site da Dolby, que dá suporte aos exibidores:


Nos cinemas estão previstos o máximo de 64 canais. Quanto maior for o número de canais mais detalhado será o deslocamento individual do som pelas caixas dispostas no ambiente. Na prática, isto quer dizer que o som passa de caixa em caixa, seja pelo surround lateral esquerdo e direito, pelo surround traseiro esquerdo e direito, seja pelas duas fileiras colocadas no teto da sala.

As caixas instaladas no teto das salas levam o nome técnico de “overhead speakers”, ou seja, são caixas posicionadas acima das cabeças na plateia.

A adaptação para o ambiente doméstico é bem mais sofisticada. O codec foi desenhado para “prever”, através de sensores no sistema, que tipos de caixas foram instaladas e, de acordo com elas, distribuir o som de uma maneira específica.

Existem três tipos de caixas acústicas voltadas especificamente para a implantação do Dolby Atmos em home theater:

1 – caixas “in ceiling”, para montagem no teto da sala, como o nome sugere. Devem ser alinhadas com as caixas frontais esquerda e direita (mínimo de duas) e com os respectivos surround, no caso da instalação de quatro caixas (recomendado).

2 – caixas “Atmos-enabled” (habilitadas para Atmos), que são projetadas com um compartimento superior independente, cujo objetivo é fazer o alto-falante emitir o som para cima. O driver é montado em ângulo, estipulado pelo desenhista do projeto, segundo normas da Dolby.

3 – caixas “add-on” (complementares), semelhantes aos módulos superiores das caixas “enabled”, mas que servem para serem montadas em cima de caixas acústicas convencionais.


Tanto os alto-falantes superiores (“Height”) das caixas habilitadas (Atmos-enabled) quando os módulos de acréscimo (Add-on) tem alimentação elétrica própria, e só podem ser usadas quando o equipamento provê uma saída de amplificação adequada. A percepção do efeito Atmos se dá por retorno da onda sonora no teto, após a mesma ser refletida. Tetos rebaixados e/ou com material absorvente são contraindicados para este tipo de instalação.

Exemplos de montagem podem ser vistos abaixo:


Mudança de notação e configuração

Todos os codecs anteriores ao Dolby Atmos possibilitam instalações que vão desde 2.0 canais até 7.1/9.1/11.1, com o máximo de 7.1 canais codificados. A notação usada até então descreve o número de canais, seguido do número de subwoofers montados, se for o caso. Por exemplo: 5.1, 5.2, 7.1, 7.2, etc.

Na reprodução do Dolby Atmos, esta notação muda para acrescentar quantas caixas Atmos estão instaladas. Por exemplo: 5.1.1, 5.1.2, 7.1.1, 7.1.2, etc. O número mínimo de canais para o formato é de cinco básicos (5.0). O número mínimo recomendado de caixas Atmo é de dois.

A tabela a seguir dá uma ideia deste tipo de montagem:


Caixas convencionais


Caixas Atmo
















Observação: o processamento do bass management previsto na decodificação do Dolby Digital obriga a reprodução do LFE por caixas do sistema (geralmente as caixas frontais esquerda e direita), quando o subwoofer não está presente.

Mudanças na mixagem

O codec Dolby Atmos foi desenhado para ser o mais inteligente possível. Dentro do bitstream estão previstos diversos metadados, capazes de dar ao formato duas importantes características: escalabilidade e adaptabilidade. Na prática significa que o codec está preparado para trabalhar de acordo com o número de canais e caixas em uso no ambiente e adaptar a reprodução para atingir a sua melhor performance, dentro das limitações de cada instalação. Este recurso funciona tanto para os cinemas como para as instalações domésticas.

Na mixagem Atmos o técnico não trabalha mais com o conceito de distribuição do som por canal. Cada som separado se torna agora um “objeto”, que pode ser distribuído espacialmente e independente do canal aonde ele será reproduzido. O software codificador permite ao engenheiro de mixagem “visualizar” este posicionamento:


Existem dois tipos básicos de informações codificadas no bitstream Atmos. Primeiro, os canais convencionais (5.1, 7.1, etc.) formam o que se chama de “leito” (ou “’bed”), capazes de irradiar informação para o centro da sala, porém abaixo do nível do teto:


O codificador Atmos permite trabalhar com até 9.1 canais no “leito” e 118 objetos, capazes de aumentar o envelope sonoro que circunda o ouvinte.

A segunda informação diz respeito à dispersão do som do teto para baixo, que é a informação Atmos propriamente dita. Se o sistema que irá reproduzir o codec não dispuser de interpretador (decodificador) ou caixas Atmo instaladas, somente os canais do “leito” (5.1, 7.1, etc.) serão reproduzidos. Isto, em última análise, garante a retro compatibilidade do bitstream Atmos com sistemas preexistentes. E de tabela elimina a necessidade de codificar um bitstream separado para os códigos fonte. Se, por exemplo, o usuário for reproduzir uma mídia (Blu-Ray ou streaming) e selecionar a trilha Dolby Atmos, ficará por conta do seu equipamento reproduzir o que o codec pode dar. As codificações convencionais 5.1, 6.1 ou 7.1 estarão presentes e poderão ser automaticamente selecionadas pelo equipamento.

A “inteligência” do codec também prevê uma interação de reconhecimento físico com o hardware e a reprodução pode ser adaptada ao número e aos tipos de caixas instaladas no sistema. Na realidade, o codec Atmos contempla desde 5.1 até 62.2, com qualquer combinação.

A mixagem pode prever o chamado “Pan-through Array”, que é a passagem de um som objeto de uma caixa para outra e será tão mais eficiente quanto maior for o número de canais instalados.

Lançamento e reprodução em Blu-Ray

Em setembro passado foi lançado o Blu-Ray do filme “Transformers: A Era Da Extinção”, dirigido por Michael Bay, tornando-se assim o primeiro disco contendo uma trilha Dolby Atmos. O interessante é que este diretor foi um dos que entrou na briga pela padronização do vídeo de alta definição, a favor do Blu-Ray e contra o extinto HD-DVD. Não sei se é mera coincidência, mas até que é merecido.

Para a reprodução do disco, fora receivers e caixas Atmos, o resto do equipamento (Blu-Ray player e cabo HDMI) é o mesmo atualmente em uso, não há necessidade alguma de fazer qualquer troca. Apenas o usuário deve ter em mente de que é necessário usar uma conexão HDMI entre o player e o receiver e ajustar a saída em bitstream, já que no momento não será possível uma decodificação interna no player.

Comentários pessoais

Os laboratórios Dolby vinham perdendo feio para a DTS na área de codecs para a mídia doméstica de alta resolução, enquanto que no cinema a situação era exatamente a oposta. Há algum tempo atrás os engenheiros de programação da Dolby corrigiram a ineficiência da carga de trabalho dos seus codificadores Dolby TrueHD e agora lançam a versão Dolby Atmos, em consonância com cerca de mais de cem lançamentos de filmes de cinema com este tipo de trilha. O chato seria que se alguém já comprou uma versão em Blu-Ray de algum desses filmes terá que comprar uma nova edição, se quiser usar o Dolby Atmos.

Como o codec não muda, a mídia de alta resolução (Blu-Ray ou streaming) tem a sua autoração facilitada e assim a produtividade de trabalho aumenta, em tese, significativamente.

Ainda é cedo para se tecer qualquer comentário sobre a apreciação doméstica do Dolby Atmos. De bom, entretanto, é o retorno paralelo das trilhas Dolby TrueHD, na minha opinião, de excelente qualidade.

A implementação do Dolby Atmos dentro de casa a meu ver deverá encontrar alguns obstáculos, e eu não me refiro somente ao conhecido WAF (Wife Acceptance Factor), que é a (in)tolerância da alma feminina à instalação de mais caixas e mais fios na sala de estar. Na verdade, o problema maior estará, sem dúvida alguma, na instalação de caixas Atmos no teto, que exige, em princípio, o trabalho especializado de um arquiteto. Não só isso, mas o Dolby Atmos poderá não se dar bem com tetos rebaixados ou tratados acusticamente.

Eu ouvi uma entrevista recente de um engenheiro projetista da Pioneer afirmando com segurança que as caixas com topo irradiante (Atmos-enabled) soam melhor do que as caixas no teto e eu acredito que é bem mais provável que elas irão ter prevalência da escolha na hora da adaptação do home theater atual ou na construção de um sistema novo.

Audiophiles: Are They Hearing Something We’re Not? (via Squire)

De Alexis Petridis para o site Esquire. Link para o texto original aqui.

Beneath the most unremarkable houses lurk the most remarkable sound systems. Alexis Petridis investigates

In a room off the hotel lobby, I find Steve, a building contractor from Essex, who has devoted his spare time to assembling the most deranged-looking hi-fi system I’ve ever seen.

The speakers have something resembling the horn from an old gramophone on top of them: they’re called Acapella High Violons and you have to play music through them continually for 14 days to “break them in”. They sell for £40,000 a pair. (This makes them Acapella’s entry-level model: its top-of-the-range speaker costs around £350,000, looks like someone nailed two tubas to a mid-Eighties Habitat shelving unit and can only be used in rooms over 131sq ft.)

His turntable has two platters, one on top of the other. The bottom one spins round in the opposite direction to the one on top: apparently it’s designed on the same engineering principle as the counter-rotating blade of a helicopter. There are only two in the UK, possibly because its recommended retail price is £30,000. It’s sitting on top of something that looks remarkably like a Black & Decker Workmate bench. It turns out that this is because it is a Black & Decker Workmate bench.

Someone hands Steve an album and he puts it on, and it becomes apparent that, however crazy his system looks, that’s nothing compared to how it sounds.

The old line about great hi-fi making it feel like the band’s in the room with you isn’t quite right. It doesn’t sound like live music: it sounds better. Clearer, more pure. The weirdest thing is that the music doesn’t appear to be coming out of the speakers: it seems to be happening in a space just in front of you. It feels like it’s in 3D: you could walk around it, you could reach out and touch it. It’s astonishing.

And that’s the thing about audiophiles. You can, if you’re so inclined, mock their nerdiness; if that’s your wont, then there are plenty of people here from geek central casting, including a man wearing a T-shirt that reads: “THERE’S A NAME FOR PEOPLE WITHOUT BEARDS: WOMEN”.

You can look askance at the kind of things that get them riled up – if you want to start a massive row among high-end hi-fi buffs, if you want to turn the HiFi Wigwam Show’s atmosphere of beery bonhomie into one of murderous fury, get them on the subject of whether the cables used to connect hi-fi components make a difference to the sound. You can wonder aloud whether some of them aren’t more interested in sound waves and lonophone plasma supertweeters and shiny boxes from Japan and Germany than they are in music.

And you can stand there with your mouth hanging open and your finger twirling by your temple when you find out how much they’ll pay for a CD player or a pair of speakers – however much they tell you that good sound is not about how much you spend, but how carefully you match your components, you never seem to meet an audiophile who hasn’t lavished thousands of pounds on their obsession.

But if you’ve got functioning ears and a love of music, you can’t help but boggle at the sound their equipment can make.

I listen to this bizarrely tangible music and I look at Steve. And I can’t decide whether he’s a kind of epicurean genius, dedicated to something really noble – presenting great art in the best possible way – or a total fruitcake.

Whichever it is, the music business would currently like us all to be at least a bit more like him. Sound quality is a hot topic. Record companies are hoping to shill us high-definition, better-than-CD-quality downloads. Neil Young is trying to flog us his high-resolution Pono digital player. That weird conglomeration of pop stars who got onstage in New York in March and started carrying on as if they’d discovered a way to cure all known diseases were trying to interest the public in Tidal, a music-streaming service that offers better sound quality than Spotify, for a £20-a-month subscription fee.

Of course they are – there’s theoretically a lot of money in it. If record companies can convince people they need high-definition downloads, then it might be the CD all over again. It means music fans re-buying their entire record collections at a premium price. If you find it odd that pop stars are suddenly so interested in sound quality – after all, you never heard The Beatles complaining that listening to their music on a transistor radio or a crappy old Dansette was somehow disrespecting their artistry – well, that’s where the money is these days. There’s less cash in music itself than in the means by which music is distributed and played.

The best of luck to them. They’re going to need it.

For the past 40 years, every major technological advance in hi-fi that’s caught on has been about convenience rather than sound, such as the Walkman, the MP3, the iPod and streaming. Even the CD was marketed more on its size and alleged indestructibility. The ones that tried to tempt the public with sound alone were the ones that withered and died and now languish forgotten: Quadraphonic, Super Audio CD, DVD-A, Blu-Ray Audio. The general public, it seems, couldn’t give a flying one about sound.

All of which makes audiophiles something of a band apart. Their world feels deeply arcane, even by the standards of what you might call luxe pursuits. There are TV programmes devoted to drooling over supercars. There’s always space in the Sunday supplements for articles about fine wine. Turn the pages of a men’s magazine such as this one and you’ll find stuff about suits and shoes and watches no normal person would dream of buying. It’s aspirational.

But the mainstream media takes no interest in audiophiles. Everyone knows the Bugatti Veyron, but no one outside of the audiophile community has heard of the serious high-end hi-fi manufacturers: Audio Note, Puresound, Advantage, Nagra.

That may be because most of those other pursuits are about outward show: if you drive a Bugatti Veyron or wear a Rolex Oyster, you’re making a very public statement about yourself. But a high-end hi-fi isn’t a public statement. It’s squirrelled away somewhere in your house, not on open display, unless you dismantle it and haul it up to something like the HiFi Wigwam Show, and even then only other audiophiles – and the odd nosey hack from Esquire – will see it.

The convivial atmosphere at the HiFi Wigwam Show notwithstanding, being an audiophile seems an oddly solitary pursuit.

There are those happy to invite their non-audiophile mates around for a listening session, but they seem to be outnumbered by those who keep their interest to themselves and the other members of their tribe. Steve tells me he thinks it attracts “people who are a little bit introspective, a little bit shy, if you want to generalise”. Others talk about it as being like a religion: you wouldn’t go around trying to foist it on your non-believing friends.

“It’s sort of a secret,” says Jason, a 46-year-old teacher with a West Country accent, a rather serious manner and a “six- figure” system. He claims to “eat, think and breathe hi-fi”, but even so, he says, “I never tell anyone at work. They wouldn’t understand.” He says that very emphatically, and he may have a point.

Worried that something he calls “dirty” electricity will affect the sound his system produces, Jason has had his home rewired – his hi-fi is on a separate mains ring to the rest of the house, running off the “purest electricity possible”. “It’s quite a lonely road in some ways,” he says. “Because when you’re listening, you’re in your room, it’s just about you and the music.”

It’s an obsession they even shield from those closest to them. I keep hearing about audiophile wives who share their husband’s passion – everyone I speak to seems to know another audiophile whose wife enjoys nothing more than discussing the finer points of software room correction – but I never actually meet one. I start to wonder if it’s a kind of urban myth. In fact, keeping your partner in the dark about your hobby seems as much of an audiophile skill as being able to spot the sonic difference between two different brands of speaker cable.

“It’s the audiophile’s biggest fear, isn’t it?” grins James, the immensely affable founder of HiFi Wigwam, an online forum that begat the show. “They die and then their wives sell their hi-fi equipment for what they told them it cost.” Even Trevor, a retired engineer, who’s gone to the extreme of building his own listening room – a windowless, soundproofed, acoustically treated, freestanding structure within a barn next to his East Anglia home, complete with a handmade 300lb door filled with building sand – suggests his wife, who presumably got an inkling something was up when the builders arrived, isn’t entirely au fait with what goes on inside it.

“It’s something my wife doesn’t know anything about,” he says, when I pay him a visit. “She would absolutely pass out if she had any idea how much money I’ve spent.” He used an inheritance from an aunt, he says; he didn’t dip into the household budget. His hi-fi equipment is insured for £75,000. As if to prove its worth it, he shuts his handmade door, dims the lights and puts on a CD by Oscar Peterson. It’s the whole astonishing 3D, tangible-music experience again. I say so and Trevor nods happily. That means he’s created a good soundstage, he says.

Like every audiophile I speak to, Trevor seems a really nice guy. Normal. Dotes on his granddaughter, talks fascinatingly about stuff that isn’t hi-fi: the cultural differences between Britain and the US, where he was born; his time in the forces – he served in Vietnam towards the end of the war. You’d like him. Maybe I got lucky: apparently, there’s some real headcases out there, people who, as Trevor puts it, “you wouldn’t want to bring home to meet your mother”.

But it all begs the question: what sets an otherwise normal man off on a path that leads them to commission a handmade 300lb door filled with sand or rewire their house, in pursuit of sound quality?

Some audiophiles talk about a Damascene moment: a post-pub visit to a friend’s house where they heard music they loved played on really good equipment and never really recovered. Laurie, a 65-year-old “semi-retired” writer from Suffolk, tells me that as a kid, his family were poor: they couldn’t afford a record player, so he had to make do with a wind-up gramophone and a selection of Gracie Fields 78s someone had bequeathed them. He doesn’t explicitly make the connection between this and what he calls a “slightly ridiculous” obsession with high-end hi-fi in later life, but you do the amateur psychology.

But most of them don’t have a story like that.

When you ask what got them into high-end hi-fi and all its trappings, they talk vaguely about loving music when they were a child or being fascinated by the family record player. Well, yeah, I think, but so was I, so were loads of people I know, and they’ve managed to get by without rewiring the house or buying bits of plastic that ensure their speaker cables don’t touch the floor in the belief that it affects the sound. Perhaps there’s something else, something deeper.

James from HiFi Wigwam is not a man much given to mysticism – he’s funny and self-deprecating and tells me that the best upgrade you can buy for your equipment is “a couple of bottles of wine” – but he has a theory that audiophiles might be wired differently to everyone else. “You know how you get super-tasters for wine and people who have particularly good palates for tasting food? I wonder if our hearing might be like that, and that’s why we get drawn into it.”

Maybe he’s right. Maybe audiophiles have some kind of weird heightened superpower hearing. And maybe it’s sometimes a burden. Trevor tells me he finds it hard to listen to music that’s badly recorded, no matter how great the actual music is. “Amy Winehouse, amazing voice, butBack to Black… that’s a terrible-sounding album.” He recently went to a gig by fabled jazz pianist Keith Jarrett. “Ruined,” he says. “Ruined by the sound reinforcement in the hall.”

James tells me he sometimes feels he’s not listening to music, but to his hi-fi system: he’s a fan of Kraftwerk and Joy Division, but finds he’s been buying “plinky-plonky jazz” because it shows off his equipment. “I would never,” he says heavily, “have bought a Diana Krall album unless I was into hi-fi. But play a Diana Krall album on my system…” He blows out his cheeks. “Bloody hell.”

People listening to music they don’t like, people who find themselves unable to listen to music they like. As I said, it’s an alternate universe. It has its own language and its own tribes, not least the box-swappers: audiophiles whose quest for elusive perfect sound quality leads them to constantly upgrade or alter their hi-fi, buying and selling equipment with a dizzying frequency.

It has its own controversies, a lot of which seem to stem from the fact that sound quality is a completely subjective thing: there’s no way of meaningfully measuring it, so if you think something improves your system, then, well, it does.

Hence the ideas and products peddled by Peter Belt, a former electronics engineer who variously advocates freezing CDs before you play them, colouring in the edge of your albums and the fuses in your plugs with a violet marker, ensuring that all the leads on your hi-fi system are white – that’s not a euphemism for something technical, he means coloured white – and the use of a series of mysterious creams. You rub these into your hi-fi components and — get this — the magnetic strips on your credit and debit cards to improve “energy patterns” and achieve better sound quality. A lot of the audiophiles I speak to understandably think Belt is a raving nutter, or, worse, a snake oil salesman, but even so, his adherents aren’t hard to find. “I’ve got some of his products,” says Jason. “Do they work? I wouldn’t be paying money for them if I didn’t think they did.

And it has its own curious celebrities. There’s Roman “The Cat” Bessnow, a Russian-born, US-based blogger acclaimed in some quarters as “the world’s most obsessed audiophile”, whose bafflingly designed website mixes quotes from Thomas Mann with hugely opinionated screeds written in Seventies comedy-show pidgin English: “I have an excremental tone arm”.

There’s the group of hugely wealthy Greek businessmen who call themselves the Audiophile Club of Athens, the subject of a much-discussed YouTube documentary, with whom Laurie has had dealings. He once designed a small piece of hi-fi equipment of his own: the Audiophile Club of Athens ordered several from him, then wrote him a letter of congratulations, which also noted they’d discovered that its sound quality was improved if you hung it from the ceiling on a piece of cotton thread.

And there is Peter Qvortrup, a Danish former hi-fi retailer turned maverick hi-fi manufacturer who runs his company, Audio Note, from a shop in Hove that appears from the outside to have closed down years ago – the window display is a cobwebbed mess of empty wine and tequila bottles.

The equipment Audio Note makes is both hugely well-respected and eye-wateringly expensive: don’t even think about the top-of-their range unless you’re an oligarch or a Far Eastern multimillionaire. It takes about five minutes in his company to see why Qvortup’s reputation precedes him in the audiophile world. He quotes Kierkegaard and Einstein, seems to think that more or less every other hi-fi manufacturer in the world is doing everything wrong, tells me he believes that the best speakers were made in the Thirties and announces that he spends £7,500 a year on champagne. He is richly, riotously entertaining company, but he is deadly serious about hi-fi. None of this I-don’t-want-to-foist-my-religion-on–unbelievers stuff from him. He’s positively evangelical.

“If your article is to have any journalistic validity at all,” he says, thumping the table for emphasis, “it’s important to impress upon people that if you run around listening to music on one of these” – he stabs at my iPhone – “with headphones the size of a pea, the price for that is very considerable in terms of your musical enjoyment and understanding. And then, if you think about music developing over the next 100 years in order to satisfy the requirements of things like this” – another disgusted look at the iPhone – “then we’re going to end up with music that’s absolutely inane and useless.”

On the one hand: well he would say that, wouldn’t he? It’s his business to sell hugely expensive hi-fi. But on the other, there’s the uneasy feeling he might have a point. Take dubstep. Not the good stuff: the awful, noisy, bleached-white, funk-free variant that sounds like a giant robotic moron stamping on the face of humanity, the one that’s popular with hideous, gurning American frat boys. One of the reasons posited for its success was that most people hear music via their computers these days and it sounded good coming out of tinny laptop speakers: there were no subtleties in the music to lose.

Sometimes, says James from HiFi Wigwam, being an audiophile feels less like a hobby than having a weird illness, like obsessive-compulsive disorder or something: you know what you’re doing is a bit daft, but you can’t stop yourself.

The audiophiles I speak to keep insisting that they’ve got their hi-fis to sound just how they want them, they won’t be buying any more equipment, they’re as close to perfection as they’re going to get. They say that and then they say the word “but” – there’s always another box, another tweak, something else that might get them a little closer. Laurie tells me he’s planning to downscale his system, but, with the best will in the world, his plan doesn’t seem to be going terribly well. “I’ve got this caveat: what if we move house? I might need another amplifier. Or I might need a spare. I’ve got two spare amps, you know, just in case.”

James says that his hi-fi obsession recently led to a kind of existential crisis. He was at a show in Munich and he heard a pair of Magico speakers that cost $600,000.

“They played a Dead Can Dance track on them, and…” His voice trails off and he sticks his hand out. “Look, the hairs on the back of my arms are standing up just thinking about it. The room was just full of this sound. It was immaculate. Immaculate. I walked out and said, ‘Well, that’s it. That’s the sound I want.’ And I’ll never be able to afford them. So I’ve just blown my hobby forever.”

But that was a year ago, and a huge pair of speakers still dominates the living room of his terraced house.

He asks me if I want to hear something on his system. I choose “To Here Knows When”, the 1991 single by My Bloody Valentine that Brian Eno described as “the vaguest music ever made”. When it was released, people kept taking it back to the shops, convinced that there was something wrong with the record they’d bought: surely it wasn’t meant to sound like that, with its beautiful sleepy-eyed melody almost drowned out by layers of churning, woozy noise. I’ve listened to it obsessively for 25 years, trying to get to the bottom of what the band thought they were doing. In Steve’s front room, I feel like I’m sitting in the middle of the song, the guitars arcing around me. It’s overwhelming. And once again, all the downsides of audiophile addiction – the ridiculous financial excesses, the mystical woo, the obsessive behaviour – seem to evaporate.

Who wouldn’t want music to sound this enveloping, this enrapturing? Would I spend £40,000 on a set of speakers? Would I rewire my house? Would I build a freestanding structure in a nearby barn? Of course I wouldn’t. But there’s a part of me that knows precisely why they do and thinks the rest of us don’t know what we’re missing.

Projetor ou tv: qual a melhor opção? (via Which?)

Link para a matéria original aqui.

A video projector can give you a true cinema-like experience at home – but should you choose one over a big screen TV?

If you just want to see great TVs, find the right mode for you with our expert and independent TV reviews

Projectors enable you to watch TV and films on an over 100-inch screen at home, and you don’t need to win the lottery to buy one. However, they’re not for everyone, and you may be better served with a big screen Best Buy TV.

Projector pros:

Screen size: with the right projector set up, you can be watching a movie as the filmmaker intended, or even super-sizing your PC screen for showing off those holiday photos. Alongside high-definition, you can also buy 3D projectors and 4K projectors (for more, see What is 4K TV?).

Cost: projectors are, on the whole, cheaper than comparable HD TVs. A 108-inch TV, for example, would cost over £100,000 (if you can find one to buy), but getting the same screen size and equivalent HD picture quality could cost just under a thousand pounds with a projector.

Viewing experience: many people feel that due to the larger screen size and less overall brightness compared with a TV, projectors can actually give a more comfortable viewing experience. Just as with the cinema, the picture is also typically more immersive.

Projector cons:

Light: This is the major drawback with projectors. Unless you have the curtains closed or shades firmly down, a projector’s performance will be affected by any ambient light that comes into the room. Even in a darkened room, the screen image can still be interrupted by anyone walking in front of the beam.

Lamps: Projectors have the extra cost of periodically having to replace their lamps, probably once a year (see ‘Other things to consider’ for more on that).

Sound: Some projectors have built-in speakers, some don’t, but realistically with a screen that big you will want to invest in a good home cinema audio set up to do it justice.

Projectors enable you to watch TV and films on an over 100-inch screen at home, and you won’t need to win the lottery to buy one.

Choosing the best projector for you

So you’re still keen on a projector? Ok, well let’s go through the key information you’ll need to choose the right one for you. Front, or video projectors beam images onto a separate screen that can measure well over 100 inches diagonally. You get a convincing cinema-like experience in your home, and you can now buy a decent projector from around £400.

Projectors can be used anywhere there is a power source, a flat surface and enough space. You can either mount them to a ceiling as a permanent installation, or place them on a table or shelf.

You’ll need a big enough room and an empty wall on which to beam the projector image. However, any ambient, or indirect, light that falls on the screen will impact black levels and overall contrast, leading to washed out picture. Ideally, you want as dark a space as possible in which to use a projector, just as with a cinema.

What makes a good projector?

What are lumens? What type of screen should you have? How long do projector bulbs last? Read on to find out all the answers.

Brightness: brighter is not necessarily better when it comes to buying the best projector. A projector needs to produce enough light to fill a screen, without being so bright that it gets tiring to watch over time. Projector brightness is measured in lumens, and you usually end up paying a premium for a high lumen rating so don’t be dazzled by the numbers. For a projector that will be used in a darkened room, between 1,300 and 1,500 lumens is plenty. You’ll only need more if there is more ambient light in your room.

Screen options: the cheapest option for a projector screen is to use a wall, although the quality of the experience depends on its smoothness. You can improve this with special reflective paint, but it’s also worth considering a dedicated projector screen. Manual projector screens come in various types, including tripod or wall mounted. There are also motorised projector screens, including premium screens that can be stored away when not in use.

Connectivity: you can connect lots of different video and image devices to a projector, in the same way you would with an HD TV. Composite or component video handles the standard definition sources, while HDMI sockets are for high-definition video equipment, such as Blu-ray players, games consoles or a Sky HD box. It’s possible to show photos from memory sticks via the projector’s USB ports, or to hook up a PC or laptop using the VGA monitor sockets. You’ll want to secure and hide any cables if you choose to permanently-install your projector.

Other things to consider

Throw distance: To get your projector working effectively, you‘ll need to understand the optimum distance between it and the screen, known as the ‘throw distance’. This impacts the size of screen you would need and where the projector can be placed. Many projectors have zoom in/out functionality to make minor adjustments to the picture quality without changing the throw distance.

Projector bulb replacement: You’ll know when your projector bulb, or ‘lamp’, is running out, as the picture will get noticeably dimmer. Lamps can last between 700 and 3,000 hours, with an average life of around 1,500 hours. That might sound like a lot – but with the average Briton watching four hours of TV per day, that’ll give you just over a year of average viewing. A new bulb can cost well over £200, which could be a significant annual expense. You can increase the life of lamps by allowing them to cool down properly after use and changing the dust filters regularly.

Many projectors have ‘economy modes’ that can also preserve lamp life, and there is often a display showing a rough estimate of how many hours the bulb has remaining.

Fan noise: As projectors generate heat, they have fans to cool them down. These can be rather noisy on certain models, particularly the cheaper ones. If you think that noise could be an issue for you, go for a model with a quieter fan. It is also important to position your projector so it has enough space and air flow around it to ensure it doesn’t overheat.

LCD vs DLP vs LCOS projectors

Just as with HD TVs, most projectors come in either cheaper ‘HD-ready’ 720p models, or those that can support 1080p, or ‘Full HD’. Beyond that, there are also three core types of projectors to choose from – LCD, DLP and LCOS – each with its own particular pros and cons.

DLP projectors

Pros: DLP projectors give you stunning and realistic pictures on screen. They project a sharper and more detailed image during fast motion sequences compared with other projector types.

Cons: DLP projectors are often larger and nosier. Their bulbs have a relatively short life, meaning they can be costly to maintain. Single-chip DLP projectors are susceptible to the ‘rainbow effect’, a picture flaw involving bright objects on screen appearing to have multi-coloured trails. Not everyone can see these ‘rainbows’, but it can be very off-putting for those who can. High-end DLP models have three chips – one each for the primary colours – but they’re more expensive.

LCD projector

Pros: LCD was previously limited to low-quality projectors, but the technology has improved significantly in recent years, and LCD projectors are now comparable with DLP projectors in terms of image quality. LCD projectors are generally cheaper than other models, and more compact. LCD just has the edge over DLP in terms of colour saturation, and it can produce a brighter picture that looks better in ambient light conditions.

Cons: LCD projectors are relatively poor at displaying black areas in the picture. They are also susceptible to the ‘screen door’ effect, where you can see the pixel structure of the LCD, as though you are looking at the picture through a metal screen door. LCD lamps also tend to wear out quickly, but they’re cheaper to replace than DLP ones.

LCOS projector

Pros: LCOS projectors are generally considered a hybrid of DLP and LCD. They have better resolution, contrast ratios and black levels than the other two projector types. Sony and JVC are the major manufacturers of LCOS projectors, which they brand as SXRD and D-ILA respectively. Hitachi is involved in this technology, too.

Cons: LCOS projectors are often not as bright as the other types, and they’re usually more expensive, with price tags running to many thousands of pounds.