Firstly know that power conditioners don’t necessarily protect against surges and most surge protectors don’t “condition” power. Those aren’t necessarily bad things (as far as I’m concerned) because as I’ll explain I’m not a proponent of one of the two devices. Surge protectors are a vital, necessary part of protecting any home theater but power conditioners have to be judged on a case by case basis.

In a nutshell, surge protectors are used to (you guessed it) protect your system against power surges. Power conditioners are intended to “condition” your homes AC power before it reaches your gear, under the guise of improving or enhancing the audio and or video performance of your system.

Years ago while working in a high-end audio boutique, we received a power conditioner from a well know vendor for evaluation. This particular conditioner was intended to “clean up” video noise, and while we could indeed see a small improvement in clarity with our display plugged into the device, the audio we were hearing through the surround system, also plugged into the device, sounded noticeably worse.

I’m sure the inferior sound was due to current limiting but my point is, unless you want to have three or four of these devices behind your equipment rack, all doing slightly different jobs with slightly different levels of performance, my recommendation is to stick to surge protection and spend the difference on better gear.

The question of satellite or cable television in a home theater setting is almost as old as home theater itself, I seem to remember the term home theater being used even before DirecTV’s first satellite launched. Way back then it was generally accepted that satellite offered more for the big-screen watcher than cable but this was due to the fact that digital cable was still in its infancy, obviously we’re well past that stage.

Now that digital cable is commonplace, and well for that matter HD cable along with DVR’s, it’s easier to make an apples to apples comparison between HD cable and HD satellite for use in our home theaters. I suppose for me it’s not about image quality. I’ve seen really good and bad examples from both cable and satellite, and since DVR capabilities are available from both that isn’t really much of a decider either.

No, for me it really boils down to this. Yes, there are a few more channels on HD satellite than cable (at least in my area) and yes the image quality is good but cables cost of entry, i.e. what it takes to monetarily to get someone out to your house and get you up and running is generally still less with cable. Combine that low cost of entry with the fact that the cable company still (in most cases) has an advantage in being able to offer you blazing fast internet service, the choice for me is almost always cable.

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From time to time I have to tell people, 8’ ceilings aren’t ideal for full-sized home theater recliners sitting on elevated rear platforms. The ceiling’s just not high enough to make something like that work with this particular screen size (usually over 100” diagonal). Sometimes they look at me as if I just shot their kitten or told them their lifelong dream isn’t attainable.

Room dimensions, realistic expectations and budgets are rarely forgiving and often times the single most limiting factors when it comes to dedicated home theaters. Simply put, you need to keep in mind that front projectors often hang down into the room and a rear riser, combined with a hanging projector in a room at 8’ or shorter quickly becomes an obstacle. At 9’ or greater the chances of this becoming a problem quickly diminish.

That’s not to say 8’ ceilings won’t work, but the rear riser may have to be sacrificed and or a projector (with lens shift) that can be placed at the top of the ceiling, i.e. without a drop-pole, may have to be used. Remember dimensions, perspective and hardware aren’t forgiving but imagination can often overcome those limits.

The whole peak vs. continuous power thing is a sticky wicket (I’ve wanted to say that all day long) as there are so many variables to consider, even trying to describe the pitfalls of relying on the measurements is a pitfall unto itself. However there are a few rules you should keep in mind whenever you’re trying to decipher amplifier power ratings from electronics manufacturers, and specifically power ratings from Japanese consumer electronics companies.

The whole peak versus continuous wattage rating Shtick has gone on so long that most people don’t even give it a second thought. Rightfully so because by now with as much stretching of the truth, ok who am I kidding, lying that’s gone on surround the idea, that’s about all it’s worth.

Listen I’ve got a 15 year old amplifier nominally rated at 50 watts that would devour all but the very best of the current 130 watt plus surround receivers. Simply put a lot of companies, maybe even most companies exaggerate their continuous wattage ratings so badly that we’ve all shifted into a kind of well if 12 = 10, 14 must equal 12 mentality when even that isn’t very telling of what these ratings are actually capable of telling us.

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HDMI may be all the rage but it wasn’t too long ago that the premier digital video connection was DVI (Digital Visual Interface for short) and many sets in service still use the connection. The biggest difference between HDMI and DVI involve bandwidth and the ability to transmit audio on the same cable, with HDMI winning out on both fronts.

DVI cables and interfaces come in many different types; some (older versions) are analog video only, while others have the ability to carry analog or digital video. In a nutshell if your display only accepts digital visual interface (DVI) you still have the ability to receive digital audio and video.

You’ll want to use DVI cable (of course) and pair it with a digital optical or coaxial cable to carry the video. While you might not get the exact same pristine digital audio and video as you would a newer HDMI revision, you’re probably not that far off either. More information can be found here on digital visual interface in all its varied forms.

You may have seen pictures of home theater systems or even know someone running dual subwoofers. I’m often asked if this is the way to go and I have to say in my experience it rarely adds anything to the equation that a better, single subwoofer couldn’t accomplish. Of course as with many things audio visual, there are exceptions.

I suppose extremely large home theaters could, in theory at least, benefit from two, lesser subwoofers versus one single; from the standpoint that the sound could be attenuated somewhat over long distances and after firing through dense seating. Once again however a single subwoofer placed closer to the center of the room could overcome much of this.

If after all that, if you still want to try and use two subwoofers I’d caution against using Y-splitters to split the signal. Y-splitters might work just fine for short cable runs but be careful if you’re using them in conjunction with long cable lengths.

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Yeah I know this might sound like an odd subject but believe it or not speaker grilles do matter. Well, I guess I should elaborate on that. Speaker grilles are designed just like any other part of the speaker and have their own sonic footprint as well. That might sound a little hard to believe and given the fact that many of them are little more than a frame with sheer cloth stretched over them, I can see how it would be easy to think that way.

Grilles most often affect high frequencies, let’s face it they just don’t stop enough airflow to influence low or mid-range frequencies but they certainly have the ability to alter high frequencies. Most manufacturers tune their speakers with the grilles on and this is something to keep in mind before removing or altering them.

I say most manufacturers tune their speakers with the grilles on but that doesn’t mean all, it’s not unheard of to have a pair of speakers that actually sound better with the grilles off than on. This likely means the speaker was designed, built and tuned with the grille off. Hey go ahead and experiment and see if taking the grille off makes an improvement, if not it makes more sense to leave it on for safety considerations.

I touched on this a while back but wanted to expand a little as it’s something that’s going to remain relevant, as long as we have 1080i cable and satellite broadcasts (hint for a very long time to come). Interlaced video, sometimes called interlaced scan, creates images on-screen by filling every other row of scan lines with an image and then alternating to the other row in rapid succession.

This “interlacing” happens so fast that it appears seamless and for all intents and purposes it is, but there is of course another way to render video images on-screen. Progressive scan omits the alternating rows of video altogether and fills the entire screen with one big, smooth image often with no visible jaggedness whatsoever.

In the past, I was always quick to defend interlaced video and I still enjoy it but of course as time marches on and 1080p displays become more common I find myself caring less about progressive versus interlaced and more about the overall resolution.

Last week we talked about mounting flat-panel televisions on metal studs, this week let’s talk about anther tricky mounting surface, brick and concrete walls. Firstly know that yes, it’s absolutely possible and even preferable in some circumstances to mount televisions on these surfaces, but just as with metal-stud installations there are a few things to keep in mind before proceeding.

Right off the bat we’ll of course be using different fasteners to anchor the mount to the wall than we would if we were talking about wood studs, specifically we’ll be using concrete anchors. Call them what you may, lag bolts, anchors, expanding bolts etc. The basic premise is to drill a hole into the brick or concrete and then place the anchor through the mount and into the hole.

The anchor is then expanded by tightening a bolt which pulls the end of the anchor in toward you. Simple story made even simpler, the bolt is wedged so hard into the hole it become rock solid that is if you drill the hole correctly… I have to admit the only television we’ve ever had fall was one previously hanging off a brick wall. In short the guy drilling the holes awed them out (made too big) and the bolts didn’t get the proper expansion, result was one busted television but luckily no busted people.
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Without getting into a longwinded conversation on projector mounting 101, suffice to say there’s the right way and every other way to mount a projector. Sure lens shift can help you overcome some obstacles in the light path but even lens shift has its limits, once you go beyond those your back on the bad side of wrong.

Here’s my point and I’ll make it quick. It’s fine to be a few inches above, below, to the left or right of the screen with a projector with lens shift, but you want to (if at all possible) avoid using digital keystone correction.

Keystone presents itself as the image bowing out from the top or bottom in some cases in a “V” pattern, i.e. the top of the screen is larger than the bottom or vice versa. Using digital keystone correction to overcome this bowing can introduce a moiré pattern around fine lines in the image that are spaced closely together; as such keystone correction should be a last resort scenario.

While it might not be the first thing anyone thinks of when they hear the phrase home theater, our dedicated theaters can accommodate a variety of activities in addition to watching movies. Whether it’s the kid’s play or a business presentation home theaters can easily serve multiple purposes, however getting the most out your room takes some preparation.

Starting with the kids play’s, if you’re going to build a stage then by all means build a stage and do it right, if not don’t bother. Too often I see these half-stages or lips as I like to call them, which really wind up being more of an obstacle than a place to perform or address the audience in your home theater.

As far as presentations go, simply put if your presentation involves a power point display you’ll want to make sure you have some way of connecting your laptop to the display/projector.  If your laptop has a VGA out you’ll want to run the proper cable ahead of time and likewise for an s-video out. Some business projectors have the ability to display networked video but this hasn’t been widely adopted for consumer projectors as yet.

Bass Shakers, Butt Kickers, Tactile Transducers or whatever you happen to call them; were all the rage a few years ago and in some circles they’re still quite popular, but perhaps not quite as popular as many would have expected. I have a few opinions (shocker I know) on why Bass Shakers might have dipped in popularity.

Number one no matter what you happen to think of Tactile Transducers the lack of soundtracks with discrete,  dedicated motion channels have slowed the adoption rate of the entire genera. I suppose I should say readily available dedicated channels. D-Box has been quite active with their system of late but sadly a “universal” motion effects channel never seemed to materialize; with the next-generation audio formats (TrueHD, DTS-MA HD).

Now, I saved my two-cents for the end because I hate to be a downer, at least not right at the beginning of a post. I’m not a big fan of Tactile Transducers, ok that was a gross understatement, I really can’t stand these things. Yeah I know they buzz and bump the couch around and that’s big giggles for about 20 minutes, it’s the rest of my time watching the movie that I’m concerned with however.

I’ve even “experienced” top of the line Tactile Transducer demonstrations (the Runco/D-Box demo at CEDIA last year) and felt more annoyed than entertained, but hey to each their own. That said, I know folks who love Bass Shakers and I say more power to em. My only caution however would be to try before you buy, the novelty may not last through an entire chapter much less the whole movie.

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