Plasma vs LCD

Having trouble deciding between plasma and LCD televisions? You’re not the only one. The truth is you are not going to go wrong with either. Each technology still gives you a far greater picture than any analog TV, and with the widescreen image you get to see more information.

In general LCD TVs are best for more well lit rooms, however, Plasma TVs give a better image when you have solid light control.
If you tend to watch your TV a lot during the day then we recommend LCD TVs. If most of your TV watching is in the evenings, then we would recommend Plasma technology. Plasma TVs will give typically give you a sharper image but because of their reflective glass, it really depends on your viewing times.

On the other hand LCD TVs are best for playing video games, or for hooking up to PCs, as they less likely to suffer “burn-in”, which can be caused by having static images on the screen for too long. Plasma TVs, however, are best for watching movies and sports.

The key thing is that you are living in high definition, but, to help you out we’ve got this handy chart to help you determine which technology is best for you.

	Plasma	LCD
General
Screen sizes	42-65+ inches	5-65+ inches
Cabinet depth	3+ inches	3+ inches
Power consumption	Slightly less-efficient per square inch	Slightly more-efficient per square inch
Off-angle viewing	Excellent from all angles	Image fades slightly when seen from extreme angles from sides or from above or below
Reflectivity of screen	Glass screens can reflect lots of light, so may be an issue in very bright rooms. Some models have glare-reducing screens that are more- or less-effective	Matte plastic screens usually reflect less light. Some models have screens that are actually more reflective than plasma
Features
PC connectivity	Less common but still included on many models	More common than with plasma
Other features	Varies per model	Varies per model
Picture quality
Motion blur caused by display	Negligible	Difficult to discern on most models, although subject to more blurring than plasma. 120Hz models less-subject to motion blur
Black-level performance (depth of “black” displayed)	Varies, although excellent on many models.	Varies, although generally worse than plasma on many models, and better than plasma on best models
Color saturation	Varies, although generally a bit better than LCD due to black level and off-angle advantages	Varies, although the best models can equal the best plasmas
Resolution	Typically 720p, up to 1080p on high-end models. The benefits of 1080p are not obvious at screen sizes below 50 inches to the majority of viewers.	Typically 720p, but 1080p is more common than plasma at more price and size points. The benefits of 1080p are not obvious at screen sizes below 50 inches to the majority of viewers
Durability
Burn-in (faint after-images left on-screen)	Possible with still images left on-screen with very bright settings for hours, although new models much less susceptible, and most burn-in is temporary and goes away after watching moving images	May occur in extreme situations (very bright still images left on-screen for days) but much less likely than with plasma or even standard tube TVs.
Lifespan (hours until fades to half-brightness)	Typically 60,000 hours, or about 20 years if used 8 hours per day.	Typically 60,000 hours, or about 20 years if used 8 hours per day.
Program type
HDTV	Excellent	Excellent for HDTV-compatible models.
Standard-definition TV	Dependent mostly on screen size. The smaller the screen, the better standard-def usually looks	Dependent mostly on screen size. The smaller the screen, the better standard-def usually looks
DVD Movies	Excellent given a model with good black-level performance	Very good, although models with worse black-level performance are less desirable
Games	Excellent for most users, although burn-in might deter gamers who leave screens paused for hours or overnight	Excellent, although motion blur might deter the most sensitive gamers

Product Review: Samsung 52″ LCD LN-52A650 (1080p, 120hz)

Samsung’s LN52A650 dares to be different. In a world of me-too, glossy black flat-panel HDTVs, no few of which may bear the company’s own logo, this 52-inch LCD is dressed in red. Like many radical design choices, you’ll either love it or hate it, and we didn’t love it. But before you write off this red TV, we recommend you check it out in person–the product shots here and elsewhere on the Web just don’t capture the red tint of the frame properly. Aside from design, we found plenty to like about the higher-end LN52A650, and it produces arguably the best picture of any LCD TV we’ve tested so far, although it doesn’t quite beat the quality of the best plasma.

Design
Samsung’s LNA650 series incorporates the company’s Touch of Color design scheme. Instead of the standard glossy black frame, the LN52A650 sports dark-red accents that suffuse the entire frame, but are most prominent along the top and bottom edge and either side. Other eye-catching elements include a layer of transparent plastic, which is visible along the extreme edges on all sides, and Samsung’s trademark shiny screen (more on that below). The Touch definitely creates a unique look, but call us traditionalists: we didn’t really like it. The photos above just can’t capture how red the Touch makes the frame appear, especially in bright rooms, and if red isn’t your favorite color, you’re out of luck–no other colors have been confirmed for this year, despite the company touting a veritable rainbow at CES. In its favor, the red frame didn’t really detract from the color fidelity of the picture.

Including the standard-issue pedestal swivel stand, the LN52A650 measures 50.2 inches wide by 34.1 inches tall by 12.8 inches deep and weighs 76.7 pounds. Without the stand, it comes in at 50.2 inches wide by 31.7 inches tall by 4.1 inches deep and 64.6 pounds.

The remote differs from the one included on the Samsung PN50A550 because it uses a rotating, clickable wheel, similar to an iPod scroll wheel, for menu navigation, as opposed to the standard, four-way directional keys. The wheel would be a cool idea if it was more responsive, but with the brief delay between moving the wheel and seeing the results on the screen, we found ourselves more than a bit annoyed by it. The rest of the remote’s buttons are nice and big and backlit (the backlighting engages automatically when the remote is picked up, something we’ve never seen on a remote included with a TV), and we liked the dedicated “Tools” button that offered quick access to picture and sound modes, the sleep timer, and the picture-in-picture controls. We didn’t like the clicker’s glossy black finish, however, which picked up more than its share of dulling fingerprints after a few minutes.

Samsung’s new menu system is sleeker than before and blessed with big, highly legible text set against transparent backgrounds that occupy almost the whole screen. Getting around is easy; there’s helpful explanatory text along the bottom, and we dug the context-sensitive menu that would pop up occasionally to provide more options. Overall, it’s one of the best-designed and most-attractive menu systems we’ve seen on any HDTV, and it really makes setup a breeze–except for the confusing picture mode arrangement (see below).

Features
The LN52A650 has a 120Hz refresh rate, which allows it to cut down on blur and to affect judder in motion with a video-processing mode Samsung calls “Auto Motion Plus.” Check out David Carnoy’s Fully Equipped column for an in-depth discussion of 120Hz, and the performance section of this review for details on how it’s implemented on the LN52A650. Like most other LCD and plasma TV models on sale in 2008, the LN52A650 also has a native resolution of 1,920×1,080 (aka 1080p).

New for 2008, the 650 series also includes an Ethernet port, which allows the TV to access the Internet to display news, stock ticker information, and local weather. We liked the easy-to-read font in normal and large sizes, as well as the intuitive controls. USA Today provides the newsfeed, which can sit in the corner of the screen like a ticker (turn Desperate Housewives into Fox News!), or be expanded to allow you to read numerous top stories in a variety of topics. One annoying quirk was that we couldn’t remove the Setup screen easily–hitting “return,” as the manual suggested, merely turned off the whole service. Also, we’d really appreciate if the port allowed the TV to access firmware updates, but according to Samsung that’s not in the cards. A USB-to-Wi-Fi dongle that allows the TV to connect to a wireless network (model WIS-08BGX, $34.99) is also available.

The LN52A650 has three adjustable picture modes that are each independent per input. That’s great, but in addition there are three more picture presets, called “Entertainment Modes,” that cannot be adjusted and are accessible via a separate key on the remote and the Setup menu. This arrangement is unnecessarily confusing on a TV with so many settings anyway; we’d prefer to have all of the picture modes, both adjustable and non-adjustable, be accessible together from a single key on the remote and one area of the Picture menu. Also, if you’re in Entertainment mode, you’re prevented from making picture adjustments, or even selecting one of the adjustable picture modes, until you actively cancel an Entertainment mode by navigating to the Setup menu (which the onscreen instructions suggest) or toggling the mode to “Off” using the remote. That’s an awkward hitch in an otherwise smooth menu design.

Others picture controls include five color temperature presets along with the ability to fine-tune color using the white balance menu; three varieties of noise reduction, including an automatic setting; a film mode to engage 2:3 pulldown (it also works with 1080i sources); a seven-position gamma control that affects the TV’s progression from dark to light; a dynamic contrast control that adjusts the picture on the fly; a “black adjust” control that affects shadow detail; and a new color space control that lets you tweak the Samsung’s color gamut.

You can choose from four aspect ratio modes for HD sources, two of which allow you to move the whole image across the screen horizontally and/or vertically. As we’d expect from a 1080p TV, one of those modes, called Just Scan, lets the LN52A650 scale 1080i and 1080p sources directly to the panel’s pixels with no overscan–the best option unless you see interference along the edge of the screen, as can be the case with some channels or programs. There are also four modes available with standard-def sources.

We appreciated the three power-saver modes and the singular fact that, unlike most other manufacturers, this year Samsung did not use the brightest picture mode as its default. Instead, the default picture mode for Home use is Standard, which saves a lot of energy compared with the much brighter Dynamic. Check out the Juice Box below for details on the set’s energy use. As far as other conveniences, Samsung throws in picture-in-picture along with a USB port that can connect to thumb drives to play back digital photos and MP3 music. The LN52A650 is also compatible with the company’s forthcoming digital media adapter.

The connectivity of the LN52A650 is excellent. There are three HDMI inputs available around back, while a fourth can be found in a recessed bay along the panel’s left side. There’s also a pair of component-video inputs; a single RF input for cable and antenna (the ’07 models had two); and a VGA-style RGB input for computers (1,920×1,080 maximum resolution). That recessed bay offers an additional AV input with S-Video and composite video, a headphone jack, and the aforementioned USB port.

Performance
The Samsung LN52A650 is one of the best-performing LCDs we’ve tested. Its picture quality, anchored by excellent black-level performance, and accurate color, surpasses that of the Sony KDL-46XBR4–and Samsung’s de-judder video processing has improved to the point where it’s basically equal to the Sony. We did notice a couple of minor issues, and as usual we’d avoid watching dark movies on this glossy-screened TV in rooms with lots of ambient light, but that’s about it.

Our standard calibration was aided by the numerous picture controls in the Samsung’s user menu. We were able to improve color temperature and dial in saturation without going overboard thanks to the blue-only mode (check this tip to see how it works). Although we attempted to tweak the color points a bit using the custom color palette controls, primary and secondary colors were already close enough to the standard that we simply settled on the default Auto in the end. Click here for a full list of our dark-room picture settings.

After setup, we placed the LN52A650 in a comparison that included our reference sets–the Pioneer PDP-5080HD, the Sony KDS-55A3000, and the 120Hz Sony KDL-46XBR4–along with the Panasonic TH-46PX85U. We checked out Spider-Man 3 on Blu-ray at 1080p from the Sony PlayStation 3.

Black level: The Samsung LN52A650 reproduced one of the deepest shades of black we’ve seen from any LCD. It can’t quite match the champ, Samsung’s own LED-based LN-T4681F, but from what we remember, it’s pretty dang close. The Pioneer and Panasonic plasmas got darker by a couple of hairs, although the Samsung solidly beat the two Sonys. Of course, as with all LCDs, those deep blacks became brighter when seen from off angle (see below).

Details in shadows were quite good, although not perfect. During a shot when Flint stares into the camera after sneaking into his daughter’s room, for instance, we couldn’t quite make out the print on the wallpaper behind him, and the shaded half of his face looked indistinct compared with the reference Pioneer, although still more natural than any of the other displays. Cranking brightness brought back the details but destroyed black levels, and the Samsung wasn’t crushing black. Its gamma was just a bit shallow in dark areas, even at the most aggressive +3 (our preferred setting).

Color accuracy: The initial color temperature in Warm2 was still a tad blue (see the Geek Box), but other than that we had no complaints. After calibration it was quite accurate, lending a natural look to skin tones and other delicate areas, like Mary Jane’s pale face. Green grass in the plaza and red balloons during the parade all looked rich and punchy, and color balance was superb. One major advantage the LN52A50 demonstrated over the Sony KDL-46XBR4 LCD was its color fidelity in dark areas–where the Sony dipped into blue, like many LCDs, the Samsung remained close to true black. Overall saturation, thanks to deep blacks and fine color balance, was equal to the superb Pioneer.

Video processing: Samsung’s Auto Motion Plus (AMP) processing is designed to smooth out motion–specifically the judder or faint stuttering inherent in 24-frame material such as most films. Judder can be perceived most easily in pans and camera movement, but once you notice it, it seems to pop up everywhere there’s any movement onscreen. Some viewers find the smoothing effect desireable, while some think it looks too video-like and even cartoonish in some instances, particularly Hollywood films. We’re of the latter camp, but we feel de-judder processing can be effective in some scenes.

AMP has been improved this year, and it suffers fewer artifacts than the version we tested on the LN-T4671F from 2007. The infamous “triple ball effect” seems greatly toned down, for one thing. We looked at one example we cited in the 71F review, a deep pass during a college football game between West Virginia and Louisville, and this time there was very little blurring and elongation of the ball. We also turned to the same hockey match between the Ducks and the Kings and noticed blurring of the puck much less frequently. It was still there in some instances, such as a flip pass into the air that spanned half of the rink before landing, but it was much less noticeable. Of course, the level of AMP made a big difference–we saw more blurring and artifacts around the puck in High mode, fewer in Medium, about the same in Low, and none in Off. For that reason, we still recommend watching hockey, and indeed all sports, in Off mode.

Comparing the Samsung against the Sony 120Hz LCD, the Samsung seemed a bit less prone to artifacts, but the Sony appeared less unnaturally smooth. During the opening of Spider-Man, for example, the camera quickly pans over a newsstand and a headline in USA Today (double-plug!) that reads “What a catch!” showed stutter and artifacts in the Sony (in Standard mode) and none on the Samsung (in any of its modes). The camera then moved to follow Peter Parker on his scooter, and the Samsung looked like the camera was on rails, while the Sony allowed a little bit of unsteadiness that made for a much more natural look in that scene. Later, the camera orbits Parker’s face at the beginning of the parade, and we saw a sort of halo effect around his head. The buildings in the background bent slightly near his head as they moved by, even in the Samsung’s Low mode, although these artifacts were worse in Medium and High. In this case, the Samsung’s Low and the Sony’s Standard were pretty much indistinguishable.

Both sets looked much better in pans over natural landscapes from the Planet Earth Blu-ray and in some other non-Hollywood movie material, especially compared with the non-de-judder-equipped sets in the comparison.

We also turned AMP off, along with the Sony’s de-judder processing, and switched our PS3 to 1080p/24 mode. We really couldn’t tell the difference between 1080p/24 and 1080p/60 on either of the sets, so we suspect they don’t perform the perfect 5x conversion from 24 frames to 120. Samsung’s engineers (along with Sony’s) claim the 52LN650 can perform this conversion, but if so, it doesn’t make much difference.

A refresh rate 120Hz should also cut down on blur in motion, increasing motion resolution. We compared the 52LN650 to the Samsung LN32A450, a standard 60Hz display, and with AMP in Low mode the LN650 exhibited less blur in test footage designed to expose it. The blur returned when we turned Off AMP, so you can’t get the blur-reduction on this set without de-judder. The Sony performed at about the same level for this test, and neither was as sharp as either of the plasma displays or the Sony SXRD. As usual we didn’t notice blurring in program material, however, including during Spider-Man.

As we expect from any 1080p LCD, the Samsung resolved every line of 1080i and 1080p sources, and unlike most sets it properly de-interlaces 1080i film-based sources as long as you leave the film mode engaged.

Uniformity: LCD will always be at a disadvantage compared with plasma in this department, and the LN52A650 is no exception. Its screen was relatively uniform for an LCD, but there was still a brighter spot visible in the upper-left corner in dark scenes or letterbox bars, and in mid-dark fields we saw that the left and right edges of the screen appeared brighter than the middle. Meanwhile, as we mentioned above, viewing the image from off angle lightened the black areas somewhat, robbing some punch from colors. The Sony LCD lost a bit less depth of black from off angle, although we still preferred the Samsung from non-sweet-spot seats because it didn’t become discolored. We’ve seen reports on AVS forum showing purplish discoloration from off angle on some 650 series models, but we didn’t see it on our review sample.

Bright lighting: The LN52A650 has a similar type of shiny screen as last year’s Samsung LCDs, and compared with a more matte LCD screen, such as the one on the Sony KDL-46XBR4, it reflects quite a bit of room lighting. With the windows open during the day and shining on the screen, we could clearly make out our reflection in the screen, especially during dark scenes, and it was a good deal more distracting than on the Sony or the Pioneer. Samsung claims the screen does increase contrast ratio and produce deeper black levels, which might be true given the LN52A650′s black level performance, but we still found ourselves distracted by the shine in bright environments while watching dark scenes.

(Article Source:cnet.com)

Cnet Video Review of the LN-52A650

The Right Projection Screen for Home or Office

Projection Screens are an essential part of a display system. It is the screen that delivers the message.  A good screen will compliment and enhance the quality of any projected image. Nothing’s more important in getting your message across to all in the audience.

Developments in software and electronics have made a large contribution to the enormous steps forward in projectors.  Because projectors provide increasingly enhanced light output, contrast and resolution, the quality of the projected image is constantly improving.  However, a good projector on its own is not enough. Optimal image quality can only be achieved if the projector and projection screen are matched to each other and to the application.  For that reason, selection of the right screen and screen fabric is an essential step for ensuring the best projection result.

The most important selection criteria are explained below.  Given that every situation is unique, this information should be regarded only as a guideline.

Step 1. Screen type
Determination of the type of screen is the first step.  Selection of a portable, wall or ceiling mounted screen – electrically driven or manual – depends on the situation and your personal preference.  Generally speaking, if the projection location is permanent, a wall or ceiling screen is to be preferred.  A portable screen is a better choice if you want to be able to project at various locations.

Step 2. Screen size
An important aspect of a projection screen is the screen size.  Since presentations now increasingly involve projection of data, the screen should not only be big enough for everything to be seen but, more importantly, for the texts and figures to be read clearly.  The correct screen size can be determined using the following three rules of thumb:
- The height of the screen should be at least one sixth of the distance from the screen to the back row of seats.
- The distance from the bottom of the screen to the floor should be at least 125 cm.
- The front row of seats should be around twice the screen height away from the screen.

Step 3. Screen format
Depending on the projector type, the projected image has a given ratio of width to height, also known as the aspect ratio. For a good-looking result, it is recommended to use a projection screen with the same aspect ratio as the projected image.  All screens in standard format have two borders on each side, while video or HDTV formats are finished with black borders all around.  These black borders increase the perceived contrast and set the projected image off in an attractive manner. You’ll usually find projection screens in the following screen formats:

Format	width/height	aspect ratio
Standard format	1:1	1
Video format	4:3	1,33
Slide projection format	3:2	1,50
HDTV format	16:9	1,78

Step 4. The correct screen fabric
However good the projector might be, the audience will only be properly served if they can clearly see and read the projected image which reaches them.  And that is exactly the added value of the projection screen.  A projection screen does more than just reflect.  It is capable of reflecting and distributing the projected image in a given direction.  Why should the image be distributed over the entire room if the audience is seated in a particular area?

The ability of the screen to distribute light in a given direction has direct consequences for the viewing angle and the brightness of the image.  This perceived brightness is often referred to as the reflection value or gain.  A screen with a wide viewing angle distributes light evenly over a wide viewing area and offers limited gain. Screens with a smaller viewing angle offer a higher gain factor.

Thus, the right choice of screen fabric depends directly on the application.  A number of ambient factors also play a role. The most important of these factors are:

• Projector
  Each projector has its own specific light output (ANSI Lumen). Depending on the light output, a higher or lower reflection value may be desirable.  If different projection methods are used, the screen fabric should be matched to the projection method with the lowest light output.
• Ambient light
  All the light that does not come from the projector can have a negative influence on the image quality. In applications where the ambient light can not be controlled, a screen fabric with a higher gain is recommended.
• Position of the projector
  Depending on whether the projector is mounted to the ceiling or placed on a projector stand, a ‘reflective’ or ‘retro-reflective’ screen fabric needs to be selected.
• Projection room
  The arrangement of the seats determines the angle at which the viewers look at the image. The wider this arrangement, the greater the viewing angle of the recommended fabric type needs to be.

Understanding Universal Remotes

A universal remote is a smart way to consolidate the operation and management of your home entertainment system into a single, convenient controller. Virtually every modern home audio and video component comes with its own remote, so if you are suffering from an overabundance of remotes on your coffee table, a properly equipped and configured universal model may be the perfect cure. A universal remote is also a quick solution if you lose or damage one of your other remotes, unless you don’t mind shuttling between your couch and TV every time you want to change the channel.

Universal remote controls range from basic, inexpensive units that control a TV and a small handful of associated components, to big, LCD touchscreen-equipped models costing $400 or more. There is no reason to purchase an expensive, top-end unit if you only need to control your TV, DVD player and VCR, but if you are thinking of expanding your home entertainment system in the near future, make sure your universal remote is up to the task.

A budget universal remote operates your TV and several associated components, such as a DVD player, VCR, cable box and satellite receiver. It handles basic tasks like power on/off, volume adjustments, channel changes and simple tape or disc playback. More sophisticated remotes can control additional components such as home theater receivers and DVRs. Other components may include dedicated buttons for Blu-ray disc players or DVD recorder controls, as well as illuminated buttons. Some have small LCD screens that show menu options and other information. High-end models control as many as 20 devices, and some have large color LCD touchscreens with simple-to-use icon-based user interfaces.

A common feature on more advanced universal remotes, and appearing more and more in less expensive models as well, are user-programmable macro controls. Say you want to watch a DVD. Instead of individually turning on each component and setting it to the proper input or mode, simply press the button you have configured with your “play DVD” macro. The remote then sends the necessary commands to turn on your TV and switch it to the DVD input, power up your home theater receiver and set it to the correct surround sound mode and turn on your DVD player and start playing the disc. It doesn’t get much easier than that.

There are a number of ways to configure your new universal remote control to work with your TV and other components. Just about every universal remote includes preprogrammed codes for a broad range of manufacturers. To set the remote to operate your DVD player, for example, just find your player’s manufacturer (and in some cases, the model number or family) on the supplied list and enter that code into the remote. This may present a problem if you have obscure or old components, however. In addition to preprogrammed codes, remotes with learning capabilities are able to copy the signals of your old remotes, thus “learning” the proper signal to send to your A/V gear. This is great if you have an old component or one that isn’t commonly included in preprogrammed code lists, but it obviously won’t help if you are trying to replace a damaged or lost remote.

How to Shop

When choosing a universal remote, you first need to identify the number and type of components you wish to control. This can include obvious items like a TV, DVD player and VCR, as well as a home theater receiver, cable box or satellite receiver, DVR, HD DVD or Blu-ray disc player, DVD recorder, tape deck and even some home network controls. Once you know your requirements, think about your budget. It is nice to have expansion possibilities, but there’s no need to spend extra money when a less-advanced (but still very capable) controller will do.

Another consideration is a remote’s shape and weight. This may not seem important at first, but since the remote will be your primary user interface with your home entertainment system, you should make sure a potential purchase’s chassis and button layout are comfortable to you. If possible, try out a remote at an electronics store before making your final decision.

Most universal remotes operate on standard batteries, but a few (especially those with power-hungry LCD screens) come with internal rechargeable batteries, as well as chargers that double as stands. Some units include motion sensors and light up their screens when they are moved or touched, so you don’t need to fumble in the dark for the “illuminate” button.

A majority of remotes, universal or otherwise, rely on IR (infrared) light signals to communicate with their associated components. This requires a direct line of sight between the remote and the receiving hardware. However, a few utilize RF (radio frequency) signals, which have the handy ability to transmit through walls or home theater cabinets. If your A/V setup is in a closable cabinet, or if you often listen from a different room, an RF remote is a wise choice.

There are many options available, but if you know your needs and keep your budget in mind, you should have an easy time selecting the right universal remote control for you.

What is Whole House Audio/Video?

Imagine having hi-fi music in every room of your home with nothing more than an elegant Wall Mounted Keypad and virtually invisible in-wall or in-ceiling Speakers showing. This is the dream system of interior decorators and is typically only found in multi-million dollar homes. We can show you how this can be done in your home with your existing equipment and at a reasonable cost. Whole house audio/video refers to a centralized audio/video system that pipes music and video/cable signals throughout the home. Because the system is centralized, the only components present in each room are speakers and TV screens. Control of the system is made through a handheld remote or wall mounted control panels. The centralized components can either be hidden away in a closet, or if you prefer, mounted in an impressive Rack System array in your living room. (Some systems may have additional VCRs and CD players located locally in various rooms for convenience. If correctly configured, these VCRs and CD players can be viewed or listened to in the room they are located as well as any other room.)

There are many ways of configuring a whole house audio video system. We will describe the basic methods below. Choose the method that best suits your requirements and budget.

Single Amplifier/Receiver Driving Speakers in Multiple Rooms

This is the simplest and lowest cost method. The output from a single amplifier or receiver is split amongst several rooms. All rooms will receive the same music. Volume Controls can be located in each room to adjust listening levels (or a centralized volume controller can be used if preferred). Whenever the output from a single amp/receiver is split between 2 or more speakers, an impedance matching system must be used. To control the master volume and source (CD, tuner, tape, etc.) from each room an Infrared (IR) Distribution system can be added.

Multiple Amplifiers/Receivers Sharing Sources

If different rooms need to listen to different sources at the same time, multiple amps/receivers are required. Use one amp/receiver for each listening (a zone refers to one or more rooms that listen to the same source simultaneously). The amp – receivers can be stacked together and the source inputs can be shared (ie. 1 CD, 1 tape, 1 DSS shared amongst 2 or more amp/receivers). To control the volume and source from each zone a zoned Infrared (IR) Distribution system can be added.

Purpose Made Multiple Zone Amplifier Systems

Many higher end amp/receivers now come with a built-in second discrete amplifier for a second zone. If your needs do not require more than 2 zones, this may be a cost effective solution. For a larger number of zones consider the NUVO or Russound 6-Source/6-Zone System which have six discrete amplifiers and a volume/source distribution system built-in.

Workplace: LCD vs Plasma vs Projection Systems

Plasma and LCD TVs have finally hit their stride.  Major electronics stores have all but phased out the old CRT televisions, relegating them to the unseen corners.  Meanwhile, hordes of consumers are forced to make choices between two new technologies that they know little of.  Of course you have the helpful sales associates giving out their advice.  But without background information they may be able to take you for a ride. They may sell you something not quite right for you, or may forget to mention possible alternatives if they don’t carry them.

So, below we have created an LCD TV versus plasma comparison guide to help navigate the differences between the two technologies.  We have also included a column for front projectors, which are an option frequently ignored by major electronics retailers.

Comparison	Plasma televisions	LCD televisions	Front Projectors	Advantage
Screen Size	Average screen sizes range from 32 inches to 63 inches (measured on the diagonal). Larger plasmas, like a 103 inch unit from Panasonic, are in production, but are still prohibitively expensive for consumer use. Panasonic has announced plans to release a 150-inch plasma display by 2010.	Average screen sizes range from 13 inches to 65 inches (measured on the diagonal). As with plasma, there are larger LCD TVs made, like a 108 inch display which is to be released in later this year (2008) by Sharp, but they are not readily available or affordable at the consumer level.	Typical screen sizes from as small as 40 inches to as large as 300 inches (measured on the diagonal). Projectors do not have a fixed image size so most projectors list their screen size as a range (i.e. 40-300 inches. Most buyers opt for sizes from 76-inches to 120-inches if they purchase a screen. Optimally the image should not be over 300-inches.	Front projectors are able to create the largest images by far. Projectors are also the only option which is not a fixed size (meaning your screen size can change if desired) and projectors are also more portable than an LCD or Plasma. Plasma and LCD TVs are comparable in size now with the maximum sizes over 60-inches. Maximum recommended projector image sizes are around 300-inches.
Viewing Angle	Up to 178°. Plasma images do not suffer from the same degradation at higher viewing angles that LCD TVs do because of the nature of the technology.	Up to 175°. LCD TVs were originally designed for a one user experience, as a computer monitor. As the applications for the technology grew for larger to larger displays and audiences , an issue with viewing angles emerged. Although the LCD TV can be viewed from up to 176 degrees, there is a “sweet spot” which will produce brighter, higher contrast images.	Viewing angles are not an issue with front projectors because the light source is coming from in front of the screen, and not from behind. The surface on which you project (screen or wall surface) may have a slight impact on viewing angles.	Unlike rear projection TVs, front projectors do not have an issue with viewing angles, so they have the advantage here. Between LCD and Plasma; Plasma TVs have the advantage, but by a small margin. However, your viewing experience won’t be ideal at 160 or 175 degree angles for any technology.
Screen Refresh Rates / Pixel response time	Plasma displays refresh and handle rapid movements in video about as well as CRT televisions, which is about the standard most viewers expect.	LCD TVs were originally designed for static data display, and not moving video. Therefore refresh rates had to be improved. LCD TVs with refresh rates below 16 ms or lower (5-15 ms) show very few noticeable artifacts. LCD TVs are now available with refresh rates specified by manufacturers as low as 5ms.	Projectors designed for home theater use will handle video better than a projector designed for business (though there are some good cross-over projectors on the market). Response time is not usually specified by projector manufactuers so it is difficult to compare directly to LCD and plasmas by comparing specs.	Plasma still specs faster than LCD for pixel response time, however LCD has closed the gap significantly in the past 3 years or so. For most consumers, projectors, plasma and LCD displays will have sufficient response times. For video gamers, or others to whom instantaneous response is a must, the lower the ‘ms’ spec…the better.
Burn-in or Stuck Pixels	Plasma TVs can suffer from burn-in produced by static images. After extended periods, stationary images “burn in” and produce an after-image ghost which remains permanently on the screen. With technologies such as ‘pixel orbitor,’ new plasma TVs have addressed burn-in and significantly reduced the issues of older models.	LCD TVs do not suffer from burn-in, but can have a “retained pixel charge” which may also produce ghosting. Stuck pixels are also possible with an LCD display.	Projectors can suffer from dead pixels, though there are some manufacturers with a ‘zero dead pixel’ warranty. The bigger concern for projector buyers is lamp life. After long term use, the projected image will not be as bright as it was over the first few hundred hours. Lamps are replaceable, however, and cost between $200 – $400.	There is no clear winner here. Manufacturers of each technology have worked hard to minimize issues. If stuck pixels or burn in are major concerns for you, check the manufacturer warranty for their return or repair policies. Some manufactuers offer a ‘zero dead pixel policy’ and others will repair or replace products with pixels out in the ‘sweet spot’ of your picture.
Product Life-span	Plasma TVs have a reported half life of 30,000 to 60,000 hours. Half-life is the time it takes the lamp to fade to half its original brightness. Panasonic recently reported life span’s approaching 100,000 hours.	LCD TVs have a backlight that is specified to last between 30,000 and 60,000 hours. LCD TVs also have replaceable backlights, but the expense of replacing one when the time comes may be greater than simply replacing the entire TV.	Projectors have lamps that last up to 5000 hours (usually when opperated in a low-power mode). Projector lamps are replaceable, and cost up to aproximately $400. Projector lamps can be changed more than once. A projector may not be the best choice for everyday viewing, but it is the best value by cost per viewing inch for a home theater.	Both Plasma and LCD technology should more than adequately satisfy most consumers. The average CRT TV (the kind most of us have at home) has a half-life of around 25,000 hours. If the average American household watches an average of four to six hours of television a day, even a 30,000 hour backlight would give you over 16 years of use. By then you’ll be enjoying your new ‘Holodeck.’ A video projector has a shorter lamp life, but the lamp can be replaced multiple times. Projectors are better suited for a dedicated home theater than as the sole display for a household. Projectors are the best value by cost per viewing inch.
Weight	Plasma displays are fairly heavy, and may need additional supports to be mounted onto a wall.	LCD TVs weigh less than comparably sized plasma TVs.	Single chip DLP and 3LCD projectors typically weigh between 10 – 20 lbs. They can be shipped for less than an LCD or Plasma TV over 19-inches in most cases.	Projectors are lighter and less bulky to ship and to install than an LCD or Plasma TV. Projection screens are bulky and large however. LCD TVs are second least heavy, followed by plasma.
Durability	Plasmas are somewhat fragile making them tricky to ship and install. Unlike the commercials where plasmas are mounted on the ceiling, plasmas are best installed by a professional, and should be installed on a wall that can bear a good deal of weight. However, recent improvements to plasma screens have made them significantly more durable and lighter weight.	Somewhat more durable than older plasmas. End users can easily mount an LCD TV themselves if desired, although LCD TVs should still be shipped with special care, and the screen itself should be cleaned with a streak free cleaner.	Projection surfaces vary, but a wall or screen are obviously less fragile than an LCD or Plasma TV. Screens can be washed and walls can be repainted. The projector itself is also as durable as either a Plasma or LCD TV.	A projector screen is durable and cleanable, and walls can be painted. Projectors are also very durrable. Because of this, projectors win this battle, with LCD TVs in second place, followed by plasma.
Shipping	Due to their fragile nature, plasma TVs need to be shipped by specialty carriers. Overnight or fast delivery options are not recommended. Special shipping methods and their heavier weight add to higher shipping costs.	Shipping LCD TVs is not difficult, and is not as expensive as shipping plasma displays.	Single chip DLP and 3LCD projectors typically weigh between 10 – 20 lbs. They can usually be shipped for less than most LCD or Plasma TVs over 19-inches.	Projectors are cheaper and safer to ship overall. If you purchase a screen, that will add significantly to the cost of shipping. In some cases, whether an LCD, plasma, or projector, the shipping will be paid by the reseller. Plasma’s are typically heavier and may require that you ship them on a pallet, adding to the cost of shipping.
Installation	Plasmas are heavier, use more power, and run hotter than LCD TVs, and therefore require more planning when mounting them. Plasmas are generally best installed by professionals.	End users can easily install LCD TVs themselves, or can use them just as they use a traditional TV using a stand.	Depending on how polished you want your home theater to be, a projector can be very easy to set up, or can be a longer and more involved installation. Projectors are lightweight, and can be removed from an installed location and used in other applications – like a make shift outdoor theater.	LCD TVs are easier to install than plasmas because they weigh less. Most TVs sold in the consumer market will come with a stand. Projectors are a more complicated installation than either a plasma or LCD TV when they are ceiling mounted. TVs with a stand and projectors set on a table top require similar efforts to set up.
Brightness / Contrast	Plasma TVs report higher brightness and contrast levels than LCDs. Under ideal conditions (no ambient light) this is a true advantage of plasma technology, because LCD TVs are backlit and therefore light must be blocked to create blacks. Plasmas have individual pixels that either on or off, creating deeper blacks and better contrast.	LCD TVs can often look better in ‘real-world’ situations. Plasmas are made with a special glass surface that can reflect light, which dulls the brightness and contrast of the image. LCD TVs reflect very little light, allowing them to maintain levels in well-lit rooms.	Projectors now have contrast ratios of 50,000:1 and higher, making them nearly equal by specification to many LCD and plasma TVs. However, with ambient light in a room, contrast and brightness can be significantly impacted. For best contrast that rivals LCD and plasma, low light or no light environments are best. Different specifications are used to measure brightness in a projector, so it is difficult to compare directly.	Just about any LCD TV or plasma will satisfy the expectations of most consumers need for brightness and contrast. Videophiles will look for the hightest contrast ratios and will likely ignore the brightness specs on an LCD or plasma TV. Newer home theater projectors (1000 ANSI lumens or brighter) should also satisfy in any controlled lighting environment. Projectors are not ideal for rooms with a lot of ambient light unless they have more than 2000 lumens of brightness.
Thickness	As thin as 3 inches deep.	As thin as 2 inches deep.	Projectors are simply projecting light onto a surface, so on a screen or wall the image will not take up much space. The projector itself will need to be placed on a flat surface or mounted out of the way.	The projected image is (obviously) very thin, and create a truly ‘flat’ image. LCDs TVs and plasma’s are just about equal to each other in thickness (around 2-3 inches, and for most this is not an issue. But a projector is the solution that can be easily stored away out of site (using a retractable or portable screen).
Performance at High Altitude	High altitudes can affect the performance of plasma displays because the gas held inside each pixel is stressed, and has to work harder to perform. Some manufacturers make plasmas that are specifically designed for high-altitudes, but they may be priced higher than standard models.	LCD TVs are not affected by high altitudes.	Most projectors are only minimally affected by altitude. The one difficulty with projectors will be a more active fan, which may make the projector run slightly louder.	LCD TVs or projectors have the advantage. New plasmas and projectors have evolved with new methods of dealing with the altitude issues. Ask your sales person for details if you live in a high altitude.

Product Review: Universal Remote Touchscreen MX-3000

The MX-3000 from Universal Remote, is one of the flagship products in the home theater master line.  The MX-3000 is a universal color touch screen remote control.  The screen size is 3.8 inches and has the ability to operate by infra-red, radio frequency, or both.

For anyone who has ever lusted after color touch screen remotes, such as those offered by Crestron or AMX, but unwilling to sink what could equate into a few mortgage payments into a remote, take note this might be what your looking for.  While the MX-3000 doesn’t offer quite the level of customization a Crestron system does, it has more than enough features to handle the average home theater or media room setup.

At about 7 inches wide and 5 inches high the remote fits comfortable in your hand, and the color LCD screen is easy to read.  The contrast of the screen seemed quite high and made punching in channel numbers a breeze but, I’m getting ahead of myself.  Any programmable remote that uses PC based software is really only as good as that software, if it’s hard and cumbersome to program, your unlikely to get all you can out of it.
Earlier I’d mentioned the MX-3000 was IR or RF or both. To use the RF ability, you’ll need the separate MRF-350 which reads commands from the remote and then spits them out via infrared emitters attached to the front of the equipment.  I highly recommend this option, as pointing the remote at the equipment is no longer necessary, six infrared emitters are included.  This option pretty much guarantees the codes will be sent, regardless of where the remote was pointed at the time, also the range is increased from the infrared distance of 30 to 50 feet, to over 100 feet via RF.

Other features include custom background files, the ability to import .ccf files from other remotes such as the Philips Pronto, and the ability to “smart route” commands.  This gives you the ability to remotely control identical devices separately.  Overall, I really liked this remote, while my MX-900 RF offers many of the same functions, the color LCD display of the MX-3000 was really alluring, not to mention how it felt in my hand, it was really comfortable.  So as said previously, if you’ve considered touch panels from Crestron or AMX in the past, but didn’t need that level of control, not to mention the price tag, the MX-3000 is highly recommended.

Video Conferencing: Seeing is Believing

Video conferencing is a powerful multimedia tool that improves communication and increases your organization’s productivity. Along with e-mail, instant messaging, Web conferencing, and other collaboration technologies, video is a vital part for any organization looking to improve its competitive positioning and the quality of life of its employees.

In an organization where response time is important, all communication tools work seamlessly together, allowing users to move from one form of communication to the next without a break in the flow of conversation. Imagine an Instant Message between two co-workers escalating to a real-time video meeting over IP, then patching in a supplier on his 3G mobile phone, and later streaming over the Web to those who couldn’t make the live call.

Video offers an essential element of communication that other technologies cannot – the face-to-face experience.  If 55 percent of communication is determined by nonverbal cues, namely tone of voice and body language, how many important details are you missing in an e-mail exchange or teleconference?

A recent survey found that 56% of business professionals estimate they waste more than 30 minutes a day using inefficient communication methods. Face-to-face communication is more personal, builds higher trust, reduces confusion, and makes people more accountable for their actions.

That’s why the ability to communicate via video is the driving force behind much of the IT convergence we are seeing today.

Choosing the Right Projector for your Conference Room

You’ve been asked to purchase a new LCD/DLP projector for one of your company’s meeting rooms but there’s so many features/options to consider.  Choosing a projector that will never be used will not only waste your company’s money, but could reflect poorly on your decision-making skills. Read on for tips on how to choose the right projector for your meeting room.

NOTE: Your plans for the projector will determine how important each of the following qualities are.

Brightness
Consider how large the projected image must be in order for the audience to see it clearly, and whether you want to have the lights on during projection for attendees to take notes. These factors will help determine the level of brightness you require in a projector.

Projector brightness is measured in ANSI lumens. Generally, projectors run between 500 and 2100 lumens. If you are in a large conference room and you need an image bright enough to be seen from a distance without dimming the lights, you’ll need higher lumens since the light from your projector disperses over distance.

Here’s a guide: 1000 – 2000 lumens: works well for a screen of about 8′ – 10′ (244 – 305 cm) in medium-sized room with about 10 – 30 people and dim lighting 2000 – 3000 lumens: best for larger screens of about 12′ – 25′ (366 cm – 762 cm) in large meeting rooms with regular lighting and 30 – 100 people in the audience Above 3000: good for 12′ – 25′ (366 cm – 762 cm) screens and larger rooms with audiences of over 100 people, but can also be used in various room sizes with bright lighting

Resolution
Resolution is the clarity of the picture produced by your projector. The resolution you choose for your projector will depend on the computer you’ll be using. Your projector resolution must be equal to your monitor resolution. Most desktop computer monitors feature 800 x 600 pixel display or SVGA resolution. Laptops usually have 1024 x 768, (XGA resolution), or an even higher screen resolution of 1280 x 1024 (SXGA). If you want your meeting-room projector to offer guest laptop support you’ll need to buy a projector with XGA resolution, rather than SVGA.

Another consideration when deciding on the resolution of your projector is that if you plan to project AutoCAD, video or other information that requires highly detailed image projection, you will need a projector with SXGA resolution in order to have a clear image.

Price and Brands
The price of multimedia projectors has dropped dramatically in recent years. Prices range from a low of US$2,000 to US$11,000 and up. Some of the more popular projector manufacturers include InFocus, NEC, Sharp, Sony, Panasonic and Toshiba.

Ceiling Mount
Are you planning to mount your projector on the ceiling of your meeting room? If so, be sure to specify that to a dealer because you’ll require a projector with an inverted lens.

Home Theater Setup

In a home theater setup process having the right components is just half of the equation, and the other half is how the components are placed and calibrated, and how the design of your room affects the sound and visual presentation. Today, it is no longer a matter of a small television set with pictures could hardly be seen from across the room. It is no longer even just sitting on a sofa and watching your favorite show from a big television. There is now more to everything in home viewing.

Today’s home theater systems are more complex than ever. It’s true that you can enjoy amazing pictures and high quality sound via high-resolution displaying sets and high performance audio systems. But, there are many connection options available in home theater setup. There are components that are basic to any home theater; these are the source, the video display, and the audio speakers. The most essential component of them is the source. This is the device that gives out television feed – with picture and sound – be it satellite, antenna or cable, DVD or DVR.

The screen is a very important component of the system; so many people would be looking for high-definition widescreen to get a better image. Whether it is an LCD, a Plasma TV or HDTV, the widescreen format copies the exact shape found in cinemas displaying more real image. Audio speakers are also an important part of home theater setup. So, if you want to enjoy a 3D surrounding sound, you will distribute the audio speakers through out the location. Having speakers in different spots will make you actually feel the sound coming from everywhere.

The key to picking a surround sound receiver is to find one that matches your speaker layout requirements. Most Receivers will work for Dolby Digital 5.1. Then depending on the model, they should also work for 6.1 or 7.1 surround. See the diagrams below to help you pick the right receiver type.

Each speaker of your home theater needs its own channel of amplification.  These amplifiers are typically built into audio/video receivers, but there are also many stand-alone multichannel power amplifiers for use with preamp/processor components. (Subwoofers, the “.1″ channel, frequently incorporate their own built-in amplification and need only a line-level connection from the subwoofer output to the receiver.)

Dolby Digital 5.1 Setup:

Dolby Digital 6.1 Setup:

Dolby Digital 7.1 Setup:

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