Our trip to Dolby's San Francisco lab facility was mind-blowingly great, but it turns out that the company is ramping up efforts to let you get behind the "double D" logo. Things have come a long way from optically-encoded film audio and analog tape noise reduction, so Dolby just launched a campaign to bring everybody up to speed on how much higher your grin factor will be if you treat yourself to great surround sound in your home and on-the-go audio setup, no matter if music, movies or games are your cup o' tea. Fire up your browser and hit the links below -- the company is blanketing the webisphere with a microsite, special twitter activity (a little birdie mentioned the magical "giveaway" word), YouTube and flickr. Things will get really fun, however, if you push back from the keyboard, venture into the sunlight and get yourself into the Dolby truck as it makes the rounds at special events around California. Planned stops for the funhouse on wheels are in the links below; you'll see why we'd like to "borrow" this little rig chock-full-of audio wizardry to go alongside our own CES double-wide.

Read - truck schedule
Read - campaign microsite
Read - twitter feed
Read - YouTube
Read - Dolby's flickr feed

The winning record Paradigm's Special Edition (SE) series of speakers racked up in blind testing piqued our interest, but now it's time for John Q. Public to take the taste test. If the promise of Studio-like sonics at Monitor-ish price points holds, the SE series should help Paradigm add customers to its ranks, that's for sure. If you're chasing after a matched surround setup, it's simple -- pick between bookshelf (SE 1, $299 each) or floorstander (SE 3, $699 each) left/right channels, and then add in an SE center ($499), SE subwoofer ($699), and additional SE 1s as surrounds to your heart's content. As you'd expect from Paradigm, there's some emphasis on high-efficiency -- so you can bet that these will sing well together, even with a smaller amp. Judging from the press photo, the cabinets are a little boxy, but the glossy finish (in slimming black, no less) and radiused edges should help you sneak these into your setup. Full press release after the break.

Paradigm doesn't move models in and out of its Reference Signature lineup very often, and the SUB 25 was introduced less than a year ago. Progress never stops, though, and the SUB 25 has been displaced as top dog by the SUB 2 and its "little" brother SUB 1. These new designs feature six drivers (10-inches in the SUB 2, 8-inches for the SUB 1) arranged in three radially symmetric stacked pairs -- the end result being a lot of effective radiating area with in-cabinet forces that balance each other out. In the real world, that means more boom and less buzz, especially with the kilowatt range Class D amps Paradigm includes in these subs. Yeah, we want one too, but even with just six drivers this isn't going to come cheap. The $3,500 price tag on the SUB 1 is comparable to the outgoing SUB 25, but the SUB 2 will sink your wallet to a $7,500 crush depth. Pick yourself up off the floor and read the full release after the break if you're interested.

Even dedicated theaters like those IMAX uses (well, at least some of them are dedicated) need a little help when it comes to achieving the best sound. Take a look across the consumer AV receiver landscape and you'll see that various flavors of Audyssey's MultEQ technology is pretty popular for measuring and correcting the artifacts that arise in real-world rooms. Small wonder then, that MultEQ (no doubt a pro variant) has been selected by IMAX to help iron out problems with in-theater sound. Who knows, maybe we were distracted by the armrest-gripping visuals, but we've never had a complaint about IMAX sound. Still, we'll take any improvements we can get once the technicians start running through IMAX theaters with mics and test tones in 2010.

It's Monday, and we know that getting the week started can be tough. We're here to help by letting you peek into the recording booth when the Engadget HD podcast goes to tape on Monday, September 28th at 6:30PM ET. Think of it as a kind of time machine that will help you power through your day by reviewing what happened in the week HD-wise. Embedded Ustream tools and a list of topics after the break.

Video scaling has been a longtime knock held against Pioneer's AV receivers, but Pioneer is addressing those concerns with the inclusion of Anchor Bay VRS processing in its Elite VSX-23TXH ($899) and VSX-21TXH ($699) models, and also the VSX-1019AH-K ($499). Of course, Pioneer's home market in Japan isn't getting the short shrift -- the VSA-LX52 and VSA-1019AH are getting the same treatment. These models will be getting an ABT1015 to ratchet input signals all the way up to the magical 1080p figure; hopefully an indication that Pioneer will take a page from Denon's playbook and include ABT scaling in all of its AVRs from here on out. Full details after the break.

UPDATE: We have sent questions to Pioneer about whether this is a mid-production spec bump, or ABT VRS has been in these models all along. We'll report back with any answers we get.

UPDATE: We got official word back from Pioneer -- the VSX-1019, 21, 23, 25, and 27 models have all had Anchor Bay VRS scaling from the initial production, so there's no need to go throwing your AVR out. We can't imagine why both Pioneer and Anchor Bay haven't touted this feature from day one, but if your eyes told you the new Pioneer receivers had great scaling, give yourself a point.

Don't get us wrong -- we love subwoofers -- but honestly we've been pretty satisfied with the formula that combines a driver, strong box and large amplifier into a more or less (we prefer less) inconspicuous cube. Changing the physical design always looks kind of strange, even when the results are great. Horses for courses, however, as KEF has introduced its HTB2SE-W subwoofer that has us thinking of one George Jetson. That impression is only enhanced by the wireless connection (hey, it was futuristic a few years ago) that promises "CD-quality sound," which is probably more than sufficient for even lossless LFE tracks. If you don't like the flying saucer look, simply put the HTB2SE-W on its side -- the 10-inch driver and 250-Watt amp promise to deliver bass so non-directional that you won't be able to tell the difference. Available next month for $1,200 -- head below the fold for one more pic if you're not sure if this is the look for you.

We'll admit that sour grapes coming from the direction of our wallets usually make us look right past Runco's offerings. It's great stuff from a good company, but let's just say if you slip the Runco logo into a Rorschach test, we won't come up with "affordable." So in case you missed it in our CEDIA blitz, Runco's LS-3 LightStyle beamer carries a MSRP of $4,995 -- not cheap, but not new car kind of money that we associate with the brand, either. It's a 1080p DLP projector that packs a list of Runco tech like ConstantContrast, Vivix enhancement, Runco image processing, that all together are good for 10,000:1 contrast. If you're fortunate enough to be in the market for something like a JVC projector, consider adding the LS-3 to your audition list and call us over for some popcorn.

Ah, the wonders of technology. Sharp's lab rats have come up with "UV²A" technology that should allow for tighter control of the liquid crystal shutters in LCDs; that's geek speak for "higher contrast and lower energy consumption." We know that simply calibrating your set can net you benefits in the same two areas, but this is the kind of incremental gain that will help push LCDs past plasmas in the long run -- a 60-percent increase in contrast with 20-percent less juice from the wall. We'll be ready to apply some salt to the 5,000:1 contrast ratio figure and leave it to the marketing department to handle the use of "UV radiation" to twist the crystals (a healthy suntan from your Sharp TV?). We're just excited to see some tech that's production ready, as in UV²A could be rolled out next month.

The CEDIA rush has faded, but there's still plenty to talk about on the Engadget HD podcast. So set up the DVR to record the game tonight -- we're not going to promise a short show -- or strategically position the lappy next to the La-Z-Boy when the podcast goes live onto the interwebs Monday, September 21st at 6:30 PM ET, right on Ustream. Embedded Ustream tools for those who don't mind the Flash IRC client and a list of topics after the break.

It looks like Popcorn Hour's C-200 media streamer is making its way into end-users' hands, so prepare yourself for a flurry of reviews. Our friend Brent over at GeekTonic should be jumping into the fray soon, and has kicked things off with a preview. Yeah, the C-200 is bigger than its sibling A-100, but it brings so much to the table that we'd say Popcorn Hour has packed in just as much -- if not more -- goodness per cubic inch. With space available for a hard and/or Blu-ray drive, wired and wireless networking, and USB ports to round out the input connectivity, the C-200 then adds a smorgasbord of codec support just to make sure your bits will survive the translation back into entertainment. With the "it plays anything" kind of capability the C-200 is promising, we've got a feeling that a positive review or two might be the only thing standing between us and a $300 dent in our credit cards.

[Via ZatzNotFunny]

We were so intrigued to hear how much bass Atlantic Technology could squeeze from a small speaker with its H-PAS technology that we overlooked the company's passive FS-7.0 soundbar. That's right -- passive -- for the person who needs the compact footprint of a soundbar, but can't let go of the processing, signal switching and performance of a separate AV receiver. Atlantic Technology managed to squeeze enough drivers (and we assume speaker taps) into the 40-inch soundbar to handle all 7 audio channels; which might explain why there was no room left for a built-in amplifier. LCR audio is handled by three 1-inch tweets and a pair of 4x6-inch woofers along the front face, and the surround and rear surround audio is handled by the triple voice coil, 3.25-inch drivers on each side of the cabinet. The company PR assures that this arrangement creates spacious audio, and with all the surround audio coming from the front of the room, we're sure that's true -- but not necessarily good. More channels isn't necessarily better, but anyone with FS-7.0's $800 asking price (and maybe even $300 for the companion SB-800 sub) and an open mind is free to give us their impressions below.

Denon loyalists may have been stinging from the company's no-show at last week's CEDIA Expo, but the latest round of releases should help ease the pain. Here we go with the AVR-4810CI receiver, DBP-4010DCI universal disc player and ASD-51 iPod docks. The 9.3-channel AVR-4810CI ($2,999) looks to be the successor to Denon's popular 4308CI -- feature packed and definitely on the high end of the spectrum. Six HDMI 1.3a inputs, a pair of outputs, 140-Watts to nine channels, and the familiar set of features being rolled out across Denon's lineup: Anchor Bay video processing, Audyssey DSX and Dolby ProLogic IIz. Denon wants you to know it will pair up just fine with the DBP-4010UDCI universal disc spinner, which you should think of as a cheaper -- but at $1,999, not a "poor man's" -- DVD-A1UDCI. It'll play back just about every disc you've got (okay, maybe not laserdisc), and the build quality ensures it'll do so until after your physical media has turned to dust. Finally, Denon has also brought out the ASD-51W and ASD-51N iPod docks that also let you pull in internet radio, Napster and Rhapsody -- grab up the ASD-51W if you want to do that sans wires. As you'd expect from "CI" (custom integrator) designation on these bits of fun, everything is getting in on the network control and connectivity game, but we'll leave it for you to suss out those finer details after the break.

NuVision has picked our favorite way to make a splash with a product sector entrance -- bring out models packing relatively unique tech. The P1, P2 and P3 DLP projectors should fit into NuVision's custom-centric product lineup quite nicely when they release early next year. Things start out pretty tame with the $8,999 P1, a UHP-lamped offering with (of course) 1080p native resolution. The P2 makes the game interesting with its LED lamp system that should pretty much cut the lamp exchanges down to zero if you can really control the ambient light in your theater; but then again, $18,999 would pay for a lot of bulbs. Finally, there's no denying the glory of a three-chip DLP setup, though, and P3 mates those three chips with a 300-Watt UHP lamp for the kind of no-compromise performance you'd expect from a $36,999 beamer.

Did we mention that CEDIA was a whirlwind of activity? There are a few bits of good stuff we didn't manage to get our HD hands on, including the new JVC projectors aimed at folks who just can't swing the mortgage-busting $175,000 for the company's pick o' the litter. The DLA-RS35, DLA-RS25 and DLA-RS15 are available through the "professional channels" CEDIA targets, but the equivalent DLA-HD990, DLA-HD950 and DLA-HD550 are in the consumer lineup. Everyone of the 1080p, D-ILA beamers gets the 120-Hz treatment, HQV Reon video processing, motorized lens zoom and focus, horizontal and vertical lens shifts and of course, ISF calibration modes so you can get things tweaked just so. Sounds great, but you can't expect JVC to deliver this feature set on the cheap -- $5,000 for the HD550, $5,500 for the RS15, $8,000 for the RS25 or HD950, and an even $10,000 for the RS35 or HD990.