Ceiling Surround
my living room is wired for surround sound with the speakers mounted on the ceiling..?
I plan to buy a new system but most recommend speaker level to be that of the TV...is it okay to still mount the speakers on the ceiling or should I place them lower
For rear speakers, it's OK to have them on the ceiling. Most surround receivers now come with an auto-configuration tool that helps it adjust settings based on the position of your speakers and a test microphone that comes with the receiver.
The front and center speakers should identically be closer to head level if possible. These are usually larger than the rear speakers as well. The subwoofer can usually be placed anywhere. Most people put it along the wall somewhere just to keep it out of the way.
5 surround sound speaker wall and ceiling mount
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Specifications2-way in-ceiling speaker.5-inch MylarTM tweeter6½-inch moisture resistant Polypropylene wooferPivoting tweeterIdeal for background/ambient musicPaintable grillesThis Listing and Price is for 1 Pair / 2 SpeakersDesign:The 6...
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Specifications4 Pairs / 8 Complete Speakers6.5" Driver with 32-20,000 Hz Range200 Watts RMS and 400 Watts Max per pair92dB SensitivityCeiling Cut Out Size is 7.875"Overall Measurement is 9.5"Mounting Depth is 2...
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Technical Details: Total product length (wall mount applications): 3 5/8", Total product length (ceiling mount applications): 5 7/8 inch. Designed to fit the following brands of home theater satellite speakers: Bose, Denon, Infinity, Insignia, Kenwood, LG, JVC, Onkyo, Panasonic, Philips, Pioneer, Samsung, Sony, Yamaha, Zenith and most other brands of satellite speakers...
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High-quality cast zinc bracket, designed to provide unobtrusive wall mounting for Bose® cube speakers. These brackets allow both horizontal and vertical adjustment of speakers, so you can direct the sound where you like.
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Yamaha's New Easy-to-Install Flush Mount In-Ceiling Speakers Deliver High Performance Sound in a Low Profile Design. Feature List Speaker frames and grilles 120 watt maximum power input 6 ohm impedence 88dB sensitivity
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Bluetooth Compatible with Optional AS-BT200 Bluetooth Adapter HDMI (4 In / 1 Out) with 3D, ARC, Deep Color, x.v.Color Dolby TrueHD and DTS-HD Master Audio Decoders
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One of our most popular models, the OSD ICE650 features powerful Kevlar woofer cones that retain shape even at very high energy levels. This means you can crank the volume up and experience rich, heart-pounding sound without distortion or coloration...
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VideoSecu new design steel construction speaker mount MS40B2 is the ideal solution for most speakers weighing less than 10 lbs. The ball and clamp design offers flexible adjustment for the speakers to get better audio position...
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Polk Audio TC80i 2-Way In-Ceiling Loudspeakers are the performance alternative for custom installed sound systems. They give you total control over your built-in audio installation with superior sound, superior user controls and superior value...
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Two London exhibitions, the Serpentine Gallery's Indian Highway and Aicon's Signs Taken for Wonders, are the UK's most ambitious attempts yet to distill coherence into the chaotic rush of art emerging from the Indian subcontinent.
The marriage between the conceptually minded Serpentine and Indian art – whose overriding characteristics are narrative drive, flamboyant figuration and sensuous colour – is interesting because it is so unlikely. Recent memorable Indian installations have been sprawling, direct and often rooted in the animal motifs of folklore: Bharti Kher's "The Skin Speaks a Language Not Its Own", a collapsed fibreglass elephant adorned with bindis (female forehead decorations) at Frank Cohen's Passage to India, or Sudarshan Shetty's bell-tolling aluminium cast of a pair of cows, now at the Royal Academy's GSK Contemporary. Nothing like that is in Indian Highway; with conceptual aplomb, the Serpentine turns the accessibility and energy of Indian art into a taut cerebral game.
The highway of the title refers both to the literal road of migration and movement, and to the information superhighway, which together are propelling India to modernity. Dayanita Singh's wallpaper-photographs of Mumbai's central arteries illuminated at night introduce the theme in the first contemporary art gallery, and a crowd of sober documentary films worthily continue it – but a pair of installations catch the symbolism best. One is Bose Krishnamachari's celebrated "Ghost/Transmemoir", a collection of a hundred tiffin boxes – widely used to convey home-cooked lunches to workers across cities – each inset with LCD monitors, DVD players and headphones, through which everyday Mumbaikars regale audiences with their stories, accompanied by soundtracks evoking the high-pitched jangle and screech of Mumbai street life.
The other, towering upwards to the North art gallery's dome like a beating black heart at the core of the show, is Sheela Gowda's "Darkroom", consisting of metal tar-drums stacked or flattened into wrap-around sheets, evoking at once the grandeur of classical colonnades and the ad hoc shacks built by India's road workers. Inside, the darkness is broken by tiny dots of light through holes punctured in the ceiling like a constellation of stars; yellow-gold paint enhances the lyric undertow in this harsh readymade.
Opposite is N S Harsha's "Reversed Gaze", a mural depicting a crowd behind a makeshift barricade who tilt out towards us – making us the spectacles at the exhibition. All Indian life is here in this comic whimsy: farmer, businessman, fundamentalist Hindu, anarchist with firebomb, pamphleteer, aristocrat in Nehruvian dress, south Indian in baggy trousers and vest, tourist clutching a miniature Taj Mahal, and an art collector holding a painting signed R Mutt – linking the entire parade to the urinal, signed R Mutt, with which Marcel Duchamp invented conceptual art in 1917.
Essential to the meaning of "Reversed Gaze" is that it will be erased when the exhibition closes – a slap in the face for the predatory art market. So will the pink and purple bindi wall painting "The Nemesis of Nations" by Bharti Kher, who recently joined expensive international gallery Hauser and Wirth. And a canvas of drawings greeting visitors as they enter is all that is left of Nikhil Chopra's performance piece "Yog Raj Chitrakar", in which the artist this week spent three days assuming the persona of his grandfather, an immaculately dressed gentleman of the Raj, and lived and slept in a tent in Kensington Gardens, entering the gallery only to daub the canvas that stands as an art of aftermath – a memory drawing.
Painting here is a vanishing act. Maqbool Fida Husain (aged 93) has made 13 bright poster-style works – red elephants, a tea ceremony after a tiger shooting, a satirical Last Supper with dapper businessman, umbrella, briefcase, body parts – to surround the exterior of the Serpentine. MF Husain is India's most respected artist; with these billboards, executed in his standard style of forceful black contours, angular lines and bright palette, he returns to his career origins as a painter of cinema advertisements.
In the catalogue, curator Ranjit Hoskote argues that "transcultural experience is the only certain basis of contemporary practice" and that "the chimera of auto-Orientalism, with its valorisation of a spurious authenticity to be secured as the guarantee of an embattled local against an overwhelming global, has been swept away".
But Husain, godfather to generations of Indian artists, and indeed every piece in Indian Highway – from feminist painter Nalini Malani's looping fantasy figures intricately inked on bamboo paper in "Tales of Good and Evil" to Jitish Kallat's photographic series "Cenotaph (A Deed of Transfer)", chronicling the demolition of slum dwellings – proves the opposite: however hard a western gallery tries to make Indian contemporary art, talk a global conceptual language, its local strengths speak louder. Indian art, on this showing, is visually arresting and thoughtful, but nothing here is formally or conceptually innovative, or aesthetically provocative. We thus respond to its distinctive idiom and themes as cultural tourists.
Artflute is an endeavor to build
Indian contemporary art, famous artworks of Indian arts and artist community. It's a best platform to share the views and ideas of emerging artists to give the best of their art work. For more information, visit
http://www.artflute.com
US $79.99
