Hasta La Gadget!

A new tax year has begun which provides a great opportunity to do a little financial spring cleaning. Even in a tough economy, it is possible to spend less without making major sacrifices.

Get Organized
First things first—gather all of your monthly bills and take stock of your situation. Ask yourself questions like: “Do I need this?”, “Is this the best service provider?” and “How long has it been since I made changes?”

How About that Landline?
If you are really honest with yourself, there are probably several services that you are paying for that don’t produce a good return on their investment. One of the top issues on my list is a landline phone. Obviously there are extenuating circumstances, but fax machines and security systems are often among the excuses people use to hang on to these relics.

For most faxing situations, a scanner and some kind of email or e-fax service will work just fine—we recommend emailing PDFs with embedded signature images where possible.

And, of course, you always have the option of going with VOIP. Vonage offers unlimited local and long distance for $25 a month while unlimited US and Canada Skype accounts start at $3 per month (plus it is also available on cellphones for extra savings). Keep in mind that this price is on top of your current internet connection, so it may be advantageous to investigate bundles.

Take Advantage of Bundles
If you insist on keeping a landline, now is a great time to take advantage of bundled services. As a recent article in the New York Times pointed out, companies like AT&T offer several options for bundling services. Another example is Verizon Fios. If you are fortunate enough to have this option where you live, you can get double and triple freedom bundle packages—the latter combining landline, Fios internet and TV for $95 a month (a $38 savings).

While we are talking about bundles, keep an eye out for upsells. For instance, when I moved recently, I decided to try Road Runner Turbo over their standard service. I found that in my situation, the speed upgrade was barely noticeable and therefore not worth an extra $10 a month—so I dropped it. It’s as simple as that.

Fight For Your Rights
The NYT article also made clear that the tried-and-true art of bitching can sometimes make a world of difference. If you feel you are paying too much, let your voice be heard. And don’t be afraid to threaten a switch to another provider. Often the representatives you are speaking to are empowered to make a deal.

Security Without the Monthly Fee
A lot of people keep landlines just for security systems, and that’s not a bad idea. E911 services from traditional telecoms and VOIP networks automatically tell cops and ambulance services where you live, and where you want to continue to live.

But a lot of security systems can be ripoffs. For one thing, the equipment installation can be riddled with extras. And second, what’s the monthly monitoring fee for? In reality, the monitoring service is just a middleman. So in addition to paying a huge installation fee—a new ADT system can easily cost over $1000 (depending on the deal)— and you pay at least $25 per month on top of what you pay for the landline (GSM add-ons can cost even more).

One way to eliminate the cost of a monitoring service and possibly save some money on installation without compromising security in the house is a home security kit. One suggestion is SecureLinc. It doesn’t require in-home wiring, and it calls up to four numbers when tripped. You still have to keep the landline, but you wouldn’t be paying for monitoring and you still have the option of a GSM modem. Instead of dialing out to a landline, the modem uses a SIM from your wireless carrier. There would be a monthly fee associated with that of course, but it will most likely be cheaper than a monitoring service and maintaining a landline—and you don’t have to worry about the line being cut during a break-in. If all else fails, dogs and guns (maybe even dogs with guns) is always an option.

Going on a TV Diet
Looking at my own bills, it’s pretty obvious that I spend a great deal of money on my DirecTV service. At the moment I’m taking advantage of a 12-month deal at around $50, but after the year is up the price will shoot up to $75 to $80. To be honest, I really only watch a handful of networks and shows consistently.

So would it be traumatic if I gave up that service completely? Probably not. With Bittorrent and the growing availability of my favorite shows streaming legally online, it is conceivable that I could get by without making a huge sacrifice. Engadget contributing editor Ben Drawbaugh has found success in ditching cable for over-the-air TV and Netflix, along with internet-based extras. Four months and counting.

Obviously, this solution isn’t going to work for a total TV addict, but it makes sense for most of us to re-examine our situations to see what might be excessive. I mean, there are often great shows on HBO, but sometimes even HBO can be dry for months at a time, and you can find a lot of their shows online or catch them on DVD/Blu-ray. With all the money you save, you can pay an extra couple of bucks for the Blu-ray bump at Netflix.

Speaking of Netflix, how many movies do you really watch? Is three out at a time too many? If you are not churning and burning these discs, you might be able to get away with a cheaper plan. Even the $9 plan gives you unlimited Watch Instantly, which you should try to take advantage of when possible. (If you are on the $5 plan, for two DVDs per month and up to two hours of Watch Instantly, you may want to drop Netflix altogether, because maybe you need that $5 more than Netflix does.)

Dust Off Your Service Plans
Like most of us, you have probably been sitting on a cellphone or TV plan for years now. If you think your provider will alert you when there is a money-saving change you could benefit from, think again. Many years ago I was on a Sprint plan where night minutes started at 9pm. Sometime later, the plan changed to 7pm. Since I make most of my calls in the evening hours, that change had a big effect on my minutes usage. If I had not done a check at the end of the year, I would have never known. Make sure to check the offerings of your provider and the offerings of competitors to make sure you are getting the deal that fits your needs best.

Go Green
Last but certainly not least we arrive at the energy bill. There is no doubt that energy bills can be one of the biggest monthly expenses. Obviously, elaborate solar arrays are out of the reach for many individuals, but there are plenty of simple, affordable eco-upgrades that will pay for themselves sooner rather than later:

• Ditch the incandescent bulbs. You already know that you should change out those energy sucking incandescent lights for CFLs or LEDs. Seriously, a 60W CFL that only uses 13W of power is a no-brainer. Over the life of that single bulb you might save $40 or $50 in energy costs. It is more expensive up front, but you can bounce into any Walmart and get a decent deal. Besides, how many incandescents will you buy over the course of a CFLs seven year life span?

• Buy Energy Star appliances. Again, there is a premium for Energy star devices up front, but these devices use 10% to 50% less energy or water than their traditional counterparts. You will more than make up for that in energy cost savings in a short amount of time.

• Kill the electricity vampires. You may not know it, but many of your gadgets constantly suck standby power even when they are “off.” On the lower end, power strips like the Ecostrip and the Visible Energy UFO help to control this problem. If you are looking for a more elaborate solution, a company like Greenswitch can quickly re-wire the outlets in your home—designating each one as green or standard as needed. If you want to turn off all of the gadgets in your home using standby power, it is as easy as flicking a single switch. A solution like this could potentially save 8-10% of your energy costs and pay for itself in a year or two.

• Get an efficient water heater. There are several options here, but spending the extra cash on something like a tankless water heater could result in a savings of up to 50% on your hot water bills (depending on your usage) because it doesn’t store and heat water when it’s not needed. It costs significantly more than a traditional heater, but there are usually tax credits that help to subsidize the cost. This goes for other green upgrades as well. Green incentives in your state can be found at DSIRE.

•Go low-flow: Replacing your current shower heads with low-flow versions can reduce your water consumption in the shower by as much as 50%. They cost about as much as regular shower heads, and despite consumption rates between .5 and 2.5 gallons per minute, they can still deliver great water pressure. You can also go low-flow with your toilets and use about half as much water per flush for a price that is comparable to a standard version.

• Get or make a rain barrel. Seriously, we waste far too much water irrigating our lawns. Even if you’re not a greenie, there’s money to be saved. At the very least you can make a simple rain barrel for less than $40 or buy one for $50-$100 (depending on capacity).

In the end, saving money on your bills is about being proactive and taking action when necessary. Ideally, going through your monthly expenses should be part of a yearly self-audit. It also pays to investigate the financial viability of eco-friendly options because many basic upgrades will start paying off right away.

Prof. Dealzmodo is a regular section dedicated to helping budget-minded consumers learn how to shop smarter and get the best deals on their favorite gadgets. If you have any topics you would like to see covered, send your idea to tips@gizmodo.com, with “Professor Dealzmodo” in the subject line. [Image via Utilityweek]

Did our Listening Test week light up the fire inside to dust off some old records and whip a turntable back into shape to start enjoying them again? It’s really easy, and cheap. Here’s how.

If you saw our feature earlier in the week, you know Michael Fremer is crazy about vinyl. He’s been defending its merits ever since digital formats started to surface, and has published several DVDs detailing how best to set up a number of nice audiophile turntables.

But of course, you don’t have to have to have an audiophile turntable to enjoy vinyl—great used tables like the Technics SL-D202 I got in high school (pictured) can be picked up all over the internet, at garage sales or from your Dad’s basement for very little dough, and will serve you well as long as they’re in decent shape.

Plus, with tons of record labels including a free digital download with the purchase of an album on vinyl these days, it’s a great way to give back to your favorite artists—you’ll get a cool tangible object that has the potential to sound far better than your MP3s, but with a digital copy for you iPod nonetheless.

So if you have a turntable that’s never received a proper tune-up, here’s how to set it up to get the best possible sound from it. With Fremer’s help, my table is now in tip-top shape, and yours can be too.

What you’ll need:
• The manual for your turntable and cartridge (the part with the needle attached)
• A 2mm Allen/Hex wrench for the cartridge screws (most are 2mm, anyway)
• A ruler
• Magnifying glass and flashlight (not essential, but makes things easier)
• Needle-nose pliers or tweezers
• A printout of a standard cartridge alignment ruler (available at vinylengine.com for free)

First thing’s first, though—if you’re unsure of the progeny of your table, or if it hasn’t been serviced in a long time or ever, the easiest upgrade you can make to ensure it’s at its best is a new cartridge. This part is almost solely responsible for the sound generated by your table, and you can get a very good new cartridge for less than $100 (try Shure’s M97XE for a good one in the $90 ballpark, but there are cheaper options as well).

After that, there are three variables you want to make sure are set, and those are the three variables we’ll be covering: cartridge alignment, tracking pressure and anti-skating. While there are tons of other adjustments that can be made, with some tables having more calibration options than others, these three are fairly universal and will get you in the ballpark of calibration, which is much better than fresh-from-the-dusty-garage.

Let’s get started!

Tracking Pressure
This is what the weight on the back of your tonearm is for—it controls how much pressure is put on the stylus as it tracks the record’s grooves. This should be set according to what’s suggested in your cartridge’s manual. Google around for your cartridge make and model and you should be able to find the manual, or your turntable manual may suggest a baseline range. Again, Vinyl Engine is a great resource for manuals.

1. If you’re installing a new cartridge, connect the red, blue, green and white wires to the corresponding marked terminals on the back of the cartridge. If they’re too loose and fall off the pins, put a toothpick inside wire clips and tighten it with the pliers. Once it’s hooked up, loosely screw the cartridge into the headshell (we’ll be adjusting its alignment later) with your hex screwdriver.

2. Set the turntable’s anti-skating dial to zero, then turn the weight on the back of the arm just up until the point the tonearm floats on its own. Then, by turning the part of the weight with the gauge but not the entire weight, set the gauge back to zero to “re-zero” the weight.

3. Now, turn the entire weight to the number (in grams) specified by your cartridge’s manual. If it specifies a range, stick it in the middle.

4. If you’re feeling like getting serious, you can buy a specialized tracking pressure gauge that will tell you the exact pressure. But for most folks, the guidelines on the tonearm’s weight are fine—mine was almost exactly correct when measured with Fremer’s digital gauge (as you can see in the picture).

Cartridge Alignment
Ideally, a tonearm would track across the record from the beginning to the end in a straight line across the surface, so that the stylus was perpendicular to the groove at all times, thus keeping distortion to an absolute minimum. But since the turntable arm is fixed, it traces a parabola across the surface of the record as you play it. Mathematically, the parabola arc has two points where the stylus should be sitting perfectly perpendicular to the groove. These are the points we’ll use to set the alignment.

But you don’t have to be Pythagoras Jr. to plot them—thankfully, there are protractor PDFs you can print out which will mark the approximate position of these points on most turntables. There are also PDFs for specific tone arms and turntables floating around—Google your model to see, but you should be served just fine by the standard approximation provide by the basic print outs at Vinyl Engine. (We’re using a glass version here in the photo, but the paper ones are fine).

1. Many turntable manuals specify an ideal distance from the back of the headshell to the tip of the stylus, so consult your table’s manual and screw in the cartridge into the headshell’s adjustable slots so this measurement is correct.

2. Now, place your alignment protractor on the platter, and carefully drop the stylus tip onto the first alignment point. The goal is for the cantilever (the metal part that extends down from the cartridge with the stylus tip on the end) to be parallel with the guidelines on the printout. If it’s not, loosen one of the screws in the headshell and move it back or forward slightly. This is where a magnifying glass and flashlight can be handy, as the clearance between the bottom of the cartridge and the platter may be slim.

3. Once it’s aligned in the first point, test it on the second point. Both are mathematically determined, so it should be aligned on the second point too. If not, try to find a happy medium.

Anti-Skating
Most turntables have an anti-skating dial somewhere. This setting counteracts the vector force that naturally pulls the stylus tip toward the inner lip of the groove as the record spins, because as mentioned before, you want it to track dead-center whenever possible.

1. All you have to do is turn the anti-skating knob so that the number matches the tracking pressure you set earlier. Fremer likes to set it a quarter of a gram or so less, which he feels is more accurate than the scales provided on most turntables. So do that.

More Tips
• Keep your turntable on as sturdy a surface as possible—this will prevent it from warbling or skipping if you walk/dance around near it.

• Keep your stylus and records clean. You can get very inexpensive tools for cleaning both of these parts, and it will keep everying sounding great and will prevent your records from wearing out too quickly.

And that’s it. For more info, check out Fremer’s calibration DVDs, which many vinyl junkies swear by.

Hope you guys enjoyed our Listening Test audio week as much as we did. If you have any other advice or tips to share, please do so in the comments, and if you’re interested, check out last week’s audio-related How To on maintaining a lossless music library. Have a great weekend listening everybody!

Listening Test: It’s music tech week at Gizmodo.

Humans have been writing music for at least as long as we’ve been recording history. It was storing it that took a little more time. Here are all the ways we’ve done it to date:

For full resolution, click here.

It wasn’t until the beginning of the 20th century that mass-produced recordings were available to the average person—the concept of buying music is amazingly new. (Or to some, ooooooold.) Just a century ago, the first records began to do for music what the Gutenberg press did for words. Before them, music was handed crudely from person to person; after, it could reach millions, untouched and unspoiled.

If we couldn’t record music, the Beatles would have never left Liverpool. By the same token the Jonas Brothers would have never left Georgia or Disney World or the Old Testament or wherever the hell they came from. Talk about progress! There may be no accounting for taste, but you can thank these reproducible formats for the very existence of the notion of pop music.

Listening Test: It’s music tech week at Gizmodo.

As promised, here are more details on the unscientific audiophile gear comparisons I did in Michael Fremer‘s audiocave. They range from the mildly crazy to the borderline batshit—and they were all fun as hell.

My objective in experiencing a full-bore audiophile’s listening room was not to try to call him on whether or not he or I could hear the difference in speaker cables composed of wire hangers or braided unicorn mane—no, it was to listen to music on a $350,000 stereo. But while I was there, how could I not try to experience a few before-and-after tests to see if I could spot the harmonic differences that are the audiophile’s raison d’etre?

The differences we are talking about here are, of course, of the most incredible subtlety. But to many critics of audiophiles, a subtle change is quickly reduced to and equated with zero change, whereupon the screams of hysterics and rage against the immense stupidity and utter inanity of the audiophile life begins.

I didn’t think I had to say this, but I guess I do: Anyone who spends $20,000 on speaker cables is fucking crazy. In fact, anyone who spends $200 on cable is crazy, in my opinion. But that’s just not the point.

If I was drinking wine with a sommelier or wine critic, I wouldn’t find it irrational to taste subtleties that I might have glossed over when drinking in the presence of normals. In these cases, it’s not about the power of suggestion, it’s about the power of context, and like it or not, there’s context at the heart of all the world’s manias, anything to which we attach the suffix “phile.”

With audiophiles, I am an agnostic rather than an atheist. I believe that these differences, however miniscule, are, to those who have spent their life studying them, based on something real, not invented. Can I hear them? Maybe not, but that doesn’t mean I write them off completely. My belief here is based not on decades of listening on high-end gear, but on a day I spent listening to a $350,000 system with someone who’s been doing this for forty-some years.

It’s a fact: I was led into hearing things I might not have without guidance. While some look to this possibility as evidence that the whole thing is a sham, I don’t. I would need a lot more time to build up the necessary context to even be near a place where I could pretend to listen critically for such minutiae, but I heard something different than I would hear listening to my own sound system, and that’s also a fact.

With that out of the way, here are three wholly unscientific but incredibly interesting listening tests we did in Fremer’s audiocave. They were a blast.

Power Cable Swap
Test Song: “Avalon” by Roxy Music
Surprisingly not the fishiest test we ran, at play here is the purity and frequency range of the raw AC power that gets fed to the speaker amps. Fremer had two cables laying around that he was reviewing—one from Power Snakes Shunyata Research at a cost of $4,000 and one from Wireworld, whose $1,200 cable’s selling point is that it filters out all but the 60Hz frequency of pure, unadulterated US alternating current.

Here’s Wireworld’s filtering claim, from their website:

An ideal audio or video cable would pass the entire frequency range without alteration. However, an ideal power cord would pass only the 50Hz or 60Hz AC power, while blocking all other frequencies, to prevent power line noise and harmonics from degrading the sound and imaging quality of the system.

Not entirely sure how those two are related, but a claim is a claim.

The result: I heard a difference here, but whether or not it was a direct result of AC filtering, who knows. The filtering cables (the cheaper ones) seemed to sound a bit more reserved, but in some ways clearer. There might have been a little less harshness in the high frequencies of cymbals, or when Bryan Ferry sang an “S” sound. The more expensive AC cable was different, but it was hard to quantify how or why. Maybe a fuller sound, but not necessary a better one.

With this one, if there’s any audible change at all from one to the other, one is still not better than the other. That’s an important point to make here—spending more money in the audiophile realm often just means getting something different, not better.

Speaker Cable Swap
Test Song: “Whole Lotta Love” by Led Zeppelin
Let me say now that listening to “Whole Lotta Love” on this system at high volume was transcendent each and every time, no matter what gear was involved. You may want to put a knife in any audiophile you see, but if you heard that song like I did once, and realize that these guys get to listen to it that way every time, you’d be doing it out of jealousy, not contempt.

That said, speaker cable is the most sensitive area to prod on both audiophiles and audiophile reactionaries alike, because it is home to some of the most dramatic swings in price for things that, fundamentally, are doing the exact same thing: carrying an electrical current from amp to speakers. That said, as Wilson explained on Tuesday, it’s the one thing in these tests that may have the most merit. Genuine differences in electrical properties (wire thickness, manufacturing process, and the materials of the wire and its coatings all contribute to differences in capacitance, inductance and resistance) mean that cables are liable to sound different, given speakers with enough resolution to show those differences.

At play in our test was a set of $200 cables from Monster (here, playing the unfamiliar role of bargain choice) and a pair from Tara Labs that costs a deeply stupid $22,000, which Fremer had for review purposes.

The result: I strained to hear a difference, but did. Like I said, I was pretty busy trying to keep from shitting myself during both playbacks, but I did identify a change. And again, it was detectable most for me in the high-frequency zone: With the high-end cables, cymbals, tambourines, the high frequency bits of that crazy swirling tape-effects breakdown, all sounded perfectly isolated in the 3D space of the song and came through with crazy clarity. On the Monsters, anything in the high-end tended to blend together into a single entity that was slightly less pleasing perhaps, but still amazing.

Was the difference worth $21,800 to me—or even Fremer? Of course not. But it’s there.

De-Magnetizer
Test Song: “Oh! Darling” by The Beatles, and others
And if you thought the other stuff was ridiculous, maybe turn away your gaze now. This is a $1,600 platter that, once activated, neutralizes the magnetism that allegedly develops over time in the metallic impurities found in vinyl’s black dye. Since the record cartridge operates with magnets, this allegedly translates to less unintended futzing with the cartridge and therefore purer sound. I say allegedly because there’s nothing in the way of firm scientific evidence that such magnetic impurities are enough to tamper with the cartridge’s signal in a meaningful way. (It should also be noted that the Furutech product in testing here is no longer to be found on Furutech’s website.)

The result: I swear to Lucifer, when listening to “Oh! Darling,” I thought I heard Paul’s voice move back a good foot or two in the soundscape once that record was de-juju’d. “Back” in a way that added clarity. Beyond that, I can’t say I heard much else.

We tried the trick on several other records, and I got nothing. Fremer claims he and his audio buddies can usually tell a difference, which is sometimes drastic, sometimes not.

You can even try for yourself if you want to. Here are two AIFF files of Tom Waits’ “Step Right Up” (download: File 1, File 2)—both encoded directly from vinyl by Fremer on his system. (Yeah, that process alone seems enough to dispel this myth all by itself, but again, it’s a shaky claim to begin with.) One is pre-demagnetizing, another is post. Can you hear a difference? I can’t. But if you have crazy gear at home, give it a try.

So as you can see, there was no hosanna moment in any of these tests, whereupon I drank any snake oil or took receipt of any ear honey. Far from it. My particular experience did not convince me to go out and spend tens of thousands of dollars chasing the minute gains that can be made in an audio system with ridiculously expensive gear. But I did hear something. By experiencing those differences first hand, I acknowledge their existence, and thus, acknowledge that people who have been listening to music at the highest possible level of quality for decades may know more than I do about the comparative sonics involved.

And the point remains, as clear as ever: Those who are listening to music at the highest level of fidelity and can discern the tiny differences at play here are doing a service—in both music production and music reproduction—to everyone who loves music everywhere.

Listening Test: It’s music tech week at Gizmodo.

In 1994, I painstakingly crafted the greatest hip-hop mixtape cassette I would ever make, comprised solely of songs on the radio at the time. I was 9.

While Bill Gates was becoming a one-man megapower, Steve Jobs was getting lost in a sea of ego and suck, and Nelson Mandela was inspiring people across the globe, I was sitting by my cheap RCA CD/Tape boombox trying to get the hang of long division.

Most my school nights in the fourth grade were spent doing homework by my boombox listening to San Francisco hip-hop radio station KMEL when it was still great. Bay Area hip hop, top 40 hip hop, classic joints, R&B, whatever—they played good music back then. And I recorded it.

Like I mentioned in the tribute to boomboxes, it was all about timing when you made a real mixtape; tape had to be queued to the right place, you had to know just when to hit play (before the lyrics started, after the DJ stopped talking), and you had to pay attention so you could stop recording right as it ended.

My tapes of choice were the Memorex joints with the bright colors and geometric shapes. Classics. What I chose to put on those tapes wasn’t always as classic, but the fact that I pulled it together to craft this one mix makes me proud of my younger self.

The best part was when we got to go on school field trips, because I not only got to pop my tape in my walkman to keep me entertained, but my friends had mixes and walkmans of their own. So we’d swap and share during the bus rides to wherever. Those were better days.

Back to my main point— the mix is filled with West Coast hip-hop from the era, but imbued with a splash of east coast and a touch of R&B. This is my handcrafted, childhood masterpiece. I’m sure, due to the faults of time, a couple songs are missing or mentally amalgamated in from other tapes. But the essence is more or less the same. Enjoy. (Photo courtesy of TapeDeck.org)

Dr. Dre and Snoop Doggy Dog – “Ain’t Nuthin But a G-Thang”:

The “1, 2, 3 and to tha 4” still gets me happy to this day.

Domino – “Ghetto Jam”:

I had completely forgotten about this song until I started thinking about the mixtape again. When that happens, you realized it’s a song that only could have come out of a given era.

Tevin Campbell – “Can We Talk”:

Ok, maybe not as imposing as some other selections on this mix, BUT I WAS 9! And it’s still a good song.

Snoop Doggy Dog – “Gin and Juice”:

I have memories of sitting in my dad’s car listening to this track: me rappin about endo, and gin, and money, my dad looking at me like I was a damn moron.

Dru Down – “Pimp of the Year”:

A wise friend once said, “Dru Down sellin’ bitches quick dreams here mane!” I concur.

E-40 featuring The Click, D-Shot, B-Legit and Suga T – “Captain Save A Hoe”:

Worth it just for the line “Look up in the sky, it’s a bird! It’s a plane! What’s dat fool name? CAPTAIN SAVE A HOE MAAAANE!”

Masta Ace – “Born To Roll”:

I still don’t know how Masta Ace was pulling west coast airplay back then, but I’m happy he was. I still find my self singing the chorus without even knowing it’s from this song.

Aaliyah – “Back and Forth”:

This song really deserved a spot on any 94-era mixtape.

Warren G and Nate Dogg – “Regulate”:

Don’t care what anyone says. This was THE song of 1994.

Rappin 4 Tay – “Players Club”:

A mid-90s Bay Area gem.

Soul 4 Real – “Candy Rain”:

This was the last track I added to that tape before it was time to move on. Not sure how I remember this being the very last, but I would like to know where I stashed that tape.