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• 100 watts x 7 into 8 ohms (20-20,000 Hz) at 0.09% THD
  
• XM Satellite Radio Ready (requires XM subscription and optional XM Mini-Tuner package)
  
• Digital Cinema Auto Calibration for easy speaker setup (microphone included)
  
• 1080p-compatible HDMI digital audio/video switching (4 in, 1 out)
  

Experience Full HD 1080 at home with this powerful receiver. The STR-DG920 7.1-Channel A/V Receiver creates a video-centric entertainment hub for the most demanding HD experience. It integrates the latest audio and video technologies while making operations simple to command and easy to follow. Speaking of advanced technology, inside its chassis is a video processor that can upscale all video sources (less than 1080p) up to 1080p. Sony's Digital Cinema Auto Calibration simplifies speaker set up and optimizes speaker performance in just 30 seconds, with the push of one button. This full-featured A/V Receiver expands its ability to playback music from various audio sources with the DIGITAL MEDIA PORT and one of the various accessories. The XM Connect-and-Play Ready feature provides the ability to access XM satellite radio programming in surround sound. With One Touch Play, operations that took several steps have been reduced to one. Sony's original Digital Cinema Sound(TM) technology uses exclusive DSP technology to recreate the precise environment of three Hollywood Dubbing Stages where your movies are created. Mic - Mono Digital Cinema Auto Calibration Advanced Learning/Pre Programmed Remote Control Screw Binding Posts (A & B) Speaker Terminal Type Ports - 3 Component Video (Y/Pb/Pr) Inputs (Rear), 1 Component Video (Y/Pb/Pr) Output (Rear), 5 Composite Video Inputs (1 Front/4 Rear), 3 Composite Video Outputs (Rear-1 Monitor Output, 2 Video Outputs), 4 Optical Audio Inputs (1 Front/3 Rear), 1 Optical Audio Output (Rear), 2 Coaxial Audio Digital Inputs (Rear), 8 RCA Audio Inputs (3 Dedicated/5 Audio/Video), 3 RCA Audio Outputs (Rear- 2 Audio/Video Outputs, 1 Output), 1 Multi-Channel Input (Rear, 7.1 Channel), 1 Subwoofer Output (Rear), AC Outlet, 1 Headphone Output (Front- Gold), 3 HD Component Video Inputs (Rear), 1 HD Component Video Output (Rear), 4 HDMI Connection Inputs (Rear), 1 HDMI Connection Output (R

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On this record, featuring Edgar Meyer as both composer and bassist, the playing's the thing, and it is spectacular. His performance of four virtuoso concertos, two by himself and two by Bottesini, eclipses his compositions, though his stylistic versatility is in full evidence in both his works. The Concerto for Bass has elements of jazz and blues, and a good deal of textural contrast and imaginative orchestration, but it is repetitive and a bit dreary. In the hair-raisingly difficult Bottesini Concerto, Meyer performs every imaginable and many unimaginable technical feats, covering a range of more than six octaves and producing sounds from growls to flutelike harmonics. Apparently craving even more pyrotechnics, he substitutes his own cadenzas for the composer's.

Two equally stunning virtuosos join him for the other works. In his Double Concerto for Cello and Bass, he and Yo-Yo Ma chase each other up the fingerboard to the highest register, where, with their lines answering and interweaving, it is sometimes impossible to tell them apart. The piece is tonal and modal and supposedly classical in form, but quite dissonant. The middle movement alternates motoric outbursts with eerie, unvibrated sustained passages; the finale combines folk-fiddling with blues. Joshua Bell and Meyer play Bottesini's Duo Concertante for Violin and Bass with incredible virtuosity and obvious relish. Bell's tone is ravishingly beautiful and his charm, flair, and style are irresistible. Like his older compatriot Paganini, Bottesini was enthralled by Italian opera. The piece is full of dramatic recitatives and meltingly songful cantilenas, with the soloists bursting into arias and love duets and the orchestra setting the stage and providing the atmosphere. --Edith Eisler

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It's not the other shoe. But it'll do. Nicely, too.

Edgar Meyer fans will know only too well what "the other shoe" refers to: The balance (No.'s 3, 4 and 6) of Bach's Suites for Unaccompanied Cello, to follow up on his earlier recording of No.'s 1, 2 and 5. But, while we await that release, it's pleasant news that this album of showpieces for double bass (and violin and cello as well) has come along.

The album combines two works of Meyer with two by Giovanni Bottesini (1821-1889), who, in his day, could have been considered "the Edgar Meyer of the 19th Century." Bottesini could also have been thought of as "the Nicolo Paganini of the double bass." Despite being barely known today, he had an international career, touring in Eurupe and the United States with his virtuoso concerti for double bass. (An interesting aside that I discovered only recently: In the early 1850's, Hector Berlioz gave a series of very successful concerts in London, conducting the London Philharmonic of the time. Bottesini was the double bass section leader of the Philharmonic, and Berlioz was so impressed with his skills that he programmed some Bottesini works during the course of these concerts.)

Meyer's Double Concerto for Cello and Double Bass opens with a sound in the low strings much as Bartók might have written. In fact, much of this work is "Bartókian" in its sound and its "motoric" figuring, notwithstanding Meyer's booklet notes pointing out some structural similarities between his own work and Mozart's well-known Sinfonia concertante for Violin and Viola. Meyer and Yo-Yo Ma are perfectly matched in this work, to the extent that there are places in the work where it is difficult to tell where one ends and the other begins, or which of the two of them is carrying the higher line.

Meyer's other composition, his Concerto in D for Double Bass and Orchestra, is both more youthful and more virtuosic. Parts of this work have more of an "Americana" feel to them, not unlike his Concerto for Violin and Orchestra (performed so splendidly by Hilary Hahn, who also provides a ravishing performance of the Barber Concerto for Violin and Orchestra), or, for that matter, Mark O'Connor's "Fanfare for the Volunteer." Other parts of the work will remind us of some of the work Meyer did on his "Uncommon Ritual" album, in terms of its "newgrass" inflections. Compared with his Double Concerto above, this work more fully stretches the envelope of Meyer's technique and his instrument.

Despite being an unapologetic Meyer fan, I must say that the two Bottesini works have been the hands-down winners for my attention on my first few passes through this album.

Both Bottesini works show off Meyer's beautiful tone on the instrument when he is required to "play it straight." The Concerto No. 2 is, according to Meyer, his favorite concerted work for the instrument dating back some twenty years (when he was less than half the age he is now). At that time, when he was - clearly - an impetuous youth, he wrote his own cadenzas for the first and third movements, and they are "killer" cadenzas indeed (particularly in the third movement, where he literally and figuratively pulls out all the stops). But the lyrical inner movement is equally remarkable for the beautiful singing tone of his instrument; one would hardly guess it to have been produced on his behemoth of instrument had it not been for its lower reaches.

The Gran Duo Concertante, originally written for two double basses and orchestra but later arranged for violin and double bass by a Paganini disciple named Camillo Savari, is another classical tour de force, here with Joshua Bell playing the violin part. Following a brief orchestral introduction, the two soloists enter together, and then take their turns swapping phrases back and forth, sometimes as solos and at other times as a duet. Often enough, their two melodic lines are close together on the staff, even overlapping. At such times, one can only wonder in awe at Meyer's tone, where it is almost violinistic in timbre. This man is simply staggering in his virtuosic ability on his instrument. And Bell matches him note for note. Of the four works here, this one is likely to be the real "crowd pleaser" for its tunefulness and its swapping of hot licks on the two instruments.

While the Gran Duo Concertante is just fine as rewritten for violin and double bass, and while this is some of the best work I've heard from Joshua Bell in recent (Sony) years, I'd just LOVE to hear this work as Bottesini originally wrote it, for two double basses. There is another great double bassist out there, by the name of Gary Karr, whom I can envision playing the other double bass part. (I would leave it to Meyer and Karr to sort out who was to play which line in the work.) This would enable those of us who "keep score" on such matters to decide whether Meyer or Karr is the better instrumentalist. Personally, I'd be delighted with a dead-heat tie.

Edgar Meyer fans will, needless to say, relish this release in its entirety. For lovers of good classical string music, buy this for the two Bottesini works. You'll certainly not be disappointed.

Splendid support all around by Hugh Wolff and the St. Paul Chamber Orchestra (the same group who provided support for Hilary Hahn's album noted earlier). Great sound, too, whether listened to over speakers or through headphones.

Now it's back to waiting for those three missing Bach cello suites.

Bob Zeidler

5 stars for performance, 3 for composition = 4 stars

Some instruments have a depressingly small repertoire; the double bass is unquestionably one of these. Although Beethoven wrote gorgeous sonatas for cello and piano, he was not tempted to try a solo work for the cello's big brother. Neither Tchaikovsky nor Mendelsohnn put pen to paper for a Concerto for Bass and Orchestra; it did not occur to Brahms to follow his Alto Rhapsody with an instrumental version down several octaves. And so bass players must either scour the music archives for works by second or third tier composers, write something themselves, or play transcriptions of works originally composed for their more popular cousins. Edgar Meyer has previously given us the latter, with his performances of the Bach Cello Suites. In this CD he tries both the two former approaches, composing two concertos, and resurrecting two works by the Italian Giovanni Bottesini (1821 - 1889). Bottesini was himself a bassist, and only incidentally a composer. He was a contemporary of both Richard Wagner and Giuseppe Verdi, but his music is firmly rooted in the Classical period, with little apparent interest in the harmonic, melodic and rhythmic innovations of his time. As such, it is at best pleasant music, rather like mediocre Haydn. Meyer spices up the Bottesini by adding his own cadenza, which helps quite a bit. Meyer's cadenza in the last movement of Bottesini's Second Concerto for Double Bass and orchestra is the unquestionable highlight of the piece.

Edgar Meyer is probably best known to Classical music lovers for his collaborations with Yo-Yo Ma and Mark O'Connor on the Appalachian Journey and Appalachia Waltz CDs. Like Ma, O'Connor, and any number of current virtuosi from Nigel Kennedy and Richard Stolzman to Vanessa-Mae, he branches out to a wide variety of styles, from Jazz to Bluegrass to Classical, often blending two or more approaches in a single piece. But in this CD Meyer plays a more straightforward role. Listeners hoping for the unbridled Americana of some of his other projects may be disappointed. Although an occasional bluesy inflection or jazzy syncopation comes through, on the whole these works are grounded in the Classical or neo-Classical tradition. George Gershwin's Rhapsody in Blue is a hundred times jazzier than either Meyer concerto contained here. Meyer's Double Concerto for Cello, Double Bass and orchestra is the more accessible of his two concerti. Even here the context is not pure jazz or blues, though; for example the second movement contains the most overtly jazzy passage in the CD, with Meyer's pizzicato bass counterpoint to Yo-yo Ma's cello melody. Even here the jazzy passage is surrounded by an odd patchwork of contrasting musical textures, one almost minimalist, one somewhat reflective of sixteenth century counterpoint.

There is no question of Meyer's virtuosity as a performer. He has technique to spare, an impeccable sense of intonation and a real mastery of his admittedly awkward instrument. That he often fingers pitches with only a single digit to create a more "vocal" sound, makes his performance more astounding. But as an apparently self-trained composer (the Sony website only mentions his bass teachers and nothing about any composition studies, and I've been unable to find any information about such), Meyer ranks only somewhat better than Bottesini. What technique he has as a performer, he lacks as a composer; and compositional technique is one of those things you don't appreciate until it is missing. Like Bottesini, Meyer is essentially conservative, and these pieces too often lack a strong sense of drama and gesture; furthermore the basic material is neither harmonically nor melodically compelling. His compositional strengths lie in his superb understanding of his solo instrument and in creating interesting textures and rhythms. Like fellow performer/self-taught composer Mark O'Connor he relies too often on repetition as the main method of development. After you've heard the Meyer Concertos you are more likely to be impressed with his playing than you are to hum the tunes--as display pieces they are wonderful, but they don't attain greatness. Again, at its best the music is quite pleasant and enjoyable, but I doubt it will have a lasting appeal for most listeners. Certainly the Meyer Concerti are not the equal of the Dvorak Cello Concerto, the Beethoven "Emperor" Concerto, the Mendelsohnn Violin Concerto; nor do they achieve the quality of twentieth century works like the Bartok Piano Concerti or John Corigliano's Clarinet Concerto. Bass players will have to keep waiting for their masterpiece. But while they are waiting, we can still enjoy Meyer's fabulous performances on this disc.

Product Description

It’s always been quite rare to see AC/DC - unless you go to their concerts. Television appearances, and later music videos, have always been a necessary evil to this band of nononsense rockers. Consequently, only their early years were documented on television - mostly in Australia and Europe - and when the time came to switch to promotional video clips, the band always made their own and gave them the appearance of a live show. But they’ve also never wasted an opportunity to make a big statement with their clips. From singer Bon Scott dressing like a school girl (to Angus Young’s school boy) and smoking(!) on their first major television appearance, to the giant rocking spectacle of the "Big Gun" video (with guest appearance by Arnold Schwarzenegger), AC/DC has always been larger than life and their timeless brand of rock and roll has been as big on screen as it has off. Now for the first time Epic Records is proud to announce the first ever compilation of AC/DC videos from all parts of their storied career. Starting in 1975 on Australian TV’s Countdown show through the Spanish TV clips filmed just ten days before Bon Scott’s death - the first great era of the band is chronicled on Disc One. Disc Two starts with the promo videos for Back In Black (several never before available) and sees many of the 80’s and 90’s clips on DVD for the first time. This is truly a monumental collection of clips from one of the world’s greatest bands - all completely remastered for DVD with the same care as the Epic CD remasters and the Live At Donington DVD.

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Fiona Apple, brooding, brainy belter and capital-A artist of near forbidding depth, begins her much gossiped-over third CD on a lark. The title track, one of two songs produced by Jon Brion before the label dispute that prompted hip-hop producer Mike Elizondo (50 Cent, Eminem) to step in, sounds like a Judy Garland number slathered with irony or something Rufus Wainwright might have had a hand in--strings soar, beats bump around skittishly, and notes require a ladder. But playful as it is, by the time the chorus kicks in it's clear why the world has missed Fiona Apple so much. Young female artists who have stepped into the spotlight since she fled it six years ago-- Nellie McKay and Joss Stone spring to mind for their cleverness and heat, respectively--seem slight in comparison. With every track ticked off, in fact, Extraordinary Machine moves listeners a little closer to what might be a correct assumption: that everything they've dipped into since 1999's When the Pawn ... was filler. Fans will feel it especially on "O'Sailor," a gimlet-eyed lament, and "Tymps," a tight piano track with a tip of the hat to hip-hop. It's "Window," though, with its lyric about "a filthy pane of glass" fogging up a clear view, that sums up the experience of this CD best. "I had to break the window," Apple sings, smoky-voiced as ever. "It just had to be." With Extraordinary Machine, she shatters already sky-high expectations. -Tammy La Gorce

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Here's another to join the parade of page-to-stage musicals inspired by 19th-century fiction. This ambitious adaptation of Charlotte Brontë's haunting classic Jane Eyre for the musical theater seems to be part of a trend represented most famously by Les Misérables. It also reflects the increasing pressure to schedule an original cast recording release as close as possible to a new show's Broadway opening: in this case, in fact, the CD was both recorded and released prior to the show's opening in December 2000 at the Brooks Atkinson Theatre. But what's most significant for the artistic character of Jane Eyre: The Musical is found in yet another pattern: like a number of his colleagues, composer-lyricist Paul Gordon comes to the project from a pop music industry background (best known for his hit "Friends and Lovers"). And quite a few of the show's numbers benefit from Gordon's catchy craftwork, weaving melodies that are clearly destined to be whistled long past curtain. Yet the effect is sometimes too facile, not diving as deep as we would like into the emotional predicaments of Brontë's characters. You begin to crave a more deftly defined and imagined variety of sound worlds (especially for the darker aspects of Thornfield Hall) than what is hinted at. Gordon doesn't forge any new paths, but his melodic fluency does have its moments of payoff--especially in the moving final duet "Brave Enough for Love," which is also strong enough to stand on its own.

Gordon's predilections as a would-be son of Sondheim are nevertheless clear, and he's telescoped the story into mostly effective lyrics, with some thoughtful juxtapositions of material. Most importantly, he understands that this is more than a Gothic romance, foregrounding the central message of forgiveness that Jane learns as a girl. He attempts to explore the injured sense of self shared by both Jane and Rochester and sets them on a painful, mutual voyage of discovery.

The creative team also includes the veteran duo John Caird (book and direction) and John Napier (scenic design), who have collaborated on such epics as Les Mis and Nicholas Nickleby (not to mention the Las Vegas Siegfried and Roy extravaganza). And the show's creators seem to share a vision geared toward the more operatic end of the spectrum (it was opera composers, after all, who early on claimed 19th-century Gothic fiction for the stage, as in Donizetti's Lucia di Lammermoor), with an actual parody of coloratura in one showstopper ("The Finer Things") given to Blanche Ingram. Fortunately, the two principals have large, richly expressive voices to encompass the large, complicated emotions of these characters. Marla Schaffel singswith unusual beauty and brings dimension to her Jane, while James Barbour (whose resumé includes Beauty and the Beast) is never really threatening as Rochester, but rather a tortured soul who is sweet-voiced even at his most cynical. Mary Stout is a stitch as the blustery Mrs. Fairfax. While the show has already undergone a lengthy evolution from its very first workshops, the viability of its final, fully staged realization has yet to be determined. But this cast recording conveys an authentic sense of the musical's atmosphere and emotional scope. --Thomas May

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This all-Bernstein disc includes four compositions in addition to the title piece, of which only the "Serenade" was originally written for solo violin and orchestra. John Corigliano made the arrangement of "Make Our Garden Grow," the famous final song from Candide, and William David Brohn, who had long been close to Bernstein's music, arranged two songs from On the Town. His West Side Story Suite is a free adaptation rather than an arrangement; he calls it the greatest adventure of his musical life.

However, the real hero of the recording is Joshua Bell, for whom Sony commissioned the Suite; he collaborated closely with Brohn in its creation and contributed one of the two cadenzas. Not surprisingly, its violin part, as well as those of the other arrangements, are written to his strengths, which seem to be growing and expanding all the time. His virtuosity is breathtaking and he revels in it with unbridled exuberance. His tone is ravishingly beautiful, intense, focused, pure; it can generate a warm glow and a radiant shimmer. His facility and silvery sound in the violin's topmost register have always been particularly striking and are displayed throughout to terrific effect. He handles Bernstein's multifaceted style, rhythm, and idiom with easy, natural mastery. His love and respect for the music come through in his ability to identify with its swiftly changing moods and in his strongly felt, direct expressiveness. --Edith Eisler

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Product Description

• DVD + RW / -RW media
  
• External microphone
  
• 12x optical, 480x digital zoom
  
• 1.07 megapixel advanced HAD CCD
  
• 2.7 inch wide hybrid SwivelScreen touch panel LCD screen
  

The powerful Sony DCR-DVD203 Handycam(R) Camcorder delivers enhanced picture for a sharper look to digital video. From its antireflective Carl Zeiss Vario-Tessar lens to the enhanced 16:9 widescreen recording, the DVD203 Handycam(R) delivers an extraordinary looking picture. Capture realistic sound with the DVD203's Dolby 5.1 Channel Creator and built-in 4 Channel Surround Sound microphone. Designed for recording on multiple DVD formats, the DVD203 Handycam® is compatible with DVD-R/-RW/+RW discs. Re-record over 1000 times on the same DVD-RW or +RW media. The powerful engineering behind the Sony DCR-DVD203 Handycam(R) Camcorder, along with its advanced usability, help to deliver an amazing look and feel to digital video. Record digitally with encoded Dolby AC3 5.1 Channel audio directly onto DVD for quick and easy playback on your Home-Theater System. Capture and create vibrant audio for digital home video and hear everything you have been missing. Stamina battery performance gives you up to 5 hrs recording on one complete charge using an optional NP-FP90 battery pack USB 2.0 interface provides an excellent digital editing solution with an easy way to connect your DVD Handycam(R) camcorder to the computer for fast transfer of video and still images to your computer for editing Zoom - (optical) 12x / (digital) 480x Still Image Mode (1000K Pixels) - 1152x864 & 640x480 Progressive Shutter System is a mechanical shutter system that provides Progressive Scan performance Minimum Illumination - 7 Lux (0 Lux with NightShot(R) Plus Infrared System)

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Lightweight and compact. Great value.

This is a great DVD camcorder. Best of all is its size. It is barely larger than my digital camera and weighs almost nothing. For those who don't know yet, this DVD camcorder (and most recent ones) doesn't use regular DVDs but smaller ones instead, so the camcorder is not as bulky as one would think.
Getting started was very easy. I literally watched my first DVD on TV one hour after opening the box. The internal software automagically creates a menu with chapters and all (all of it can be customized of course). Commands and options are all very straightforward and very few settings need to be changed in order to get started. Also, there is a fantastic zoom for a camcorder of this size.
Only downside is the battery time. The battery will die after about an hour. I still give it 5 stars because anyway I am not of those who film landscapes or entire shows/parties from end to end. I usually only use a camcorder to film relatively short events or everyday-life snapshots of kids and family, and this camcorder is just perfect for that.

Great Value for Home Video

This is my first camcorder and the only reason I bought it was because my first child was due in June. The reason I went with Sony was because several of my friends own one. I liked the size and picture quality of the mini DV but I didn't like the fact that you had to hook up a lot of cables and fast forward or rewind to look for your shots. My friend owns one of the first generation Sony DVD camcorders and he showed me some video and I thought it was pretty good even at 60 min and he said he has never had a problem with it so I decided on this the model 203 which was newer and in widescreen.

Pro: Wide screen, sound is not bad, ease of use ( I have been experimenting with it straight out of the box, haven't even read the manual yet and you can pretty much figure out all the features), and size.

Con: I own a 47inch widescreen TV and even on the Highest Quality recording the picture looks a little grainy and colors weren't that great, but play it on a regular tube TV and the picture is great so I guess it loses a little resolution on the bigger screen. I will have to try it on my brother in law's 50inch plasma. This is the reason I gave it only 4 stars.

I haven't tried the editing features yet but most likely I will get aftermarket software. I purchased thru amazon which was one of the better values but not the cheapest. The cheaper site, which I won't name got a lot of poor reviews and complaints so I stuck to amazon for no tax and free shipping.

I like it but need time to learn how to use it properly

I started recording video right out of the box. The camera's features are pretty good but the video was a little grainy or too bright and it skipped some. I need to spend some more time learning how to use the camera properly.2 disks worth of movies were unwatchable because I didn't use the back light. After a few day's of tinkering I found the "easy cam" button.It seems to record much better now.
It's not a "right out of the box" camera but I still like it and think I will like to more once I take the time to learn how to use it properly.
I would like it better if I bought it at the amazon price but I was overseas and needed a camera fast. I paid twice amazon price so I guess I have higher expectations.

Product Description

• f
  
• 3.3 Megapixel (Gross) Advanced HAD CCD Imager 1/3" Advanced HAD (Hole Accumulation Diode) CCD with 690K (effective) pixels provides stunning detail and clarity with exceptional video (up to 530 lines of horizontal resolution) and still image performance. The Megapixel technology enhances your digital videos & digital still photography performance
  
• MiniDV Recording Offers up to 530 lines of horizontal resolution, 3X the color bandwidth and a significantly higher signal/noise ratio, to provide spectacular video performance.
  
• The 10x optical zoom helps to bring the action close up from far away. In addition the 120x Digital Zoom Interpolation means that extreme digital zooming is clearer, with less distortion than previous types of digital zooms.
  
• Professional Quality Carl Zeiss Vario-Sonnar T* Lenses have an advanced optical multi-layer coating that offers lessglare and flare with increased contrast. This results in vivid image brilliance,true-to-life color saturation and perfect renditions of subtle tones. The additional T* coating on the lens further reduces unwanted glare and flare.
  

Direct your own personal movies with the DCR-HC90 MiniDV Handycam camcorder from Sony. Interactive video recording features put you in control of the show. The on screen Zoom and Record buttons allows you to have additional shooting flexibility as well as convenience. The touch panel 2.7 LCD display creates ease of control, so you can manage video recording with just the touch of a button. The DCR-HC90 features 3.3 Megapixel Advanced CCD imager for enhanced digital video and digital still photographic performance. MiniDV recording offers 3X the color band width with significantly higher signal to noise ratio, so your video is consistently crystal clear. The SteadyShot picture stabilization system uses motion sensors to detect and correct any camera shake for smoother video quality

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Product Description

• 12X Optical zoom - 48X Digital zoom
  
• 530 lines horizontal resolution
  
• Three Advanced HAD(TM) 380K pixels 1/3 CCDs allow 480 progressive mode for stills and interlaced mode for video
  
• Built-in slot for reading optional MemoryStick media
  
• Super SteadyShot(R) Stabilization and Autofocus modes
  

The new DSR-PD170 DVCAM compact camcorder provides high quality acquisition in the DVCAM component digital format, as well as in DV, allowing up to 40 minutes recording on one tape Mini DVCAM tape, or 60 minutes on the same tape in the DV mode. This compact camcorder features three Advanced HAD 1/3 inch CCDs that allow two scanning modes: 480 progressive (for still) and interlaced (for video). These Advanced HAD CCDs also provide high quality acquisition with increased resolution and sensitivity at reduced noise and vertical smear. The new enhancements to the CCDs have enabled the minimum illumination to be improved to an incredible 1 lux. The DSR-PD170 also features a built-in slot for MemoryStick. Up to 988 JPEG pictures can be stored on one 64 MB MemoryStick. In addition, the stored images can be mixed or keyed to the live image allowing logo insertion and/or mix effects. The built-in high MTF quality 12X electronic zoom lens features Auto focus and SuperSteadyShot with manual Zoom, Focus and Iris control capability. Other enhancements from the DSR-PD150 include a larger high-resolution B&W viewfinder and a newly developed color swing out Hybrid LCD with greater brightness to increase monitoring capability in bright light conditions. The DSR-PD170 now has a larger handle with start/stop functions as well as zoom control on the handle for easy access and enhanced shooting capabilities.

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Outstanding camera, period.

I've used this camera on several professional video shoots now, including talking heads, outdoors and an indoor music video. The low light capability of this camera is nothing short of stunning, with clear, crisp images available even when using only available tungsten room lights. We shot a girl playing the piano with candles in the background and only the piano lamp and it looked great. The PD170 is very easy to use for the beginner and a breeze to tweak on the fly. It has solid, nicely positioned controls (for full auto and full manual configurations), pro XLR audio/mic inputs and easily accessible miniDV cassette mechanism that lets you change tapes while the camera is on the tripod. Its DVCam recording mode runs the DV tape at a faster rate, giving you about 43 minutes of recording on an hour miniDV tape. The higher recording speed is not mandatory, but does improve quality when you choose to use it. Autofocus is crystal clear, but easily manipulated manually with a great focus ring. This camera has lots of bells and whistles, including the ability to monitor both channels' recording levels onscreen, while taping. I've heard the networks' embedded reporters in Iraq are using PD170's and I believe it. The quality of the images captured by this camera is nothing short of professional. The heft and feel of the PD170 is just right. it's got a nice, built-in lens cover that's actuated by a solid feeling lever on the side of the lens housing. It also features two built in neutral density filters that can be flipped into position with another lever. The list of features and thoughtful design elements goes on and on. Obviously, I'm crazy about this DVCam and literally don't have a single complaint to share. If you're looking for a rock solid, professional grade camcorder in the $3000 range, look no further. Read up on it and the competition. Then buy this gem and prepare to be bowled over by its performance, pictures and exceptional design.