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Could recommend speakers suitable for extra-large spaces?

Otherwise, I recently had the opportunity to hear this (with Low and Sub).
Very impressive.

They also have a specific 3D system.
 
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Earlier in the thread a question was asked about LCR vs 5 screen front speakers.

There is quite a big difference between the Dolby Atmos spec for home theatre systems and for professional theatres:
View attachment 429081
Home:

Professional:

What will your source material be?
If you plan to just buy consumer 4k BluRays you will be stuck using the home theatre spec of source material.

I think for the type of project you are considering it would be worth consulting with professional theatre installers to find out if there is a way to get hold of the proper cinema source material. I think previously this was delivered on hard disks, no idea how it is done now, probably a download service that you need to register for with the studios. It is not something that you can just walk into a store and get.

I'd be asking the professional cinema installer for speaker and hardware recommendations too, but I think Meyer Sound are likely to be high up on that list.


Edit:
Perhaps you would need something like this:
View attachment 429087

With one of these:
View attachment 429088

Not sure if Trinnov can do pro-cinema too, or if it just upscales the home version?
I'll use the Christie Eclipse as the projector. It has the highest contrast ratio among projectors in the world. Unfortunately, it doesn't support DCI , so it can't play DCP content.
 
I don't want to tout my horn here too much, but briefly give you an introduction since Duke mentioned me. If you're interested, it's best to contact me.

The horn speaker below which is named Vera Audio Sagarmatha will meet all these requirements.
View attachment 429103

The picture shows a prototype. The final model also has ribbons on the rear of the midbass horn.

Some features of this 2-way design:

- Extreme constant horizontal directivity of 80-90° between approximately 200 Hz and 20 KHz, meaning the sound doesn't change much anywere to the sides in the room.

- Very constant and quite narrow vertical directivity down to Schroeder frequency and avoidance of floor bounce with the result of a more even response in the room and less detrimental vertical reflections.

The uniform vertical dispersion also means the sound will be more or less the same to seats at different heights. A measurement below shows an indoor measurement over a reflective floor from floor to 150 cm over the floor. Room was challenging acoustically with a sloping ceiling and short distance to side walls.
View attachment 429109

- Active system with the benefit of time alignment, frequency accuracy, ability to tune the system to the room and taste, linear phase and excellent dynamics. Requires 4-channel amplification and a DSP. We have a few DSP options.

- High quality drivers and possibly one of the few in the world that still offers compression driver with beryllium diaphragm. Beryllium may be on the way out of the market now, so this offer will likely be for a limited time.

- Uses a separate subwoofer system for lower distortion, high SPL and ability to even out the response with optimal placement. We offer the subwoofer below which uses two 18" woofer in a push push configuration in a sealed enclosure and with a separate amplifier with 2500W i 4 Ohm, reaching very high levesl and can go down to 10 Hz or lower.
View attachment 429105View attachment 429106

I also work with acoustics prefessionaly by the way and would be able to assist in that area if needed. A lot of treatment can be hidden when buillding the room from scratch and doesn't need to cost much either when done correctly.

We're located in Norway FIY.
It looks great. I'm curious about how it compares to the 8381 and BlueHorn?
 
It looks great. I'm curious about how it compares to the 8381 and BlueHorn?
That's challenging to reply to since the others are competitors.

But I would say this in general:
The Vera Audio Sagarmatha is fully hornloaded to about 100 Hz. Horn loading leads to less modulation distortion and higher capacity. So there's a true effortless sound from a horn loaded system so low in frequency.
Secondly, our horn system maintains a narrower directivity lower in frenquency and it's more uniform as well. This means less detrimental room contribution.
Thirdly, a low crossover between the drivers means a very coherent sound and also a big sound stage.
Fourthly, the Sagarmatha avoids the floor bounce leading to a fuller presentation or less lean sound compared to many other designs, and measures very even at various heights because of this.

Front loaded drivers (or not horn loaded) have several drawbacks and particurlary for this kind of use with the long seating distance.
 
Earlier in the thread a question was asked about LCR vs 5 screen front speakers.

There is quite a big difference between the Dolby Atmos spec for home theatre systems and for professional theatres:



Not sure if Trinnov can do pro-cinema too, or if it just upscales the home version?
What you are talking about are DCI capable rooms where the home owner has the ability to get cinema releases from the studios or directly from the content creators. These can be in the form of hard drives that must be locally ingested into your server or streamed content that typically comes to the home via a Betty Box.

Whether you have a Dolby server or a Barco projector with DCI server boards installed, yes, a Trinnov, Storm Audio, or Lyngdorf MP-60 with DCI inputs can all do "pro cinema".
 
Why is this 28-inch one more expensive than their 32-inch one? Its spl is also inferior to that of the 32-inch one. Is it just because it's square? What are the advantages of the square shape?
General Recommendations


The 28-inch square subwoofer is more expensive than the 32-inch due to its unique driver configuration and extended frequency response. The square design allows for four 10" woofers to be coupled on a carbon membrane, resulting in faster, more responsive output while maintaining infrasonic performance. Unlike the 32-inch, which primarily covers ULF and requires additional kick sub reinforcement—introducing group delay mismatches and inconsistent phase integration—the 28-inch extends from infrasonic frequencies to beyond the limits of waveforming, ensuring seamless bass reproduction. I would deploy 16 of these in the front in 4 quadstacks qand 8 in the back in quadstacks, expensive but if going with Gethain you would make up on the full range speaker costs, these 10/21 List outside EU prices are probably 25% more now:
price 21.JPG


I would quad stack the Ascendo 28's with the monies saved with the Gethain like so:
vws+20+-1.png

pos+back+beh.png

Just replace each purify 10 by an ascendo 28 - 16 front 8 back. :D :D I'm sure Ascendo's advice will not be too far off. Quadstacking these 28's with a sturdy frame converts them into the ultimate performance FORCE CANCELING SUB AS WELL!

I would not use >40hz bass management into the single-channel waveform. Dolby Atmos contains full-range signals down to 40 Hz from all channels, so I would deploy Quad stacked batteries of the 28-inch strictly for waveforming while optimizing bass at the seating position using FEM-BEM-designed notched rear corners. Also from the B-1 Visa aborted Me gethain project.
HOME+THEATER+OMC.JPG


Since 40-60 Hz frequencies are ingrained in our evolutionary DNA as cues for impending events—rockslides or predator attacks—our auditory system is attuned to directional low frequencies.
This primal egocentric cinematic experience dates back to Neanderthals using percussive instruments in Pyrenean caves—the first immersive theaters—where painted eight-legged boars were animated by fire, and percussive instrument echoes mimicked the sounds of galloping prey coincident with that cave segment during heroic story telling hunt recollections. The same principles applied to Druid stone circles, where standing at the epicenter immersed participants in head-encircling sacrificial sounds accompanied by 40 hz drums echoes all around. :D


Hollywood’s Tomlinson Holman crippled cinematic sound by depriving surrounds of sub-100 Hz frequencies, forcing an allocentric listening experience. Atmos corrected this, and during the seventies, quadraphonic directional bass re-engaged humanity with the innate need to be surrounded egocentrically. 25% of my 80-grand SACD, DVD-A, Blu-ray Audio, and Atmos Blu-ray library—and just 20 terabytes of my 100K Kaleidescape library—provides true egocentric immersion, unlike 2-channel audio (a workaround for splitting mono), pre-Atmos movies, or concerts where sound originates from the front and merely echoes backward. Worse still, concert films introduce severe phase distortion, as 50% of the surround mix consists of arena compression drivers feeding back into open microphones and resulting in heavy distortion out of the surrounds.


Take Prince—the egocentric wonder. Diamonds and Pearls Music Atmos Blu-ray creates a true egocentric envelopment, whereas the deeply flawed allocentric Purple Rain Atmos mix of Let’s Go Crazy is the opposite. If you are not reaching for the barf bag within two minutes, then you need to work on learning your auditory perceptions. :D


Achieving an egocentric soundfield while using waveforming is inherently contradictory because waveforming requires bass management at ~120 Hz, eliminating the natural low-frequency cues necessary for immersive perception. The solution? Deploy customized throw distance coaxial with cardioid dispersion from 30–250 Hz on every channel while restricting bass management below 30 Hz for LFE into the Ascendo 28 Waveforming battery. This ensures full-range response from every speaker without disrupting waveforming integrity.


Since in my suggestion waveforming bass manages <30 or 40 Hz, individual speakers must remain boundary-agnostic from 30–250 Hz, leaving 250 Hz–750Hz for precise time-domain engineering. Peter Aylett and FEM-BEM modeling should handle this high-correlation predictive design.


For the main speakers, I would commission custom coaxial ME Geithain monitors, as coaxial designs provide superior 3D object localization by maintaining phase coherency particularly at long throws, Ive have installed meyers, synthesis one, PRO audio technology after two weeks listening I developed sellers remorse, the firsrt 2 weeks audio nirvana. If ML811 or a larger custom model proves viable based on sound dissipation calculations, MEG could design bespoke units shown here on a concept design cancelled due to unxepected B-1 Visa situation. The number of high-frequency domes in each coaxial speaker would vary to compensate for response inconsistencies at 2.3 kHz, the frequency range responsible for DISTANCE FINDING in spatial perception at the Reference Listening Position.


  • Front channels: Coaxial 12-inch with five domes
  • Wide surrounds: ML811
  • Side/rear surrounds: Optimized coaxial units with reduced tweeter count

I have not heard the Black Swans, but several Ascendo owners report that smaller domed coaxials are more musical than the 10" and 12" compression models. In my experience, Ascendo’s 10-inch compression drivers are the least fatiguing I have encountered in a 20-minute session due to their coherence. This highlights TIME SMEAR FATIGUE, a critical issue in the West Coast Compression Driver Industrial Complex at CEDIA. Unlike videowall assessments, which provide immediate feedback, speaker fatigue accumulates over time creeping up exactly at 2 weeks, making long-term exposure unbearable.

For optimal room integration, seating risers must be acoustically transparent to waveforming while fully damped and rattle-proof. Peter Aylett of Oficina Acústica, known for designing Trinnov’s demo rooms, is the leading expert in this area.

On projection, having modified and installed the first three DCI cinema projectors in 2007, 2008, and 2009 and introduced higher contrast units to CEDIA, I strongly advise against traditional cinema projectors. The upcoming Christie Eclipse Generation 3 is vastly superior, featuring a large square projector head, true green lasers (unlike Series 2, which derives green from red), 99% Rec. 2020 color, and a 1,000,000:1 contrast ratio—far exceeding the 10,000:1 contrast of modified current cinema models. However, it requires a chiller unit.

EVOLUTION+OF+THE+CINEMA+SEAT+-+GEN+IV.png

From an architectoacoustic ergonomic standpoint, high-back chairs must be avoided, as they unnecessarily block the soundfield, whether direct or reflected. For a room of this size:


  • Mid-high frequencies should decay at ~400 ms
  • Bass RT requires expert tuning between the upper limit of waveforming and 750 Hz

Instead of Keith Yates or Paradise Theater, Peter Aylett’s waveforming expertise is the best option for time-domain control in the>120 to <750Hz range.


Seating should be four rows of five, with the four center seats designated as primary, secondary, tertiary, and quaternary listening positions. Focus the design on just two reference rows and place your ceiling speakers a la Dolby Burbank. Position the rows of ceiling speakers over the left shoulder of seat 2 left and over the right shoulder of seat 4 right. That way, I guarantee that—just like at the 2013 Gravity premiere—you will experience “Houston, Houston” encircling your head at varying but spooky proximity, exactly what our DNA ordered, just like in the sacrificial stone circles—case in point: Stonehenge.
Gravuty+ATMOS+Premiere.jpeg

Gravity%2BPremiere%2B3.png


No one else has amassed the specifically egocentric-focused content to replicate this feature found only in the room where Atmos was invented like our little pet project since 2013. Easily proved: The unmistakable superiority of Egocentric Music and Film immersion.
 
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Then one must understand that out of the 32 atmos positions only 9.1.4 can be active at all times, whether Trinnov or Dirac Art Storm. That means on a wide screen like yours the mid center channels are only active during the moment that the sound object IN ATMOS traverses that position the speaker remain dead silent otherwise, Dolby holds this back from the competition decoding HDMI Home Atmos the only way of utilizing all channels (mid centers and most surround channels so that they are fully active) "as best they can using the cinema atmos renderer" Dolby Director description at all times is using a CP-950 a. Fortunately this will be AES 67 chainable once Trinnov activates the aes3 interface, feeding each and every channel into your trinnov the best possible recreation of the cinema atmos mix in up to 64 discrete channels all playing at the same time as opposed to 60 percent off like the channel restricted Storm and trinnov currently operate. Such a Daisy Chain is currently achievable with the storm EVO. Cat 6 in cat 6 out aes 67 into the network switch aes 67 out into the Ascendo amps and Me Gethain amps.

cp950a-left-front.jpg
 
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General Recommendations


The 28-inch square subwoofer is more expensive than the 32-inch due to its unique driver configuration and extended frequency response. The square design allows for four 10" woofers to be coupled on a carbon membrane, resulting in faster, more responsive output while maintaining infrasonic performance. Unlike the 32-inch, which primarily covers ULF and requires additional kick sub reinforcement—introducing group delay mismatches and inconsistent phase integration—the 28-inch extends from infrasonic frequencies to beyond the limits of waveforming, ensuring seamless bass reproduction. I would deploy 16 of these in the front in 4 quadstacks qand 8 in the back in quadstacks, expensive but if going with Gethain you would make up on the full range speaker costs, these 10/21 List outside EU prices are probably 25% more now:
View attachment 429172

I would quad stack the Ascendo 28's with the monies saved with the Gethain like so: View attachment 429173
View attachment 429174
Just replace each purify 10 by an ascendo 28 - 16 front 8 back. :D :D I'm sure Ascendo's advice will not be too far off. Quadstacking these 28's with a sturdy frame converts them into the ultimate performance FORCE CANCELING SUB AS WELL!

I would not use >40hz bass management into the single-channel waveform. Dolby Atmos contains full-range signals down to 40 Hz from all channels, so I would deploy Quad stacked batteries of the 28-inch strictly for waveforming while optimizing bass at the seating position using FEM-BEM-designed notched rear corners. Also from the B-1 Visa aborted Me gethain project.
HOME+THEATER+OMC.JPG


Since 40-60 Hz frequencies are ingrained in our evolutionary DNA as cues for impending events—rockslides or predator attacks—our auditory system is attuned to directional low frequencies.
This primal egocentric cinematic experience dates back to Neanderthals using percussive instruments in Pyrenean caves—the first immersive theaters—where painted eight-legged boars were animated by fire, and percussive instrument echoes mimicked the sounds of galloping prey coincident with that cave segment during heroic story telling hunt recollections. The same principles applied to Druid stone circles, where standing at the epicenter immersed participants in head-encircling sacrificial sounds accompanied by 40 hz drums echoes all around. :D


Hollywood’s Tomlinson Holman crippled cinematic sound by depriving surrounds of sub-100 Hz frequencies, forcing an allocentric listening experience. Atmos corrected this, and during the seventies, quadraphonic directional bass re-engaged humanity with the innate need to be surrounded egocentrically. 25% of my 80-grand SACD, DVD-A, Blu-ray Audio, and Atmos Blu-ray library—and just 20 terabytes of my 100K Kaleidescape library—provides true egocentric immersion, unlike 2-channel audio (a workaround for splitting mono), pre-Atmos movies, or concerts where sound originates from the front and merely echoes backward. Worse still, concert films introduce severe phase distortion, as 50% of the surround mix consists of arena compression drivers feeding back into open microphones and resulting in heavy distortion out of the surrounds.


Take Prince—the egocentric wonder. Diamonds and Pearls Music Atmos Blu-ray creates a true egocentric envelopment, whereas the deeply flawed allocentric Purple Rain Atmos mix of Let’s Go Crazy is the opposite. If you are not reaching for the barf bag within two minutes, then you need to work on learning your auditory perceptions. :D


Achieving an egocentric soundfield while using waveforming is inherently contradictory because waveforming requires bass management at ~120 Hz, eliminating the natural low-frequency cues necessary for immersive perception. The solution? Deploy customized throw distance coaxial with cardioid dispersion from 30–250 Hz on every channel while restricting bass management below 30 Hz for LFE into the Ascendo 28 Waveforming battery. This ensures full-range response from every speaker without disrupting waveforming integrity.


Since in my suggestion waveforming bass manages <30 or 40 Hz, individual speakers must remain boundary-agnostic from 30–250 Hz, leaving 250 Hz–750Hz for precise time-domain engineering. Peter Aylett and FEM-BEM modeling should handle this high-correlation predictive design.


For the main speakers, I would commission custom coaxial ME Geithain monitors, as coaxial designs provide superior 3D object localization by maintaining phase coherency particularly at long throws, Ive have installed meyers, synthesis one, PRO audio technology after two weeks listening I developed sellers remorse, the firsrt 2 weeks audio nirvana. If ML811 or a larger custom model proves viable based on sound dissipation calculations, MEG could design bespoke units shown here on a concept design cancelled due to unxepected B-1 Visa situation. The number of high-frequency domes in each coaxial speaker would vary to compensate for response inconsistencies at 2.3 kHz, the frequency range responsible for DISTANCE FINDING in spatial perception at the Reference Listening Position.


  • Front channels: Coaxial 12-inch with five domes
  • Wide surrounds: ML811
  • Side/rear surrounds: Optimized coaxial units with reduced tweeter count

I have not heard the Black Swans, but several Ascendo owners report that smaller domed coaxials are more musical than the 10" and 12" compression models. In my experience, Ascendo’s 10-inch compression drivers are the least fatiguing I have encountered in a 20-minute session due to their coherence. This highlights TIME SMEAR FATIGUE, a critical issue in the West Coast Compression Driver Industrial Complex at CEDIA. Unlike videowall assessments, which provide immediate feedback, speaker fatigue accumulates over time creeping up exactly at 2 weeks, making long-term exposure unbearable.

For optimal room integration, seating risers must be acoustically transparent to waveforming while fully damped and rattle-proof. Peter Aylett of Oficina Acústica, known for designing Trinnov’s demo rooms, is the leading expert in this area.

On projection, having modified and installed the first three DCI cinema projectors in 2007, 2008, and 2009 and introduced higher contrast units to CEDIA, I strongly advise against traditional cinema projectors. The upcoming Christie Eclipse Generation 3 is vastly superior, featuring a large square projector head, true green lasers (unlike Series 2, which derives green from red), 99% Rec. 2020 color, and a 1,000,000:1 contrast ratio—far exceeding the 10,000:1 contrast of modified current cinema models. However, it requires a chiller unit.

View attachment 429176
From an architectoacoustic ergonomic standpoint, high-back chairs must be avoided, as they unnecessarily block the soundfield, whether direct or reflected. For a room of this size:


  • Mid-high frequencies should decay at ~400 ms
  • Bass RT requires expert tuning between the upper limit of waveforming and 750 Hz

Instead of Keith Yates or Paradise Theater, Peter Aylett’s waveforming expertise is the best option for time-domain control in the>120 to <750Hz range.


Seating should be four rows of five, with the four center seats designated as primary, secondary, tertiary, and quaternary listening positions. Focus the design on just two reference rows and place your ceiling speakers a la Dolby Burbank. Position the rows of ceiling speakers over the left shoulder of seat 2 left and over the right shoulder of seat 4 right. That way, I guarantee that—just like at the 2013 Gravity premiere—you will experience “Houston, Houston” encircling your head at varying but spooky proximity, exactly what our DNA ordered, just like in the sacrificial stone circles—case in point: Stonehenge.
Gravuty+ATMOS+Premiere.jpeg

Gravity%2BPremiere%2B3.png


No one else has amassed the specifically egocentric-focused content to replicate this feature found only in the room where Atmos was invented like our little pet project since 2013. Easily proved: The unmistakable superiority of Egocentric Music and Film immersion.
Judging from the number of subwoofers and the price of each one, your plan is the most extreme one I've ever seen. It seems that you are an expert in Dolby Atmos. How do you think the Dolby Atmos effect of your plan compares with that of the best Dolby Cinemas? Especially considering that the Christie Eclipse I'm going to use doesn't have DCI functionality, so I can't enjoy the higher-bitrate cinema version of Dolby Atmos (maybe there's a way to use the cinema version without DCI? I don't know).
 
That's challenging to reply to since the others are competitors.

But I would say this in general:
The Vera Audio Sagarmatha is fully hornloaded to about 100 Hz. Horn loading leads to less modulation distortion and higher capacity. So there's a true effortless sound from a horn loaded system so low in frequency.
Secondly, our horn system maintains a narrower directivity lower in frenquency and it's more uniform as well. This means less detrimental room contribution.
Thirdly, a low crossover between the drivers means a very coherent sound and also a big sound stage.
Fourthly, the Sagarmatha avoids the floor bounce leading to a fuller presentation or less lean sound compared to many other designs, and measures very even at various heights because of this.

Front loaded drivers (or not horn loaded) have several drawbacks and particurlary for this kind of use with the long seating distance.
Do your products have sales channels in Asia? Or do I have to go to Norway for a listening test?
 
If you have access to DCI content, you cannot buy the cinema version but they will lease it to you. The B-Chain of what I propose is a magnitude order over even the Dolby Offices in San Francisco Dolby Cinema perhaps the new reference.

Here is a video on the seat fabric that addresses a very serious problem i had with leather seats and the room only sounding the best with 12 people seating down.


 
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Last night a close friend of mine bragged to me about his purchase of two massive but-shakers for the couch ( and swore me to keep it a secret from his wife:)).
I immediately thought of this thread. Do the OP plans such а crazy things ?
 
Do your products have sales channels in Asia? Or do I have to go to Norway for a listening test?
We only sell direct presently. The benefit is much lower cost and we can follow up clients closely. Drawback is that you can't hear them in your own country.

For you information:
If the room is well treated, you are not going need any expensive Trinnov waveform of DBS bass solution. The treatment will deal with room modes and a benefit over arrays of woofers is that treatment will also work in the important midbass and upper bass area. Cost is much less as well if there's enough space for treatment.
 
Sure, with a clean slate, you could add meters of bass trapping, but Waveforming goes far beyond what a bass trap achieves. It not only allows adjustment for drier or wetter bass but is also in constant evolution, with bidirectionality in the wavefront under development. This enables the creation of both a front and rear wave with directional control.


Line sources lack the pinpoint precision of coaxials, making them less ideal for Atmos object-based audio. Using the same coaxial design for all channels—sides, fronts, and overhead—ensures a consistent 3D holographic experience. The different models are tuned to maintain the same frequency response in the 2 to 4 kHz range, optimizing critical distance to more accurately portray XYZ positions and trajectories as rendered by the Atmos cinema decoder.


This approach is further enhanced by MEG’s tweeter count optimization, which accounts for varying throw distances. It is the same speaker used by NHK in the development of their 22.1 system for 8K transmission and is considered the most venerated studio monitor in Japan.
 
How can waveforming go behind practically no room modes and something that works much higher in frequency? It can't of course.
Waveforming or what's in reality an advanced version of DBA is limited to a smaller frequency area, takes up necessary space for other treatment (i.e. diffusion on the rear wall) and cost a lot more.

SBA would be better approach of one wanted to have an array of woofers on the front wall because it will unlike "waveforming" work for all bass frequencies and can be combined with the needed treatment on the rear wall. Waveforming/DBA is more a WAF approach in a living room if treatment can't be used. It has drawbacks as mentioned.

The CBT design doesn't function like a traditonal line source and is actually a strong point souurce without the diffraction issues of a coxial and much lower distortion. A benefit with CBT in a surround setup is also that one need a lot less speakers due to the wide broadband coverage, which minimizes lobing and comb filtering greatly. The more channels you have, the more lobing and acoustical issues there are. Something generally not told by those who want to sell a large amounts of speakers.
 
Seating should be four rows of five, with the four center seats designated as primary, secondary, tertiary, and quaternary listening positions. Focus the design on just two reference rows and place your ceiling speakers a la Dolby Burbank. Position the rows of ceiling speakers over the left shoulder of seat 2 left and over the right shoulder of seat 4 right. That way, I guarantee that—just like at the 2013 Gravity premiere—you will experience “Houston, Houston” encircling your head at varying but spooky proximity, exactly what our DNA ordered, just like in the sacrificial stone circles—case in point: Stonehenge.
Gravuty+ATMOS+Premiere.jpeg

Gravity%2BPremiere%2B3.png


No one else has amassed the specifically egocentric-focused content to replicate this feature found only in the room where Atmos was invented like our little pet project since 2013. Easily proved: The unmistakable superiority of Egocentric Music and Film immersion.

14 speakers overhead , challenge accepted when i have the time for extra , CIC/UCI , sonic whole atmos overhead sound

x9 so all i need to out dolby's overhead spec in the dust , is x6 , 15 overheads only it be not like anyone else has , stereo once you know how that works the cat is out of the bag
cats-out-of-the-bag-the-word-is-out.gif


actually i could expand it to 35 JBL easily but overhead surrounds have been around since 1969 and late 1980's so what that has already been done , below surround is the last surround frontier which i have been using now for just over 10 years and idea came to mind 1998

475870922_10162290644165149_7502439946705264633_n.jpg


stormaudio isp 32 atmos plus - rack amps in kitchen with few simple easy improvements with real pinpoint overhead surrounds and system can do several overhead sound formats , the B-chain in my system is always progressing expanding

spending thousands on speaker is plain daft , less is more , yes less cost = more and real world sound is , free of change doesn't cost a penny in nature itself , for which nature itself cannot be fooled
speakers drivers side by side coupled with new a breed as sound moves in tiny degrees , i can hear sound shifting with earplug in one ear and sound can shift , so i have a new idea in plan , but room is too small and no way am i downgrading these rare real world , JBL professional motion picture surround speakers back down to smaller on the ceiling control 5 again , nothing wrong with them , just the 8330 THX series been used in real world THX cinemas , not some unknown speakers home theatre that haven't and cost daft amounts of money per single speaker , anyway i can plaster the ceiling if i wanted to with x35 JBL 8330 A THX if i wanted to

312005195_10160119580585149_1717868507975800923_n.jpg


395776380_10160930689665149_4065666326626350677_n (1) (1).jpg


doing other installs with some of below surround arrays below back row seating and other row of below surround behind it and below front row and few rows outwards in the room

aura1.jpg


once a home cinema has below surround that's it , the circle is now complete
tumblr_pgp0yyKPZn1vrnzryo1_r1_540.gif


aura4.jpg
 
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overhead surrounds gamount screen 1 , x6 original flush mounted in the ceiling if you can spot them ? last i heard these overheads active 1998 something went wrong there ? , x16 JBL 8330 mk1 installed 1999 , cinema is now home for the pigeons , last of the cinerama 70 screens in the uk ,

83914462_10157823637940149_9126692993036713984_n (1).jpg


CIC/UCI tower park , used experimental overhead surround ( one of few other sites since late 80's 1989 ) projectionist there when few months after it opened , okay days those where projecting with the real 35mm

one of 2 larger screens 5 and 6 , this is screen 6
x8 EV overheads ,
dts stereo overheads in 1993 jurassic park , plus i heard many Dolby A SR overhead and have good listening memory and i even wired special switching box to recreate in my private THX cinema to do the same only on way more overheads that makes regular atmos sound like a vitaphone system lol

84091475_10157823645965149_8424125128975056896_n.jpg


one of the smaller screens that was 1 to 4 and 7 to 10 , not sure which screen number they all looked mirror imaged so the sound in small screens would all sound the same and the larger two would sound the same , good acoustics hardly much echo

EV THX approved speakers LCR and surrounds no subs thou it was recommend for SR soundtracks via Dolby CP55 SRA5 decoders modified quad amps , surround monintor fader an booth monitor , slide projector ads , 35 vic 5 , trio cake auto platters , state of the art back then

x7 EV overheads used in smaller screens
84386661_10157823642185149_1295237591011950592_n.jpg
 
Take a peak at JTR Speakers and Subwoofers.

no take a peek at ebay at 2nd hand JBL professional motion picture loudspeakers that are the real THX mccoy and far cheaper and have been used in the real THX world ! movies are mixed on JBL so logic is to use JBL professional , i wouldn't even bother touching jbl synthesis that's just bs harman marketing for rich people that not heard of ebay and getting it all light years cheaper
 
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