Andysu
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baby driver with anti phase reversed polarity mixing with the overheads need a decoder to hear the extra sound
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Dolby Atmos Critique Video
- Thread starter Zensō
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baby driver with anti phase reversed polarity mixing with the overheads need a decoder to hear the extra sound
FriedChicken
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I don’t get this talk about needing in-ceiling speakers, or why people think atmos = in ceiling.
I guess it’s Dolby’s (incredibly aggressive) marketing.
The thing that bothered me the most about that video is that DTS:X, the superior format with lossless audio, has lost out to Atmos. That said my receiver doesn’t decode DTS:X but only Atmos, so I shouldn’t be complaining.
I guess it’s Dolby’s (incredibly aggressive) marketing.
The thing that bothered me the most about that video is that DTS:X, the superior format with lossless audio, has lost out to Atmos. That said my receiver doesn’t decode DTS:X but only Atmos, so I shouldn’t be complaining.
napfkuchen
Senior Member
Yep, just do a google image search for "Dolby Atmos studio". 99% of studios use a front and rear height speaker layout as recommended by Auro.
Andysu
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no it ain't dolby okay , overhead surround x6 been in use at gamount/odeon 1969 refit cinerama70 , now home for the pigeons , dolby labs never got involved with cinema since 1971 mono a type being used on optical soundtrack and even still overhead was far from their minds even day one , star wars screen 1 gamount heard that star destroyer in Dolby Stereo , also overhead in screen 2 downstairs , which used left/right half surrounds and overhead its all the same signal . easy to do but trinnov stormaudio can't do that , i can , but useless to you have heard Dolby Stereo during 70's onwards
overhead never published at some selected cinemas decades ago , to no day now , dolby labs are using like its a new idea , also used in 2002 with one movie calms to be mixed only for one cinema release , no pictures of this cinema shows install , diagram drawings that once pdf now no longer which find strange , it was soundelux , Todd-AO dolby labs , " sonic whole overhead sound " we were soldiers , used some anti phase mixed into the stereo surrounds and decoded by Dolby pro-logic or SA10 or CP45
can you spot x6 overhead flush in ceiling ? also the other surrounds are JBL 8330 mkI installed in 1999 for release of , star wars 1 that played in SR-D , last time original overheads active around early 1998 then something happened to them and odeon used cheap mini-hi-fi speakers from foyer stuck in the two far corners , talk about cheap , why they didn't fix the speakers ? none matters now its home to the pigeons
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I am sorry but I have a 5.1.2 system and love Atmos music. It is like every other tech. You can get wonderful results or crap depending on the skills of the person using it. When done welll, it significantly improves on stereo. Bob James Feel Like Making Live is a wonderful experience. Sounds like you are in the studio. I have the 24/192 stereo file and the Atmos is a much better experience even though the stereo track is excellent. Anything from 2L or TRPTK sounds phenomenal in Atmos even if I do not like the music. Eric Clapton’s The Lady in the Balcony has a wonderful Atmos track in addition to phenomenal 4K hdr video. Sure there are terrible mixes, the Rolling Stones Grrr comes to mind. Unlistenable. But when done well it is phenomenal.
Curvature
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For example?
Audeze head tracking was pretty unexciting.
Atmos demos add reverb and have no additional precision using generic HRTFs.
Binaural in general has weak and diffuse imaging whenever I've tried it.
OP
Zensō
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I think this is a big part of the problem: the quality of the mixes is very inconsistent. This may or may not get fixed over time. The other big issue is the fact that, for a large majority of people, their only experience with Atmos is going to be either on headphones or a sound bar, neither of which is close to being compelling in my experience. Even purpose built speakers such as the new Sonos Era 300 promise far more than they deliver.
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True. I have had a dedicated but modest HT room so I just needed a new AVR and 2 in ceiling speakers. RSL makes some great in ceiling speakers and inexpensive too. I get it is not for everyone but just do not understand the hate.
OP
Zensō
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From the perspective of a musician/producer, the hate is directed at those companies that look to profit from the proprietary technology, telling producers that Atmos is the future and that they’ll be left behind if they don’t spend gobs of money upgrading their systems/studios to support the technology, which is a load of BS in my opinion. Lots of smoke, not much fire, similar to other over-hyped technologies in the past. Estimates say that the numbers are going in exactly the opposite direction, with somewhere past 75% of music now being consumed on headphones and earbuds. If anything, producers should be getting serious about mixing for headphones.
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Upgrade the studio to support a tech or not. the market will decide I guess. I have heard similar arguments in other technical advancements. I know, change is bad. I for one am grateful that not everything is geared to headphones and ear buds.
Plenty of the music I listen to is non-mainstream stuff that's never going to get an Atmos release anyway which drastically reduces it's utility for me. It's just too expensive for "bedroom" producers like @acbarn to start using it.
If it becomes as successful as Dolby wants it to be I'd worry about it's effect on the indie scene.
If it becomes as successful as Dolby wants it to be I'd worry about it's effect on the indie scene.
OP
Zensō
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I’m not saying everything should be geared solely to headphones, but it may be time to let go of the old mantra of primarily mixing for “good speakers in a good room”, which is something the market has already decided is not as relevant as it once was.
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jhenderson0107
Active Member
Indeed since Atmos renders sound objects to available resources in real-time during playback, the format itself supports headphone, stereo or multichannel output from a single source file. This potentially broadens the market for these mixes.
And given the boatloads of money I've had to continually spend over the years on RF test equipment, EMI range testing, UL testing, board spins due to part migration or obsolescence, not to mention never-ending new product development, I feel little sympathy for a mixing engineer whining about having to upgrade their studio once every fifteen years.
And by the way, capping the expense for an Atmos speaker system at $1000 and headphones at $100 is ludicrous. Very few $100 headphones sound great in stereo, let alone surround. This video takes a harsh, contrarian view simply as clickbait.
jhenderson0107
Active Member
Lead, follow or get out of the way.
Why can’t it be that a given mixer/producer/recording engineer enjoys the tech and want to use it. Why does it have to be that they succumb to marketing hype? It isn’t a black and white proposition as you seem to be implying. Use it or don’t. If it fails, so be it. If it succeed, you can have your niche or you can jump in. The market ultimately will decide regardless of any push. Look at the failure of MQA, a few years ago I heard the same thing about electric vehicles. Too expensive, nobody wants them. Now look. All the OEMs are jumping on board. That is how the market works.
That's looking at it from a "regular" consumer's point of view. 1K seems like a ludicrous amount of money to spend on speakers for a lot of people even if it seems like chump change to us "audiophiles".
His point was about what the average consumer would be willing to spend to get the "Atmos experience" and how good it would be for them with that level of equipment.
If it only sounds better than stereo after you spend several thousand dollars on a receiver and 9 separate speakers then it probably won't matter because fewer people will be willing to do that.
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