Jean.Francois
Active Member
- Joined
- May 31, 2022
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Hello,
After nearly a decade without a true original pop-rock album, Robbie Williams returns with BRITPOP, a bold record rooted in the spirit of the 1990s and the golden age of British music.
What does this album sound like in stereo and Dolby Atmos? That’s what we’re about to discover in this review.
There are no real surprises with this album: the stereo version is heavily compressed, with overall dynamic range values between DR4 and DR5 across most tracks, except for the final one, which reaches DR8.
We are still firmly stuck in the loudness race, the loudness war is clearly ongoing. This is particularly disappointing today, especially when high-resolution formats like this 24-bit release offer massive dynamic potential that is simply not being used at all.
To regain greater precision and dynamics, one must turn to the Dolby Atmos version which, thanks to the enforced normalization at 18 LUFS integrated, allows mixes to make better use of dynamic range.
The result is an immersive mix that draws the listener into the album, with a predominantly frontal presentation.
However, this mix is less showy than those of albums such as Boys and Girls, reviewed previously.
Find all the samples to listen to and compare the different versions, as well as all the analyses and measurements of each versions here (link).
Enjoy listening,
Jean-François
After nearly a decade without a true original pop-rock album, Robbie Williams returns with BRITPOP, a bold record rooted in the spirit of the 1990s and the golden age of British music.
What does this album sound like in stereo and Dolby Atmos? That’s what we’re about to discover in this review.
There are no real surprises with this album: the stereo version is heavily compressed, with overall dynamic range values between DR4 and DR5 across most tracks, except for the final one, which reaches DR8.
We are still firmly stuck in the loudness race, the loudness war is clearly ongoing. This is particularly disappointing today, especially when high-resolution formats like this 24-bit release offer massive dynamic potential that is simply not being used at all.
To regain greater precision and dynamics, one must turn to the Dolby Atmos version which, thanks to the enforced normalization at 18 LUFS integrated, allows mixes to make better use of dynamic range.
The result is an immersive mix that draws the listener into the album, with a predominantly frontal presentation.
However, this mix is less showy than those of albums such as Boys and Girls, reviewed previously.
Find all the samples to listen to and compare the different versions, as well as all the analyses and measurements of each versions here (link).
Enjoy listening,
Jean-François
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