We are currently conceptualizing the First Atmos dubbing Stage using the Quested Z16 and z8's
, as well as using their Q-118 subs front and the Zubs paired for 2 rear bass management channels.
Speaker positioning is crucial if you want a highly intimate (space invading) immersive experience, this is counterintuitive to the first published speaker implementation home atmos quidelines.
We have disclosed and discussed our objective and our objections to the first draft with dolby in the case of projection based theater systems with very large screens and have gotten the green light to use the cinema speaker deployment layout in lieu. The z series will be shown with Trinnov at ISE, it uses a smaller less in your face AMT and a more robust 8 inch driver than those used in the LT series. At the moment all but the zeilings will be biamplified (1 amp with filter card). There is a higher inherent cost involved with this, and care has to be taken in the Power supply and distribution (specially if you get the amps in 120 volts), as if you attempt a 16 to 22 speaker count Home Atmos or DTSX (which is an overlay of the Auro Format + width channels) there is some very very serious loads calculation planning.
What is there to lose in making such a large speaker and amplifier investment going just by the following the printed material available?
What was clearly shown all over CEDIA where 80% of sound that in Dolby own Atmos theater images a metre away from your head was depicted circumflying about the walls of the demo room 5 meters away, instead.
Had I had not heard the Gravity premiere where I did, none would have noticed this phenomenon, which is to logic De rigueur...
To Reiterate: The separation distances and speaker positioning resulting from the initially published Home Atmos guidelines may preclude (as shown in three different cedia demos) the enjoyment of "near-miss your head" audio object pirouettes (as in Gravity Houston Houston scene and Atmos demo bluray), further to hedge bets about future DTSX inroads into the Blu ray disc mix penetration very serious consideration has to be given to the ceiling arrays and side heights. We pretty much have figured the first 80% on how to not get this wrong.The only way to do this is through focused enlightened experimentation, precisely our central focus until we can get HDR 4k projection systems with decent lensing.
SO WHY AM I Talking about Atmos and Dtsx on a Quested thread? Because it is a serious psychoacoustical next step for home theater and while speaker layouts/counts, amplifier quality and spatial resolution are main goals, it would be completely imprudent not to throw in the most articulate fatigue free high spl natural sound possible along the way. Nothing gets in the way of personally space invasive sound than harshness and fatigue, if we were able to listen for weeks to the 20.10.2 mega-system Albiorix at peaks of 130+ decibels and come out as refreshed and relaxed as if we had spent that time in a spa, then the more balanced system of the Z's should be even more therapeutic.
Yes, the Z series looks like could be be a step towards a more cohesive soundfield integration between the mains and surrounds as compared to the LT series where the LT amt's can be super overpowering to the lt-8's and 24's ribbons, at least that is the plan, hence Roger and I decided that for a 40 foot by 27 foot by 16 foot dubbing stage the z series would be best. And also with all speaks pointed at the Neve mixing console position.