The official Dolby Atmos thread (home theater version) - Page 15 - AVS Forum
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post #421 of 8728 Old 07-02-2014, 06:10 PM
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^Orbitron.

Pioneer has a solution that bounces the front L+R and back surround L+R off the ceiling with their speakers here: The OFFICIAL Pioneer Dolby Atmos Speaker Thread

Requires the ceiling to be flat and height between 8' to 14'. Not sure how well it's going to work as it's very new and not many have heard it. With existing setups, there is potential from other speaker manufacturers to offer something similar.

This new Atmos thingy has created a cloud of confusion for me. Not sure what to do, jump in or wait a few years for the dust to settle? Emotionally, my heart is asking me to jump right in, but my brain is telling me wait...

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post #422 of 8728 Old 07-02-2014, 06:42 PM
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Originally Posted by steveting99 View Post
^Orbitron.

Pioneer has a solution that bounces the front L+R and back surround L+R off the ceiling with their speakers here: The OFFICIAL Pioneer Dolby Atmos Speaker Thread

Requires the ceiling to be flat and height between 8' to 14'. Not sure how well it's going to work as it's very new and not many have heard it. With existing setups, there is potential from other speaker manufacturers to offer something similar.

This new Atmos thingy has created a cloud of confusion for me. Not sure what to do, jump in or wait a few years for the dust to settle? Emotionally, my heart is asking me to jump right in, but my brain is telling me wait...
Wait. These 1st gen products are quite gimped for a variety of reasons.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #423 of 8728 Old 07-02-2014, 06:53 PM
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Speculating - 1st gen with firmware updates results in same 2nd gen peformance?
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post #424 of 8728 Old 07-02-2014, 07:04 PM
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Originally Posted by Orbitron View Post
Speculating - 1st gen with firmware updates results in same 2nd gen performance?
No. They're limited because of the lack of DSP horsepower. They need better chips.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #425 of 8728 Old 07-02-2014, 07:13 PM
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Dan, for improved spatial allocation or is this too simplistic?
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post #426 of 8728 Old 07-02-2014, 08:15 PM
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Originally Posted by Orbitron View Post
Dan, for improved spatial allocation or is this too simplistic?
Everyone has been eluding the fact that in order to stay within a certain price point the major consumer electronics manufacturers decided to skimp on the processor power. So, that's why you have some features dumbed down or dropped entirely. The Denon and Marantz models that stuck with Audyssey dropped some features of the "basic" Atmos renderers. Onkyo cut their calibration software down to the bare minimum, which allowed for a couple of Atmos speaker layouts. It's all a bunch of either/or scenarios. Add this, cut that. Cut that, add this.

The DSP's they're using are stretched to the limit and something is going to have to be done next time around so spatial room calibration and renderer programming can occur... besides having more outputs and more options.

They need to focus less on receivers and more on modular/scalable pre/pro's so there's some freedom to maneuver because the cost of adding amps isn't there and the boxes can be loaded with other circuitry.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #427 of 8728 Old 07-02-2014, 08:50 PM
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All this takes me back to my Quad days when I mounted an overhead speaker in each corner of the room.
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post #428 of 8728 Old 07-02-2014, 11:30 PM
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the yamaha a3040 works with 4 overhead speakers in each ceiling corner or 2 front height+2 rear height doing 9.1.2 atmos with an additional external 2 channel amp.
somehow i like the auro-3D idea better with its VOG ceiling speaker in the middle of ceiling.

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post #429 of 8728 Old 07-02-2014, 11:34 PM
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Originally Posted by David Susilo View Post
Please, can we have just ONE thread without a wildly misinformed post?
No, lol, I'm afraid not. Just as we cannot have one that doesn't have 1-2 guys in their Thursday armchairs making calls and critiques on equipment they've never used and technology they know infinitely little about.

This whole "the sky is falling, wait 3 years, they didn't want to spend $38 on another dsp chip to do it right" from this clique is already played out and unnecessarily throwing people into the 'war of the worlds' mode.

Enough already. Can we just wait 'x' weeks until the gear arrives and is properly run through its course before continuing with this speculatory nonsense...or is that really asking too much?

Even better: ok, we all now KNOW this stuff is irreparably "gimped" "hamstringed" fill-in-the-new-adjective here: _______.

Now can we just wait a month or so to hear how it sounds?

Good grief.

James
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post #430 of 8728 Old 07-03-2014, 04:17 AM
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A Different (But Equally Valid) Opinion

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Originally Posted by mastermaybe View Post
Just as we cannot have one that doesn't have 1-2 guys in their Thursday armchairs making calls and critiques on equipment they've never used and technology they know infinitely little about.
Wow, that's pretty harsh; do you care to name any names? I don't believe this forum uses any sort of vetting process, so anyone is free to offer his opinion--well-founded or not. As with most open-source material, it is up to the reader to evaluate the reliability of the information. But if you would like to correct any misinformation that has been posted, I for one would be grateful for the edification.

Quote:
Originally Posted by mastermaybe View Post
Enough already. Can we just wait 'x' weeks until the gear arrives and is properly run through its course before continuing with this speculatory nonsense...or is that really asking too much?
(1) No . . .. and (2) yes. Half the fun of a new toy is in the anticipation.

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Even better: ok, we all now KNOW this stuff is irreparably "gimped" "hamstringed" fill-in-the-new-adjective here: _______. Now can we just wait a month or so to hear how it sounds?
Then there would have been no point in creating or following this thread until now.

Some of us do not feel "hamstringed"; rather we are enjoying the discussion and hope that it will continue.
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post #431 of 8728 Old 07-03-2014, 06:45 AM
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Originally Posted by Dan Hitchman View Post
Everyone has been eluding the fact that in order to stay within a certain price point the major consumer electronics manufacturers decided to skimp on the processor power. So, that's why you have some features dumbed down or dropped entirely. The Denon and Marantz models that stuck with Audyssey dropped some features of the "basic" Atmos renderers. Onkyo cut their calibration software down to the bare minimum, which allowed for a couple of Atmos speaker layouts. It's all a bunch of either/or scenarios. Add this, cut that. Cut that, add this.

The DSP's they're using are stretched to the limit and something is going to have to be done next time around so spatial room calibration and renderer programming can occur... besides having more outputs and more options.

They need to focus less on receivers and more on modular/scalable pre/pro's so there's some freedom to maneuver because the cost of adding amps isn't there and the boxes can be loaded with other circuitry.
What did Denon and Marantz cut of basic Atmos processing? I was under the impression they were using a extra dsp for the audussy processing. I could be wrong though...
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post #432 of 8728 Old 07-03-2014, 07:21 AM
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Interesting article. Who will win? ATMOS OR AURO 3D

TOWARD AN OPEN-STANDARD SURROUND-SOUND FORMAT


04/08/2014


Within Theatre 8 at AMC 16, Burbank, a total of six QSC SC-424 four-way screen channel loudspeakers — LCR screen channel and LCR height screen channels — are augmented by 42 SR-1030 two-way surround loudspeakers, arrayed as 12 (six per side) side-lower, eight (four per side) side-upper, six rear wall, six top-left and six top-right, and four top-center. Low frequencies are handled by an array of four SB-7218 floor subwoofers; two GP 118sw subwoofers suspended from the ceiling are fed from a derived LFE feed for the surround arrays low-passed at 60 Hz. A rack of QSC DCA Series amplifiers powers the loudspeakers. All signal processing, including EQ, time alignment and crossovers, plus routing, monitoring, control and calibration, is handled by a QSC Q-Sys Core 500i processor, using a series of FIR filters to correct loudspeaker performance. The Q-Sys Core also serves as the rendering engine for MDA object-based soundtracks.


Towards a SMPTE Standard

MDA Cinema Proponents Demo Open-Standard Surround-Sound Format

by Mel Lambert

It will come as no surprise to anybody involved in film and TV post that our industry is rapidly embracing immersive surround-sound technologies. With several hundred movie theatres around the world now capable of replaying Dolby Atmos and/or Barco Auro-3D soundtracks, Digital Cinema Initiative — a joint venture of Disney, Fox, Paramount, Sony Pictures, Universal and Warner Bros. motion-picture studios — has turned to the Society of Motion Picture and Television Engineers to help develop an open-format, object-based playback standard for immersive surround. The financial and operational benefits are immediately obvious. The same Digital Cinema Package/DCP media carrying an object-based soundtrack could play back in any immersive sound-equipped theatre located anywhere in the world.

“Our goal is to develop a single, interoperable distribution file format for immersive sound, which will be an object-based audio essence that can be used within the D-cinema architecture,” explains Brian Vessa, chairman of the SMPTE Technical Committee 25CSS, and executive director of Digital Audio Mastering at Sony Pictures Entertainment. “We are developing a common standardized method of delivering immersive audio to cinema systems regardless of the playback configuration.” Vessa also serves this year as DCI technical chairman, representing Sony Pictures.

A special TC-25CSS Working Group, chaired by Peter Lude, a consultant with Mission Rock Digital, is examining the interoperability of immersive sound systems for digital cinema, and a deliverable file format for the DCP, which is a collection of digital files used to store and convey audio, image and data streams to a theatre. “We need to provide the standardized tools for post-production facilities to prepare a single soundtrack and not a number of discrete mixes,” Lude says. “Film studios and exhibitors want a single format, and to date we have had tremendous support for the standardization process. The working group intends to have a draft standard for immersive sound available in draft form within 12 months.”

Two organizations are contributing input on object-based formats to SMPTE: Dolby Laboratories, whose proposal is based on Atmos; and MDA Cinema Proponents Group, which includes DTS, Doremi Laboratories, Ultra-Stereo Laboratories, QSC, Barco and Auro Technologies. The MDA Group’s immersive-surround proposal is based on Multi-Dimensional Audio, an uncompressed PCM sound format that derives from research initiated at SRS Labs and refined by DTS.



The Fairlight 3DAW MDA mixing environment is based on the firm’s Crystal Core Media processor, and provides on-screen 3D panning via a DAW plug-in, as well as comprehensive monitoring functions. A separate tablet control application allows for easy previewing and demonstration of audio output to verify and display the creative results.


To date, the MDA Cinema Proponents Group has held two demonstrations of its proposed format for working group members and other industry professionals at the AMC 16-theatre complex in Burbank. Theatre 8 has been outfitted by QSC Audio Products with a total of 54 behind-the-screen, surround and ceiling loudspeakers, plus subwoofers to create an audio test bed for replaying various surround-sound configurations. All signal processing, including EQ, time alignment and crossovers, is handled by a QSC Q-Sys Core 500i processor; replay is from a Doremi cinema server. Playback material for the special demonstrations comprised a short video produced by DTS, entitled The Escape, accompanied by replay of a single MDA object-based soundtrack that was rendered in real-time through the Q-Sys processor to produce outputs appropriate to targeted loudspeaker channels.

According to John Kellogg, senior director of corporate strategy and development at DTS, “The soundtrack mix for our demonstrations was made by Marti Humphrey and Chris Jacobson at The Dub Stage, Burbank [via a 35-speaker/26.1-channel system], using MDA Creator, a Pro Tools plug-in that facilitates the mixing and creation [on the facility’s Avid D-Control console] of an MDA interoperable file. That single mix as an MDA object-based audio file was wrapped into a DCP file, and played back on the Q-Sys cinema system in the AMC theatre. A major advantage for film studios and post facilities is that a single mix can service many different theatres and loudspeaker configurations.”

Like other object-based immersive surround formats, Multi-Dimensional Audio effectively models a variable number of sound objects located in three-dimensional space, rather than sounds that are assigned to a specific channel or loudspeaker configuration. For MDA, each object — or group of objects — is assigned its own identity, allowing them to be addressed individually during the re-recording process. Conventional PCM-format files are used to re-record and deliver the soundtrack, with metadata that contains information about where in 3D space each object is located.

During these specially staged presentations, the MDA Group first replayed the object-based mix mapped to all of the AMC theatre’s 48.1 channels. “We then mapped the same mix to the two immersive speaker configurations currently in use [Atmos and Auro-3D],” Kellogg continues, “then to a 7.1-speaker arrangement with four height speakers — 11.1 — and lastly in conventional 7.1. This capability shows that MDA is fully scalable, meaning that the same mix maps up and down with excellent results to all speaker arrangements; it is also affordable and available from multiple vendors. Unlike ‘fixed’ immersive speaker systems, we used the same MDA mix and the same file mapping via Q-Sys to all of those different speaker arrangements to illustrate that MDA is flexible; it does not matter how many speakers are in the room or where they are located.”

The cost of the AMC16 test-bed installation has been underwritten jointly by DTS, Barco, Doremi, QSC and AMC. “In exchange, the MDA Cinema Proponents Group can use the facility outside normal exhibition hours two days per week for internal testing and on-site demonstrations,” explains Paul Brink, QSC’s cinema sales engineer.



To date, Dolby Atmos immersive sound systems have been installed or are planned for over 450 movie theaters worldwide, as well as more than 55 post facilities. Recent Academy Awards include sound mixing and editing Oscars for Gravity, which was re-recorded in Atmos immersive soundtrack at Warner Bros.’ Burbank facility, and the Oscar-winning animated feature Frozen, which was dubbed in native Dolby Atmos at Disney Digital Studio Services’ Stage A, Burbank.


Other organizations are pursuing alternate ways of carrying immersive surround to consumers. Founded in 2007, Iosono was the first company to offer an object-based playback format based on wave-field synthesis using up to 128 data tracks to relay encoded sound to movie theatres. “To date, we have installed multiple systems in Europe and more recently in China,” says CEO Olaf Stepputat. “The next Iosono cinema multiplex will open in August this year.” In the UK, the Higher Order Ambisonics Group is extending the original full-sphere Ambisonics surround-sound technique that is said to enable rotation, reflection, movement and upmixing from legacy formats such as 5.1-channel mixes. NHK, Japan’s state broadcaster, has been developing a 22.2-channel system, consisting of nine ceiling speakers, including a center overhead channel, 10 surround speakers and three channels across the foot of the screen to reproduce footsteps, car noises and falling objects — with a matrix for downmixing to legacy loudspeaker layouts.

Once the current immersive audio standards effort concludes, the SMPTE technical committee will consider the future ability to combine conventional channel-based mixes with object-based immersive mixes. In this way, a legacy 5.1/7.1 cinema processor could be retrofitted with new firmware to accept an immersive soundtrack and render it to appropriate loudspeaker channels. In this scenario, techniques would need to be developed for mixing natively in an immersive format and then, while collapsing that mix to 5.1 or 7.1, capturing the appropriate vector-based metadata for the various object-based elements. The same metadata could be used by a suitably equipped cinema processor to re-render the original immersive mix in real time to any channel-based playback system. “But we need to take that process one step at a time,” Vessa advises, “rather than boil the ocean.”

Post-Production Tools for MDA Mixes

Several manufacturers are working on post-production tools for native MDA mixing. In addition to the DTS’ MDA Creator plug-in for Avid Pro Tools, MOTU Digital Performer, Apple Logic Pro, Steinberg Cubase and Nuendo workstations, Fairlight’s 3DAW audio production platform enables sound designers to mix object-based audio in three-dimensional space and monitor the result on any MDA playback configuration. 3DAW is based on the firm’s Crystal Core Media processor, with on-screen 3D panning via a DAW plug-in available in RTAS, AU and VST formats, as well as monitoring functions. MDA Creator is also said to be backwards compatible with legacy systems, allowing post facilities to export into any number of channel-based configurations, including stereo, 5.1, 7.1, 9.1+2 and DTS Neo:X. “Fairlight is also heavily involved in NHK's 22.2 vision, and can produce audio in this advanced format,” adds Tino Fibaek, Fairlight’s chief technology officer. “At NAB 2014, we will unveil support for additional 3D/object-based formats.”

Auro Technologies’ Auro-3D Authoring Tools is a set of plug-ins offering panning and simultaneous mixing to multiple formats, including an MDA-compatible export mode. “Our 3D mixing tools [use] vector-based panning and internal virtual bussing, which made the addition of MDA, or any format SMPTE decides upon, a simple effort,” says CTO Bert Van Daele. The plug-ins are available in AAX2 (64-bit), VST and AU format.



Barco reports that currently there are 150 Auro-3D systems in theatres — and 270 committed — together with 23 post facilities worldwide.


USL also is working on an extension of MDA playback. “Our implementation is unique in that the object-based audio is rendered, using patent-pending techniques, to channel-based [outputs] within the media block,” states company president Jack Cashin. This technique is said to offer three advantages: No outboard rendering system is needed (in many cases, a theatre’s existing sound processor can be used); the audio remains encrypted or forensically marked when outside the media block to prevent pirating; and existing systems can be updated to render object-based soundtracks. Since current hardware is limited to 16 audio output channels, of which two are used for visually- and hearing-impaired material, USL’s demonstrations render the MDA material to 13.1 outputs. It is reported that USL will be able to adapt its in-development system to the new SMPTE standard when it is finalized.

But the SMPTE process is not a contest between two competing technology companies. As Dean Bullock, director of Cinema Technology Strategy at Dolby Laboratories, explains: “Although the details of the work, by SMPTE rule, are not public, it is very clear from the active participation of several members with differing perspectives that this process will require very deliberate consideration of technologies from all of the 25CSS members. Inputs to the SMPTE group inform the result, but do not define its final output.”

“Our target for the SMPTE TC-25CSS inter-operability of immersive sound systems in digital cinema is three-fold,” Vessa concludes. “First, we want to develop a common, standardized file format, where one immersive audio mix made on any dub stage can be replayed through any immersive sound system with any number of playback channels. Secondly, we are developing an updated architecture for digital cinema, with standardized connectors and pipelines to facilitate immersive sound systems. Finally, we are looking at the calibration of playback systems to ensure consistency between the re-recording stage and a movie theatre.

“The development of a single interoperable standard for immersive audio soundtrack delivery with corresponding standards to insure interoperability between immersive sound systems is a noble and challenging goal,” he concedes. “But I absolutely believe we can get there.”

Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for more years than he cares to remember. He is a principal of Media&Marketing, a Los Angeles-based consulting service, and can be reached at mel.lambert@mediaandmarketing.com.

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post #433 of 8728 Old 07-03-2014, 07:39 AM
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What did Denon and Marantz cut of basic Atmos processing? I was under the impression they were using a extra dsp for the audussy processing. I could be wrong though...
From the information I'm reading, they can't do the 9.1.2 configuration if you happen to have front wide surrounds. The Onkyo's can because they dropped Audyssey and went with a very limited in-house solution.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #434 of 8728 Old 07-03-2014, 07:54 AM
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From the information I'm reading, they can't do the 9.1.2 configuration if you happen to have front wide surrounds. The Onkyo's can because they dropped Audyssey and went with a very limited in-house solution.
Kind of seems like these first gen receivers are all cutting some place... Kind of a bummer. I'm planning on doing a 7.2.4 7 speakers, 2 subs and 4 ceiling so this may be ok for me... More concerned with amplifier quality in Marantz and Denon... My current integra (50.4) is a heavy beast and has great amps. I notice a big improvement with Audussy also. Use a similar Yamaha and returned it the same day because it sounded awful which I think was mostly because of it's poor room correction. Bass was extremely weak on that receiver. Will be interesting to see how these sound when they come out.
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post #435 of 8728 Old 07-03-2014, 09:32 AM
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Does any one knows the DSP chip they use and how they compare? Texas Instruments, Cirrus, Freescale

http://www.ti.com/lsds/ti/dsp/overview.page

http://www.cirrus.com/en/products/cs...odKey=CS4970xx

http://www.freescale.com/webapp/sps/...?code=DSP56720

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post #436 of 8728 Old 07-03-2014, 10:36 AM
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From the information I'm reading, they can't do the 9.1.2 configuration if you happen to have front wide surrounds. The Onkyo's can because they dropped Audyssey and went with a very limited in-house solution.
Do you have a reliable source for that claim or is that speculation on your part?
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post #437 of 8728 Old 07-03-2014, 10:51 AM
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Do you have a reliable source for that claim or is that speculation on your part?
According to the Twice article: "Presumably, the Denon AVR and Marantz preamp processor will also drive the 9.1.2 configuration supported by Dolby Atmos, but D+M was verifying compatibility at post time."

Unless I overlooked some new information, I haven't read that D+M has confirmed its implementation of Atmos can do 9.1.2.

There seems to be some correlation between processor power, software coding, and which features can be implemented on each piece of gear. I would assume that having a full Audyssey calibration system engaged (even if it is channel based) with Dolby Atmos rendering (like on Denon/Marantz's gear) really puts a strain on current chips for consumer grade gear at a certain price point.

Listen up, studios! Just say "NO" to DNR and EE!!

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post #438 of 8728 Old 07-03-2014, 10:54 AM
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This s**t can't get here fast enough.
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Quote:
Originally Posted by chi_guy50 View Post
Wow, that's pretty harsh; do you care to name any names? I don't believe this forum uses any sort of vetting process, so anyone is free to offer his opinion--well-founded or not. As with most open-source material, it is up to the reader to evaluate the reliability of the information. But if you would like to correct any misinformation that has been posted, I for one would be grateful for the edification.



(1) No . . .. and (2) yes. Half the fun of a new toy is in the anticipation.



Then there would have been no point in creating or following this thread until now.

Some of us do not feel "hamstringed"; rather we are enjoying the discussion and hope that it will continue.
1. No, I'm not naming names because that would be childish and more importantly, unnecessary- besides cornering the market on the obvious.

2. Yeah, everyone can say what they want to a degree- precisely the point: but are there no limits to useful dialog or is everything on the table? Wait, don't answer that.

3. 90+% of the discussion has been fine and that is not the issue- complete straw-man, there. I made it plain what is getting tiring to read in this thread and others: the point has been made dozens of times, let it lie.

4. Anticipation and discussion is one thing, baseless speculation, heresay, and bashing yet-to-exist products on a sliver of knowledge and experience is quite another and doesn't enrich the conversation-- I'm confident almost everyone here would agree.

But I guess it's foolish of me to continue as I know it won't stop the pi$$-party.

So then, carry on: after all, we can basically say whatever we want, right?

Rock on.

James
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post #440 of 8728 Old 07-03-2014, 11:49 AM
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Quote:
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Do you have a reliable source for that claim or is that speculation on your part?
Take a wild guess.

"Well, I haven't heard anything to the contrary so it must be correct."

Something like the teapot orbiting the earth syndrome.

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post #441 of 8728 Old 07-03-2014, 12:06 PM
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So to be clear; if I want to run a 9.1.2 Dolby Atmos configuration; I need to look at the Onkyo 1030 or 3030 receivers - Correct? (With the 1030 - an additional 2 channel amp is needed for the eleven powered channels)
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I think it's too early to answer this question definitively; for one thing, I believe I read that Denon could possibly allow a 9.1.2 configuration on the X7200 or even the X5200 with a future firmware update.
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According to the Twice article: "Presumably, the Denon AVR and Marantz preamp processor will also drive the 9.1.2 configuration supported by Dolby Atmos, but D+M was verifying compatibility at post time."

Unless I overlooked some new information, I haven't read that D+M has confirmed its implementation of Atmos can do 9.1.2.
I knew that I had read of the potential for a 9.1.2 Atmos configuration on Denon's new models somewhere but couldn't remember the source. It was this article published on June 23, from which you draw your quote.

I wouldn't infer too much from D+M's lack of confirmation at this point; they really haven't officially released diddly yet regarding detailed specs on the X5200/X7200. Which allows us to continue to deliberate the possibilities, to the exquisite chagrin of some.
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post #442 of 8728 Old 07-03-2014, 12:42 PM
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Do you guys have opinion on what type of speakers to use for the ceiling speakers? Any will do? Dipole or quadpole? Or just wait to see what manufactures come up with for Atmos?
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post #443 of 8728 Old 07-03-2014, 01:33 PM
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Do you guys have opinion on what type of speakers to use for the ceiling speakers? Any will do? Dipole or quadpole? Or just wait to see what manufactures come up with for Atmos?
I would like to get speakers from the same family as the rest of my speakers. I am running B&W so plan on going with something they make that is timber matched although this may not be 100% necessary I would imagine it would have some benefit. Would think standard front firing speakers would be best as you want to push the sound down from the Ceiling. Notice the speakers in the Atmos theater I go to are regular speakers they are just mounted to the ceiling.
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post #444 of 8728 Old 07-03-2014, 02:04 PM
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Simple. Just stick with monopole. Same as your mains.

Coax is even better choice if you have the option.


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post #445 of 8728 Old 07-03-2014, 02:32 PM
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Do we have enough information to make any decisions about where the ceiling speakers should go in relation to the seating? Should they go 1/3 of the way from the sides? Any information on multiple rows? What about multiple rows of side surrounds? Do we mach the ceiling speakers with the side surrounds plus two more ceiling speakers forward of the seating?

I've seen the few block diagrams floating around, but they are not particularly detailed. I've also read the Dolby ATMOS specifications white paper for commercial theaters, but I'm not sure how that will translate to smaller home theater space.

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post #446 of 8728 Old 07-03-2014, 04:19 PM
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Simple. Just stick with monopole. Same as your mains.

Coax is even better choice if you have the option.
Some of the literature for the newer Atmos "friendly" professional speakers talk about "wide dispersal" patterns. Models like the Klipsch surrounds use a kind of dual driver/bipolar configured tweeter assembly with a single woofer.
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post #447 of 8728 Old 07-03-2014, 05:09 PM
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if we're patient . .
maybe there will be "suggested" min/max spacing for L/R in each row of ceiling speakers from front to back based of criteria of speaker (monopole/ FR and SPL) , for which there will also be a suggested min/max spacing between a yet to be determined number of rows (based on suggested min/max room sizes) and suggested angles wrt to MLP or rows of seating and the chip can be smart enough to unify and do what we want. (which is WE WANT IT ALL and WE WANT IT NOW!)
the block diagrams are a bare start for the possibilities but as previously stated,
what type of CE driven econo mode/implementtion are we going to get?


when and where is this CEDA (?) going to be? exactly . . .

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post #448 of 8728 Old 07-03-2014, 05:15 PM
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when and where is this CEDA (?) going to be? exactly . . .
Sept. 10-13th in Denver, Colorado.

Anyone know if someone outside the industry, like me, can sign up to attend? I would LOOOOVE to go this time.

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post #449 of 8728 Old 07-03-2014, 06:21 PM
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Received my .4 speakers today. Going to wait for more details before installing them.


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post #450 of 8728 Old 07-03-2014, 06:28 PM
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Patient???? September???? I don't have the first, and I hope I'm past being able to run anymore wire by the second.

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