Originally Posted by magi1500
I spent a great deal of time and money overseeing the design and construction of my dream theatre. It has been up and running for about 8 months. It took me a while to come to the following conclusion but I feel pretty confident in saying: if given a choice, I think I would take the theatrical 51 mix over the home theatre (nearfield) Atmos mix.
Some older Blu-rays with content from the late 90’s into the mid 2000’s often came with straight 51 transfers of the theatrical printmaster (no nearfield). Those sound better in my room than modern 51 (nearfield) mixes.
So I guess I’m wondering if anybody else feels this way? Obviously, I’d rather have theatrical Atmos! But if I had to pick, I’d take theatrical 51 over nearfield Atmos any day of the week.
Originally Posted by SkyCyberguy
Can't confirm that as a genral rule.
There are very good 5.1 mixes as well as there are very goog Atmos mixes.
And there are very good theatrical mixes as well as very good near field mixes.
I'd never say I'd prefer one to the other across the board.
Always depends on the qualitiy of the individual mix.
Originally Posted by nathanddrews
Like SkyCyberguy said, every mix is different. I felt the same way regarding 7.1 vs 5.1. For me, it was like this:
Yes, you might be chasing the rabbit down the hole. We've all done it. I don't know what size your room is, but that makes a huge difference in the end. For a long time, theater mixes were ported right over to DVDs and BDs. There were all kinds of strange things done for the big room that skewed things in our smaller rooms, especially with regards to bass. I'm fine with most modern mixes for BD/UHD. Audio delivery of streamed content is still a bit of a wild west.
My first question would be is there proper synergy in the room? By that I mean, the best we can do is create a room that will faithfully
reproduce what is on the disc/stream and emulates the benchmark experience
in the mixing stage or superb commercial theater. That requires more objectivity that subjectivity, but there is often some tweaking necessary to emulate that experience.
It means you kind of have to have a target/objective/outcome to "engineer." I'm big on that engineered outcome. "Engineered" meaning designing and executing a reasonably friendly acoustic environment, choosing speakers that will cover your seat or area smoothly
(no lobing), LF that is smooth across the area with plenty of headroom, and very good EQ/calibration (xt32 with the Editor App emulating the Harman/Synthesis target curve). Emulating the Harman/Synthesis Curve and Dynamic EQ are the two things that I use/endorse to help adapt the big room experience to our smaller rooms. This way you know that whatever is played in the room will be faithful to the disc media/mix. If you happen to not like what you hear on this or that movie, you can criticize the mix rather than worry about your system. If you frequently tinker with your system to satisfy your subjective opinion of the mix, make sure you have stored your work so you can restore the calibration.
It helps if you have a strong memory of a benchmark like a superb commercial theater (or lots of them). I find this necessary in the final verification listening. Some tweaking of trim levels may be in order for surrounds in this verification of the calibration results using the test tones and program content that you know very well. Sometimes -75dBc in all the surrounds sounds a little off due to various influences in the room. Go with what sounds equal to you at the MLP with surrounds. This will only be small adjustments from what renders -75dBc.
This can all add up to a lot of work. If you have a Denon/Marantz, save your work/configuration to a thumb drive and back it up. This way you can restore all your work if something goes amiss. Also save your work in the Editor App.
This approach is the ticket to relaxing and allowing yourself to become immersed in the movie, not JUST the technology. Fun stuff!