Originally Posted by maikeldepotter
Exactly, DTS:X Pro can do what nor DTS:X nor Atmos can: Light-up all speakers in a high channel count system when playing a "7.1.4 hard-coded" track.
And again it bears repeating.
Almost all (99%+) of DTS:X titles are hard coded.
A very small number of Atmos titles are...
So the real world difference, I expect, is that with X:Pro you will certainly be expanding the spaciousness of the inside of the listening bubble without creating any extra precision.... matrix decoding on the overheads will require extracting almost all front to back panning from two source channels..... for instance if one were to put an object on the ceiling exclusively and pan it front to back... with a 7.1.4 print out part of that sound will move down into the base level speakers.... that’s the way the down mixer works when rendering out to 7.1.4.... so by virtue of the limitations of the codec you are “compromising” the original intent of the mix when listening on systems which were larger than the payload (ie a mixing room with greater than 7.1.4..). Matrix deciders certainly have evolved greatly in steering intelligence.... but it’s not totally free from steering artifacts...
Again... will it be noticeable? I doubt it...
With Atmos the original intent of any given overhead pan should be precisely and accurately reproduced with few artifacts or steering... that’s of course dependent on the complexity of the track at any given single point in time and how the spatial coding process handles it.... those type of “steering” artifacts would be because of how Dolby has engineered the codec from the start taking into account the need for backwards compatibility, optical disc constraints and needing to provide a lossy solution for streaming, etc.
I think where Dolby made an error was not building in an array flag for the surround channels of the bed layer for products like the Trinnov.... but I think that’s less of an unforced error than the fact that DTS:X didn’t deliver in what was originally sold to consumers in their marketing and now then had to conceive a secondary “update” to the codec to expand outside of the codecs current 11 channel limitations...
And as we nit pick this subject, in the end I find it wonderful that we now have access, as consumers, of immersive content..... a good mix is a good mix, regardless of channel count.
If we’re sitting in our rooms listening to films and are distracted by the output meters of the processor than we’re missing the point of this hobby... which is to enjoy filmed and interactive content.
I have a saying... if I’m listening to how a film sounds while watching it, the director hasn’t done their job well enough to keep me engaged in the story their trying to tell.
Again. All this is just my .02.