The official Dolby Atmos thread (home theater version) - Page 1049 - AVS Forum | Home Theater Discussions And Reviews
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post #31441 of 56215 Old 10-21-2015, 11:34 AM
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Originally Posted by TVAddikt View Post

1. What should I set the volume level to on the Crown Amp?
2. Does it matter which pair of Atmos speakers I run through the crown amp?

Bill
Bill,

@NorthSky isn't exactly correct. There is a thread not posting the link but search "questions pro amps" Lots of info on the XLS series. In a nutshell. I would suggest turning it up all the way or to 12 o'clock. More hiss at max but it's not a level or volume knob as north sky thinks it is. I run 8 of the XLS1500 and I leave them all set to max. With RCA or very high sensitivity speakers (100 db+), you will get a more hiss. 90db and/or using XLR and it's not a concern.

As for #2 , @NorthSky is wrong here unfortunately. D&M and all other manufs piggyback certain outputs together. I believe with Denon, like Marantz, that height2 and front surround wides are on the same internal amp block. They do have separate RCA preouts though. Therefore, I would specifically run height 2 preouts to the XLS. That way you have the option of hooking up an extra pair of speakers to the front wide speaker posts and use the internal amps. Mind you, it will NOT process the 13 chs at once. But you would be able to switch between speaker configs and use front wides instead of height 2.

If you ignore this and choose to run height 1 to XLS, then you will only be able to support EITHER height 2 OR front wides. You would physically have to switch the speaker cables.
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post #31442 of 56215 Old 10-21-2015, 11:51 AM
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Originally Posted by Nightlord View Post
It was a moderated review. An emotional one would have the director thrown off a a well known rock in Australia.
Others may hold different views of course. Ralph is a reviewer whose reviews I, and many others, respect greatly, and this was his conclusion:

"Mad Max: Fury Road is the fourth installment in the Mad Max film franchise and is an excellent addition that compliments the series. It comes to Blu-ray in this 3D Blu-ray Combo pack from Warner Brothers Home Entertainment featuring reference quality high definition video, skin tingling lossless surround sound, an entertaining and complimentary 3D rendering and a decent supplemental package that looks behind the scenes at the production. Home theater enthusiasts that are set up for Dolby Atmos are going to revel in this terrific mix that literally places you in the middle of the action. Mad Max: Fury Road is popcorn entertainment at its finest and this Blu-ray offering is a must have plain and simple. "

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Originally Posted by Nightlord View Post
Sure. It sounds quite different when not sitting in the centered sweetspot.
Where dialog came from in Gravity was a big tell on this. In one seat I had some dialog straight above me, which in sweetspot was to the side. Thus, only the person in the perfect center position will get to hear what was intended.
So a system designed for, and excelling in, large commercial cinemas with maybe 1,000 seats or more, is, in your view "a single person system"? I suspect that Dolby, the movie industry and the many people enjoying the many Atmos movies in the hundreds of Atmos theaters around the world will hold a rather different view to yours.

Still, even if you were even approaching being right, it's a huge step forward over the DOA Immersive Format which currently has, remind me, pretty much zero exclusive movie content

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post #31443 of 56215 Old 10-21-2015, 11:52 AM
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Originally Posted by pasender91 View Post
He's right there is going to be Atmos everywhere quite soon:
- Atmos in the Cinema (here since 2012)
- Atmos in the Home Theater (around for a year now)
- Atmos in the soundbars (Yamaha released one lately, i heard it during a show, it is not as good as an Atmos HT, but it adds a sense of depth)
- Atmos on streaming over the net (Netflix and others, coming soon)
- Atmos on Cable and Satellite (Comcast and many others in 2016)
- Atmos in video games (coming in 2016)
- Atmos in mobile phones and tablets (i am questioning the usefulness of this one )

That's quite a big list and a big ecosystem.
No doubt about it Dolby has been on there A game and light years ahead
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post #31444 of 56215 Old 10-21-2015, 11:52 AM
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Originally Posted by pasender91 View Post
He's right there is going to be Atmos everywhere quite soon:
- Atmos in the Cinema (here since 2012)
- Atmos in the Home Theater (around for a year now)
- Atmos in the soundbars (Yamaha released one lately, i heard it during a show, it is not as good as an Atmos HT, but it adds a sense of depth)
- Atmos on streaming over the net (Netflix and others, coming soon)
- Atmos on Cable and Satellite (Comcast and many others in 2016)
- Atmos in video games (coming in 2016)
- Atmos in mobile phones and tablets (i am questioning the usefulness of this one )

That's quite a big list and a big ecosystem.

Yes, but he's been discussing an Atmos receiver (to buy or not to buy) for some time now. Atmos in receivers is here and solid. So I'm still curious what exactly he's waiting for to "settle down".

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post #31445 of 56215 Old 10-21-2015, 12:10 PM
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Originally Posted by Nightlord View Post
It sounds quite different when not sitting in the centered sweetspot.
How is that different from every other system?

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post #31446 of 56215 Old 10-21-2015, 12:21 PM
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Originally Posted by sdurani View Post
How is that different from every other system?
I agree completely with you both!! @sdurani is dead on. Every theater or room is like that. Even in a 5.1 system, if you sit to the left or right, then sounds are more prominently focused from/on that side. Benefit with Atmos is, if done correctly, the height element is present even if the left/right pan is weaker. No different than 2.1 or 5.1 or 7.1 positioning.

But @Nightlord is right too.
The secret is.....have your own damn theater! I KNOW what seat is the MLP and no one else really knows there's a difference....guess who's butt ends up in the MLP every showtime!

Still others sit in the HT and ooh and awe and have never heard anything like it; completely oblivious to what they're missing.
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post #31447 of 56215 Old 10-21-2015, 12:24 PM
 
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Thanks for your feedback, in particular for number two. ...It also depends on each person's own setup...and about the volume...and about if it's a 5.1.2 or 7.1.4 Atmos configuration. ...So your feedback is well appreciated.
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Originally Posted by Stoked21 View Post
Bill,
@NorthSky isn't exactly correct. There is a thread not posting the link but search "questions pro amps" Lots of info on the XLS series. In a nutshell. I would suggest turning it up all the way or to 12 o'clock. More hiss at max but it's not a level or volume knob as north sky thinks it is. I run 8 of the XLS1500 and I leave them all set to max. With RCA or very high sensitivity speakers (100 db+), you will get a more hiss. 90db and/or using XLR and it's not a concern.
As for #2 , @NorthSky is wrong here unfortunately. D&M and all other manufs piggyback certain outputs together. I believe with Denon, like Marantz, that height2 and front surround wides are on the same internal amp block. They do have separate RCA preouts though. Therefore, I would specifically run height 2 preouts to the XLS. That way you have the option of hooking up an extra pair of speakers to the front wide speaker posts and use the internal amps. Mind you, it will NOT process the 13 chs at once. But you would be able to switch between speaker configs and use front wides instead of height 2.
If you ignore this and choose to run height 1 to XLS, then you will only be able to support EITHER height 2 OR front wides. You would physically have to switch the speaker cables.
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post #31448 of 56215 Old 10-21-2015, 12:25 PM
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Thank you.. I think I am mount them flush with the ceiling. They should have a good response up to 8khz with a 90 degree dispersion. Are you going to eq. yours at all? I am thinking about using 2 minidsp 2x4s to eq mine..

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I just ordered volt 6's for the same thing...and ordered the slanted flat pack (they offer one for the 10's as well) I plan on slanting them towards the mlp to not be extremely off axis. but from what I have read...ceiling mounting them without a backer box will yield just as good result...I would have gone this way..but the cavity between all my joists are filled with pipes etc

My home theater
Speakers: 3 JTR 212HTR (LCR), 2 Jtr Single 8LP (S), 2 JTR Triple 12LF (SB)) , 4 Volt 10LX (Atmos)
Subwoofers: 10 Sealed UXL-18, 5 Crowson Shadow 8 transducers, 3 Buttkicker LFE
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post #31449 of 56215 Old 10-21-2015, 12:34 PM
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I've been to several Atmos demo and my local Atmos theater has 16 overhead speakers and there's no difference in sound with my simple .4 Atmos setup. With attention given to proper setup and calibration mine images perfectly.
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post #31450 of 56215 Old 10-21-2015, 12:38 PM
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Originally Posted by kbarnes701 View Post
So a system designed for, and excelling in, large commercial cinemas with maybe 1,000 seats or more, is, in your view "a single person system"? I suspect that Dolby, the movie industry and the many people enjoying the many Atmos movies in the hundreds of Atmos theaters around the world will hold a rather different view to yours.
Well, if you have a room of those dimensions... Thus getting small angular differences between speakers equalling short differences in the time dimension as well, them it's another ballgame. I am, of course talking about [email protected] and the size of rooms we normally have unless we're some Hollywood star living in Beverly Hills or so...

But if your home theater caters to 1000 people, then I can excuse you, mine on the other hand has five seats.

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post #31451 of 56215 Old 10-21-2015, 12:39 PM
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Originally Posted by stikle View Post
Yes, but he's been discussing an Atmos receiver (to buy or not to buy) for some time now. Atmos in receivers is here and solid. So I'm still curious what exactly he's waiting for to "settle down".

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post #31452 of 56215 Old 10-21-2015, 12:53 PM
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Originally Posted by sdurani View Post
How is that different from every other system?
Well.... If you look at Auro... First of all they do discuss a more even sound across seats in their commercial material... And if you look at the 'up' dimension... The VoG... That's not so hard to achieve so that all seats will hear it as up (I've tested that with my own channel generation using four ceiling speakers playing the same mono signal) if you just get the radiation patterns and time difference in order.

For side channels, since they are using the same layout as the lower channel, you just need the same trick as for the previous generation to get all seats to have a similar experience. (multiple speakers and controlled radiation patterns).

Time delays you offcenter you can never avoid, of course, but how you get the experience of direction you can... And the balance in sound level. If you get hotspotting of the speaker closest to you, then there's something wrong... And Atmos unfortunately invites hotspotting due to it's explicit design for direct radiating speakers (or the virtual equivalent by way of ceiling bouncing).

( None of the formats are optimal, though. We could have done much better with less channels if the format had been chosen in another way and coded with wavefronts in mind. Which makes me more than a little curious about Barco's extension of Auro...)

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post #31453 of 56215 Old 10-21-2015, 12:54 PM
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I currently have a 7.1 system with a new Denon AVR-X4200W receiver and I am going to add two ceiling speakers and an extra two channel amp to make a 7.1.2 system. I only have one row of seating.

My question is does the Atmos processing for the overhead speakers send different overhead front and rear sounds to the speakers if you have a 4 or more overhead speakers? When the sound is moving front to rear do the overhead channels play the same sounds or do they play separate sounds depending on where the sound it supposed to be in a 3D space, ala a doppler effect (shift)?

In my system I can drop down to a 5.1 system and redirect my rear surrounds as rear overheads to make a 5.1.4 system but I would rather do a 7.1.2 system. From what I have read about Atmos, the channels are not totally discrete or independent of each other, that Atmos mixes the sounds to which speaker needs to play them at a given time. If this is the case then a sound moving from the front of the room to the rear might play through the front mains, to the side surrounds and overhead(s), and then onto the rear surrounds. Changes to the tonal aspects with relation to the doppler effect would be included in the audio track (done during Atmos editing when mastering the Blu Ray audio track). If this is correct then for only one row of seating one pair of overhead speakers might be enough to produce a 3D immersion effect.
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post #31454 of 56215 Old 10-21-2015, 01:05 PM
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Originally Posted by Stoked21 View Post
But @Nightlord is right too.
The secret is.....have your own damn theater! I KNOW what seat is the MLP and no one else really knows there's a difference....guess who's butt ends up in the MLP every showtime!

Still others sit in the HT and ooh and awe and have never heard anything like it; completely oblivious to what they're missing.
I have my own theater, but I would not optimize it for one seat (more than for stereo music).

I very rarely use MLP, I tend to use the seat closest to the control room so I won't disturb anyone going back to raise the volume or fill up my scotch or so.

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post #31455 of 56215 Old 10-21-2015, 01:10 PM
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Originally Posted by Nightlord View Post
Well, if you have a room of those dimensions... Thus getting small angular differences between speakers equalling short differences in the time dimension as well, them it's another ballgame. I am, of course talking about [email protected] and the size of rooms we normally have unless we're some Hollywood star living in Beverly Hills or so...

But if your home theater caters to 1000 people, then I can excuse you, mine on the other hand has five seats.
Maybe your setup is off.
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post #31456 of 56215 Old 10-21-2015, 01:11 PM
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And if you look at the 'up' dimension... The VoG... That's not so hard to achieve so that all seats will hear it as up...
But it will just be a mono channel blanketing the audience evenly, sacrificing possibility of sounds being moved/panned. Complete coverage is the opposite of directional sound. You can't do both simultaneously. Only one seat can hear L/C/R directionality as intended, and that's the person sitting directly in front of the centre speaker, with the left & right spread symmetrically. This problem isn't specific to Atmos.
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For side channels, since they are using the same layout as the lower channel, you just need the same trick as for the previous generation to get all seats to have a similar experience. (multiple speakers and controlled radiation patterns).
Atmos can do arrayed side channels as well. The only difference is that it has the option to pan sounds through the arrays, which Auro can't.
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Atmos unfortunately invites hotspotting due to it's explicit design for direct radiating speakers (or the virtual equivalent by way of ceiling bouncing).
Does Auro or DTS:X not recommend direct radiating speakers?

Sanjay
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post #31457 of 56215 Old 10-21-2015, 01:11 PM
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Originally Posted by Nightlord View Post
Well.... If you look at Auro... First of all they do discuss a more even sound across seats in their commercial material... And if you look at the 'up' dimension... The VoG... That's not so hard to achieve so that all seats will hear it as up (I've tested that with my own channel generation using four ceiling speakers playing the same mono signal) if you just get the radiation patterns and time difference in order.

For side channels, since they are using the same layout as the lower channel, you just need the same trick as for the previous generation to get all seats to have a similar experience. (multiple speakers and controlled radiation patterns).

Time delays you offcenter you can never avoid, of course, but how you get the experience of direction you can... And the balance in sound level. If you get hotspotting of the speaker closest to you, then there's something wrong... And Atmos unfortunately invites hotspotting due to it's explicit design for direct radiating speakers (or the virtual equivalent by way of ceiling bouncing).

( None of the formats are optimal, though. We could have done much better with less channels if the format had been chosen in another way and coded with wavefronts in mind. Which makes me more than a little curious about Barco's extension of Auro...)
Isn’t it academic for a format with virtually no content?
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post #31458 of 56215 Old 10-21-2015, 01:19 PM
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Originally Posted by kbarnes701 View Post
Maybe your setup is off.
Oh, you mean that NOT having hotspotting sounds is a problem? That's a new one.

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post #31459 of 56215 Old 10-21-2015, 01:23 PM
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Oh, you mean that NOT having hotspotting sounds is a problem? That's a new one.
I mean that if you find that Atmos is a "single person solution" something is probably wrong somewhere. If by "single person solution" you mean that there is only one seat in a home theater that has 'perfect' sound, well that has always been true, and true for every type of format there is, so I can't really see why you single out Atmos for mention.
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post #31460 of 56215 Old 10-21-2015, 01:27 PM
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Originally Posted by sdurani View Post
But it will just be a mono channel blanketing the audience evenly, sacrificing possibility of sounds being moved/panned. Complete coverage is the opposite of directional sound. You can't do both simultaneously. Only one seat can hear L/C/R directionality as intended, and that's the person sitting directly in front of the centre speaker, with the left & right spread symmetrically. This problem isn't specific to Atmos. Atmos can do arrayed side channels as well. The only difference is that it has the option to pan sounds through the arrays, which Auro can't. Does Auro or DTS:X not recommend direct radiating speakers?
No, it is not opposites. You can give more than one seat the same direction of the sound even if it's coming from different speakers. If you have the time difference properly in an array, you can choose with speaker you regard as the origin of the sound even if you have several. Precedense effect.

Panning through an array does not yield the same experience at different seats, sorry. You'd have to multiply the array in some way to achieve that (which I haven't given any thoughts about, I've mostly been thinking of how to properly place 16 speakers for 4 ceiling channels to have equal effect at all seats).

Auro will work just fine with arrays. DTS:X I know too little of as they've been very vague thus far.

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post #31461 of 56215 Old 10-21-2015, 01:31 PM
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Interesting. I watched this movie last week and I was very impressed with the sound and didn't notice any particular lack of use of the overhead speakers here. I haven't isolated the overheads at this time, but will do so to see if I am hearing the same as you. It is certainly the case that many Atmos mixes make less use of the overhead speakers than one might expect, but this is down to the mixer and has nothing to do with Atmos itself. As mixers become more familiar with Atmos maybe we can expect more use of the overhead speakers.

Also, Atmos is about much more than overhead speakers. The entire soundstage is enhanced by Atmos and it brings much greater precision to the placement of sounds all around you as well as above you. And in some ways, turning off all the listener level speakers can give a false impression: sometimes a very 'small' sound from the overheads will work in conjunction with a 'bigger' sound from the listener level speakers to enhance the impression of sound coming from overhead.

Certainly I was blown away by San Andreas's soundtrack here. For the record, I am running 7.2.4 with physical overhead speakers, using a Denon X5200.

This is what respected AVS reviewer @Ralph Potts had to say about the sound on this disc:

As mentioned earlier film's like this are tailor made for entertaining home theater listening. In this case those words have never been truer especially with respect to Dolby Atmos. San Andreas is the first Atmos mix that I have reviewed that contains elements that allow full advantage of the format's promise and the result is an engrossing thrill ride. The opening sequence features a helicopter rescue precipitated by a vehicle that crashed down an embankment. This segment contains a wealth of effects beginning with the visceral, rumbling tumbling falling vehicle that literally places you within the compartment. Later as the helicopter arrives there is a nice overhead flyover followed by visual perspectives and audio cues that simulate the hovering craft from down below. While that all sounds great it's just an appetizer for what is to come later beginning with the sequence that takes place at the Hoover Dam. That sequence brings together the type of room traversing sound that combines object placement from above and ear level that only gets better as the action ramps up.

The Atmos mix makes effective use of the entire platform and manages the plethora of effects, dialogue, music and low frequency content allowing all of the recording's elements to be fully realized. This track can be thoroughly engrossing and sometimes starkly realistic. There is a sequence during the third act that takes place in a crumbling building that is filling with water. Debris and raining down from above and crashing to the floor. I swear that at one point I actually turned and looked over my shoulder fully expecting to see a chunk of my drywall on the floor behind my seat. It sounded so lifelike that being caught up in the sequence it sounded like a piece of concrete fell and landed in my theater room. The extended earthquake/disaster related sequences contain a host of swirling effects, explosions, nearfield pans, and ambience that rotate around the soundstage, shifting overhead, passing by at ear level and coming directly at the listening position. It all comes together in a resplendent blend of room energizing and well balanced sound that shows what this format is capable of.

Kudos to the sound designers at Warner Brothers Home Entertainment as they consistently provide thrilling soundtracks that make for some of the best home theater experiences. This is no exception and stands right alongside my other favorite Dolby Atmos sound mix (which just happens to be from Warner Brothers HE), Mad Max: Fury Road.


The full review is here.

Not sure I get the point of this reply. No one said it doesn't sound good, just that there is no use of heights when it seems there could be to great effect. Has nothing to do with our systems or Ralph's review.


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post #31462 of 56215 Old 10-21-2015, 01:33 PM
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Quote:
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I mean that if you find that Atmos is a "single person solution" something is probably wrong somewhere. If by "single person solution" you mean that there is only one seat in a home theater that has 'perfect' sound, well that has always been true, and true for every type of format there is, so I can't really see why you single out Atmos for mention.
Well, the 'problem' is of course that I'm more picky.

No, it's not particularly true for traditional 5.1/7.1 systems done properly. A system with ceiling speakers is much more difficult to get correct in a normal room (8' ceiling height, less for back seats).

(Having those with distinct different channels is definitely more difficult than going for 'up' as the only cue and using the side channels to give what side cue is needed for the placement.)

Visualize a room with all the speakers in your mind and then imagine moving around in your different seats. The speakers where the angular difference change most is to most difficult. Side surrounds are managable with arrays... Back surrounds are the most difficult part of a 7.1, which has been mitigated by very little use in the soundtracks fortunately (and unfortunately moviewise).

If I would go for Auro, then I would do a small (2) array for back speakers to, so I would have 10 surrounds in total rather than 8 as I have today. And then two layers, so 20. And they aren't cheap, so there's definitely some financial resistance to trying it.

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post #31463 of 56215 Old 10-21-2015, 01:39 PM
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Not sure I get the point of this reply. No one said it doesn't sound good, just that there is no use of heights when it seems there could be to great effect. Has nothing to do with our systems or Ralph's review.


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Ralph's review comments positively on the use of overhead effects.

"Debris and raining down from above and crashing to the floor.

"The extended earthquake/disaster related sequences contain a host of swirling effects, explosions, nearfield pans, and ambience that rotate around the soundstage, shifting overhead, passing by at ear level and coming directly at the listening position. It all comes together in a resplendent blend of room energizing and well balanced sound that shows what this format* is capable of. *IE Atmos

"Kudos to the sound designers at Warner Brothers Home Entertainment as they consistently provide thrilling soundtracks that make for some of the best home theater experiences. This is no exception and stands right alongside my other favorite Dolby Atmos sound mix (which just happens to be from Warner Brothers HE), Mad Max: Fury Road. "


I can fully understand people wanting more from the overhead speakers. Remember when color TV was introduced? (Possibly not unless you are of similar age to me). People turned the color way up. "If I'm paying for a color TV I want plenty of color" seemed to be the mantra. When stereo was introduced (you need to be even older to remember that) there was a phase of going for hideous 'ping pong' effects designed to show that there were TWO speakers in the system. I think all these things need time to settle and for the people who create the content to become familiar with the possibilities. The new Atmos movies coming along on Blu-ray are using the overheads better than the early movies (eg the fourth Transformers movie, Turtles etc) so it's a promising trend.
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post #31464 of 56215 Old 10-21-2015, 01:42 PM
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No, it is not opposites.
Sure it is. If you have a sound coming from one corner of the auditorium, every seat will hear it differently (intensity, direction, etc).
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Panning through an array does not yield the same experience at different seats, sorry.
Panning in general, even through the L/C/R speakers, does not yield the same experience at different seats. Should movie mixes not pan sounds, out of concern that a sound in the left speaker will be heard differently in every seat in the room?

Also, you're putting a lot of emphasis on surround and height info, when the vast majority of the sound (and storytelling) is up front, coming from speakers that are not arrayed for even coverage.
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Auro will work just fine with arrays.
So will Atmos. But that didn't answer my question: does Auro not recommend direct radiating speakers.
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post #31465 of 56215 Old 10-21-2015, 01:53 PM
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Fact of the matter is time and SPL db are different no matter what.

Are you proposing we go back to mono or run dipole speakers everywhere? Large arrays may work well in commercial applications, but very few are going to do that in a HT. Even the early adopters like us are just now running 11.2 over the last months/a year let alone massive arrays. And at the end of the day, SPLs are going to be different in every seat from every driver.

I was on board with you in partial agreement with that fact, but a level of realistic implementation has to enter your equation here somewhere. To say that Atmos is inadequate is insane...especially when comparing to X and Auro that for all intents and purposes don't even exist.

Buy a camelback and fill it with scotch....then you can sit in the MLP and not have to get up and bother anyone while keeping your remotes handy!
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post #31466 of 56215 Old 10-21-2015, 02:41 PM
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Quote:
Originally Posted by kbarnes701 View Post
Ralph's review comments positively on the use of overhead effects.

"Debris and raining down from above and crashing to the floor.

"The extended earthquake/disaster related sequences contain a host of swirling effects, explosions, nearfield pans, and ambience that rotate around the soundstage, shifting overhead, passing by at ear level and coming directly at the listening position. It all comes together in a resplendent blend of room energizing and well balanced sound that shows what this format* is capable of. *IE Atmos

"Kudos to the sound designers at Warner Brothers Home Entertainment as they consistently provide thrilling soundtracks that make for some of the best home theater experiences. This is no exception and stands right alongside my other favorite Dolby Atmos sound mix (which just happens to be from Warner Brothers HE), Mad Max: Fury Road. "


I can fully understand people wanting more from the overhead speakers. Remember when color TV was introduced? (Possibly not unless you are of similar age to me). People turned the color way up. "If I'm paying for a color TV I want plenty of color" seemed to be the mantra. When stereo was introduced (you need to be even older to remember that) there was a phase of going for hideous 'ping pong' effects designed to show that there were TWO speakers in the system. I think all these things need time to settle and for the people who create the content to become familiar with the possibilities. The new Atmos movies coming along on Blu-ray are using the overheads better than the early movies (eg the fourth Transformers movie, Turtles etc) so it's a promising trend.
I understand, but the point was that the OP asking about this thought his setup was wrong because nothing came out of the overheads during the car crash/rescue. He received feedback that the 4100 was mentioned as not putting sounds out to the heights as well as it could. I checked by playing the height layer in isolation. There is dead silence in the heights when there clearly could not be.

At the start of the movie, I felt immersed in an excellent soundtrack, but also thought there might be something wrong with my height processing. It turns out that there was no sound there at all. That's it.

It's not that I want more height if it's not appropriate, but the entire Hoover Dam sequence, with towers breaking apart and debris falling all over had exactly no overhead action at all. It's just the way it is, but I was sitting there trying to feel the Atmos and be amazed, and I wasn't during that scene. Turns out there was no reason to be other than the fact that it has an excellent base layer soundtrack.

I do want better immersive mixes. I'm not interested in bad movies for good sound, but I made an exception on this one because it was reviewed as being one of the best Atmos mixes available. It was good, but it could have been more.
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post #31467 of 56215 Old 10-21-2015, 04:20 PM
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I tend to use the seat closest to the control room so I won't disturb anyone going back to raise the volume or fill up my scotch or so.

How about an RF remote so you don't need to get up to change anything?

As for the scotch...isn't that the job of children? "Get up and go refill my drink - I'm watching this movie and it's my house."

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post #31468 of 56215 Old 10-21-2015, 04:30 PM
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Quote:
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I understand, but the point was that the OP asking about this thought his setup was wrong because nothing came out of the overheads during the car crash/rescue. He received feedback that the 4100 was mentioned as not putting sounds out to the heights as well as it could. I checked by playing the height layer in isolation. There is dead silence in the heights when there clearly could not be.
Yes, sure - there is nothing wrong. It is what it is.

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At the start of the movie, I felt immersed in an excellent soundtrack, but also thought there might be something wrong with my height processing. It turns out that there was no sound there at all. That's it.
I too was surprised at the total lack of overhead activity during the opening car crash/rescue scene. There was plenty of opportunity with the chopper and so on. For example, on several occasions we saw Dwayne Johnson's character in big close-up in the chopper and consequently the engine and rotors would be above his head off the top of the screen. Perfect opportunity for the engine/rotor noise to come from the overheads. Lots of similar opportunities missed there.

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Originally Posted by jpco View Post
It's not that I want more height if it's not appropriate, but the entire Hoover Dam sequence, with towers breaking apart and debris falling all over had exactly no overhead action at all. It's just the way it is, but I was sitting there trying to feel the Atmos and be amazed, and I wasn't during that scene. Turns out there was no reason to be other than the fact that it has an excellent base layer soundtrack.
IKWYM. But there is plenty of overhead activity during the movie, but it isn't by any means continuous (even when the opportunity presents itself). I too wonder why the mixers don't do more. Maybe our own resident @FilmMixer might chime in if he sees the Mention.

Quote:
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I do want better immersive mixes. I'm not interested in bad movies for good sound, but I made an exception on this one because it was reviewed as being one of the best Atmos mixes available. It was good, but it could have been more.
Can’t disagree with you, although overall it was a terrific soundtrack - one of the best in my entire collection I believe.
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post #31469 of 56215 Old 10-21-2015, 05:50 PM
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Is anyone else going to watching Back To The Future II (Oct 21, 2015) with DSU tonight besides me?

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post #31470 of 56215 Old 10-21-2015, 06:14 PM
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Is anyone else going to watching Back To The Future II (Oct 21, 2015) with DSU tonight besides me?
No sorry baseball for me with DSU of course.
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