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Are the newer DTS:X blu rays still hard coded for front and rear height speakers?
I don't think any existing DTS:X blu rays are "hard coded" for any particular speaker layout. That's sort of the point?
 

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Although the early ones certainly are, not sure about the most current. The Yamaha AVRs actually indicate whether the audio is object or channel based and AFAIK, so far only channel based.
The Ip Man 3 Blu-ray and ID4 UHD Blu-ray say 7.1.4 plus (I believe) 5 objects on the Yamaha read-out. Unfortunately, the only product that you could test if 3D objects were actually included is the Trinnov and DTS has not updated their rendering software beyond 7.1.4.
 

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The frustrating thing about those is that they are collections of graphics, they aren't actually lists :(
What's wrong with a simple textual list of titles that can be saved, cut and pasted, emailed, compared with previous versions, etc?
Try this:

http://www.bigscreen.com/about/help.php?id=64#dtsxtitles

http://www.bigscreen.com/about/help.php?id=63#atmostitles

You asked for specifics about Netflix, and I don't have that information detailed, but you can assume that all Lionsgate titles are not going to have lossless sound, much less immersive sound.
 
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Are the newer DTS:X blu rays still hard coded for front and rear height speakers?
I don't think any existing DTS:X blu rays are "hard coded" for any particular speaker layout. That's sort of the point?
You would THINK that was the point, however the first batch of DTS:X releases were indeed hard-coded as 7.1.4 channels (no objects) with the FH+RH designations implicit. Unfortunately, as has been much discussed, DTS:X thinks that its FH/RH locations are closer to where Atmos thinks TF+TR should be. So if you have your speakers designated as TF+TR the height info will "smear" a bit as DTS:X attempts to phantom image the information down to (what it thinks is) the correct location.
 
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You would THINK that was the point, however the first batch of DTS:X releases were indeed hard-coded as 7.1.4 channels (no objects) with the FH+RH designations implicit.
Understood. It was the "hard-coded to locations" that threw me. I do remember all that discussion before about RH/RH vs TF/TR.

If it'd been what you said, or something like "channel based without any objects" I think it would've been clearer :p

Unfortunately, as has been much discussed, DTS:X thinks that its FH/RH locations are closer to where Atmos thinks TF+TR should be. So if you have your speakers designated as TF+TR the height info will "smear" a bit as DTS:X attempts to phantom image the information down to (what it thinks is) the correct location.
Yep, understood, thanks. So when (or if, at this rate!) we get more proper object-based DTS:X, I assume this will be a lot less of an issue?
 

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Understood. It was the "hard-coded to locations" that threw me. I do remember all that discussion before about RH/RH vs TF/TR.

If it'd been what you said, or something like "channel based without any objects" I think it would've been clearer :p



Yep, understood, thanks. So when (or if, at this rate!) we get more proper object-based DTS:X, I assume this will be a lot less of an issue?
Not necessarily. If DTS continues to hard code four height speaker locations into their consumer format rather than switching to a 7.1 bed plus 3D objects, that could still screw up products that support it and Dolby Atmos when designating Height or Top speakers.

I don't know if the Trinnov will be any different.
 

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I don't think any existing DTS:X blu rays are "hard coded" for any particular speaker layout. That's sort of the point?

My belief too: If I understand correctly, all three major ‘low bitrate capable’ immersive audio codecs (DTS:X, Dolby AC-4, MPEG-H Audio) mostly reserve objects for use with interactive audio elements, and place non-interactive audio elements--both static and dynamic objects from the mix–-into 4 or more non co-planar speaker|channel elements for delivery . . . this reduces the size and complexity of the delivery stream (including on disc).

When the playback decoder remaps the delivery stream channel content to conform with the playback speaker layout, the audio elements (“objects”) already resolved in channels are correctly relocated in the playback space. [I think this a consequence of using remapping algorithms which are compliant with Bessel-Fourier(?) Theory...?]

Finally, any remaining interactive audio elements (“objects”) can be resolved|rendered during playback and overlaid correctly, e.g., language selection, dialog volume, ‘snap-to-speaker’ sounds, 'front-speaker-spread to screen-width ratio' mix soundstage versus HT differences, etc.


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Try this:

http://www.bigscreen.com/about/help.php?id=64#dtsxtitles

http://www.bigscreen.com/about/help.php?id=63#atmostitles

You asked for specifics about Netflix, and I don't have that information detailed, but you can assume that all Lionsgate titles are not going to have lossless sound, much less immersive sound.
That may be a good rule of thumb (as I stated here last week), but it is not a good assumption across the board. Over the past couple of years I have received a number of Lionsgate releases on BRD from Netflix that had the full lossless DTS-HD MA or Dolby TrueHD soundtrack. OTOH, I think you can justifiably rely on their Atmos titles being dumbed down for Netflix distribution. I always screen my Netflix selections for Lionsgate distribution and move those titles over to my 3d-blurayrental.com waiting list, where every disc is the full retail version.
 
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Watched Lone Survivor UHD last night, and i have to say the DTS:X soundtrack was really, REALLY good! The ambiance at the air base was so natural, and it had exellent chopper sounds from above, even in my heights setup. It also has bone rattling LFE, and all the gun fight scenes was very immersive.

This has to be the best DTS:X demo disc so far! At least it is for me ;) RECOMMENDED !!
 

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I just finished watching The Bourne Identity in DTS-HD 5.1 and Neural:X did a fantastic job.

For instance, @ 1:28:00 when Jason shoots in the air and birds fly, the chirping was all over the ceiling and to the left and right. The whole movie was amazing.


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I just finished watching The Bourne Identity in DTS-HD 5.1 and Neural:X did a fantastic job.

For instance, @ 1:28:00 when Jason shoots in the air and birds fly, the chirping was all over the ceiling and to the left and right. The whole movie was amazing.


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Since DTS: X and Dolby Atmos require newly engineered soundtracks it will be interesting to hear just how active the sound scapes will be.
 

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Since DTS: X and Dolby Atmos require newly engineered soundtracks it will be interesting to hear just how active the sound scapes will be.

Yes sure. I'll watch now The Bourne Supermacy and hope it will sound same or better than the Bourne Identity




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Again N:X did a great job in The Bourne Supermacy.

Next is The Bourne Ultimatum.


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I have watched some of my old BDs and DVDs using Neu:X and have liked the results. Last night, I watched the UHD version Gods of Egypt with DTS:X and thoroughly enjoyed the experience.
 

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I have tried to find an answer in this thread but struggled with the search so please excuse me, if this question may have been answered already.
I am wondering how the DTS Neural:X upmixer works. Is it leaving the floor layer as is and just "mirroring" effects to the heights or is extracting those and removing the sounds, put to the heights, from the floor (or minimizing at least the volume)?
 

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Is there a ceiling height specification? My ceiling is about 20 feet high. I would think I can modulate through increasing volume.
 
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