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I would think this would be a GREAT movie to evaluate the Atmos object tracker in the Altitude. As we know the individual (Filmmixer) who mixed the Atmos audio for this film. If Marc is able to answers questions regarding the audio mix.

He could validate and offer insight as to what were seeing with AOT (Atmos Object Tracker.)

Power Rangers 4K (Blu-ray)
 
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POLK LSI SPEAKERS
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Thank
Netflix app updates the other day v 2.1.16 broke 5.1 & Dolby Atmos output.

Enough of us users complained to Netflix, and now they've rushed out v 2.1.17 and it fixes it. 5.1 audio & Dolby Atmos have returned to Apple TV.

Thanks for the reply
At least I know and won't go changing anything
Hope the update is soon
 

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Good evening audiophile superheroes...

So I've pretty much upgraded most of my 7-10 year-old home theater components over the last month to prepare for next gen goodness with the PS5. The 60" 1080P screen is now Sony's 85" X900H, and the HDMI 1.4 receiver is now a Denon S960H... both can process a 2.1 HDMI signal, so I'm in business with connecting the sources (2.1 HDMI for the PS5 / 2.0 for cable TV and 2.0 for my computer). The display is up and running, so I am now ready to assemble the audio gadgets... plugging in the speakers, and attaching the PS4 (for now), the cable box and the TV into the receiver.

One upgrade for my old 5.1 audio setup in particular is adding a pair of Sony SSCSE Dolby Atmos modules. Are there any general tips towards optimizing the sound quality two units? They will sit on the front speakers between 5-6 feet from the ceiling. I'll use Audessey to calibrate of course, and if things are just that simple, I suppose all is well.

At minimum though, I'd also like to know a few Blu-rays that show off the overhead effect nicely, or at least some online clips. 4K suggestions are great too, but the PS5 launches in November for me to try them out. Thanks in advance.

Heh, I just read every other page of the last 60 pages of this thread. There were plenty of recommendations Atmos (i.e. Mad Max, Sicario, Fury), and there were also some props for 5.1 Neural X upmixes, so I guess those suggestions will be fine for a height audio newbie like myself.
 
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Good evening audiophile superheroes...

So I've pretty much upgraded most of my 7-10 year-old home theater components over the last month to prepare for next gen goodness with the PS5. The 60" 1080P screen is now Sony's 85" X900H, and the HDMI 1.4 receiver is now a Denon S960H... both can process a 2.1 HDMI signal, so I'm in business with connecting the sources (2.1 HDMI for the PS5 / 2.0 for cable TV and 2.0 for my computer). The display is up and running, so I am now ready to assemble the audio gadgets... plugging in the speakers, and attaching the PS4 (for now), the cable box and the TV into the receiver.

One upgrade for my old 5.1 audio setup in particular is adding a pair of Sony SSCSE Dolby Atmos modules. Are there any general tips towards optimizing the sound quality two units? They will sit on the front speakers between 5-6 feet from the ceiling. I'll use Audessey to calibrate of course, and if things are just that simple, I suppose all is well.

At minimum though, I'd also like to know a few Blu-rays that show off the overhead effect nicely, or at least some online clips. 4K suggestions are great too, but the PS5 launches in November for me to try them out. Thanks in advance.

Heh, I just read every other page of the last 60 pages of this thread. There were plenty of recommendations Atmos (i.e. Mad Max, Sicario, Fury), and there were also some props for 5.1 Neural X upmixes, so I guess those suggestions will be fine for a height audio newbie like myself.
Try these for Atmos enjoyment ............




Terry
 

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Hi All
So is it true that to fix the Non-Atmos sound issue on Netflix on Apple tv you need to uninstall the Netflix app and reinstall it?
 

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Hi All
So is it true that to fix the Non-Atmos sound issue on Netflix on Apple tv you need to uninstall the Netflix app and reinstall it?
All I did was update it. Go to the AppStore and find Netflix. It should give you the option to open it or update it. Click it and it will update and your Atmos should be back.


Sent from my iPad using Tapatalk
 

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"IT" parts 1 & 2 (2017 & 2019) both have excellent Atmos soundtracks. You can actually hear the clown climb a wall (rare upward sounding movement) and move across the ceiling at one point in the first movie near the end.
 

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joeblow; enjoy your new setup! atmos and DTS:X are a fun time; as well as DSU and NeuralX upmixing from 2, 5.1 and 7.1 sources! Does your setup or budget allow for 4 height channels instead of 2? I would humbly recommend you do all .4 versus .2; but either will sound great! I am a 5.1.4 dolby atmos enabled setup and it sounds amazing for movies & games = )
 

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Yeah, Xbox series X|S having DolbyVision/DolbyAtmos is really cool and a great differentiator from PS5. I am amazed sony picked their weird 3D audio headphone tech and ignored DolbyAtmos/DTS:X. Dolby said Xbox is the first console for now; not sure what they meant if there were future ones going to have it; but with Sony's stance on PS5; it sounds like Dolby made a fake illusion that another future console would have DV/DA. The switch 2 most likely won't; so only Xbox embraces Dolby!
 

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Back To The Future - Dolby Atmos Remix Review

I just watched the new 4K Dolby Atmos version of Back to the Future. I'm sad to say like many retrofits as of late, the Atmos conversion on it is largely a joke with little effort put into increasing immersion from the 2-channel Dolby Surround mix, let alone the 5.1 DTS-HD mix. I hadn't watched the movie in a long time, so it was fun to see it again as it's a great movie, but the surround effects were always on the piddly side and it's only slightly improved towards the end. Throughout much of the movie the surround speakers are pretty much all silent (I got up a few times to walk into the back of the room and listen at the various 17 speakers installed here and they were dead silent when I did check so I don't think it was just a matter of not enough volume for those channels, but more like they weren't being utilized for large stretches of time and of the few moments where they are used (save the very end), it's more or less exactly the same as the DTS-HD 5.1 version except there's a lot less bass in the LFE track (noticeably less). One example is when the flame trails at the mall make a sound flying into the back of the room. Technically speaking, it's an improvement in that the sound moves through the sides speakers in the rear speakers now whereas in 5.1 it just used the surround (side) speakers, but with DSU or Neural X engaged, they went into the back of the room too with very little audible difference to my ears. I remember hearing that effect in the surround speakers even on my Pro Logic decoded laserdisc version, so it's not a big change. At the start of the movie with the clocks all going off, they didn't create much of a surround effect either (The quad and 5.1 mixes of Pink Floyd's "Time" on Dark Side of the Moon were far more impressive for clocks going off all around). I thought the ticking bits would at least move as the camera panned down the line, but they just seems to stop a bit beyond the left speaker, even as the camera changed views.

Some music finds its way into the front height speakers here, but Neural X kind of does the same thing once again. By far and large, MOST of the sound comes from the 3 front speakers just like the original 2-channel Dolby Surround mix from the 1985 laserdisc. You can call that accurate/faithful to the original if you like, but I don't see the point in even "going Atmos" if you're not going to change hardly anything at all. The only real exception is clear at the end during the lightning storm. There the overhead channels are finally noticeable around the room, although I've heard better storm effects by far on other movies, but this is the one section of the movie the surrounds finally seem to at least be used continuously for that section. The helicopter right after Marty returns to 1985 also uses the overhead speakers and then it's right back to mostly front speakers even through the end credit music.

What really makes it noticeable is when a scene changes the camera angles and the effects remain in the same (front) speakers. For example, when Marty enters the diner in 1955, the Ballad of Davy Crocket is playing on the jukebox. The camera shows Marty coming into the diner from a view behind the counter. The jukebox is off to the camera's left and behind, but the song is coming from the front speakers right near the middle. The camera changes to show Lou behind the counter and the jukebox is now off to the front right, but the song just keeps playing from the center channel.... There is no change in the sound effects as the camera views change and the surrounds are almost never used for ANYTHING in most of the movie. Outdoors with George bird watching? Front channels only. High school dance music playing? Front channels only. I'd swear the movie was in 2-channel Pro Logic surround for 95% of the movie. Worse yet, the nice bass track of the DTS 5.1 Blu-Ray is pretty much eliminated. I cranked up the subwoofer 4dB and it still wasn't enough to match the Blu-Ray. Given my projector is getting a 2K downmix for video, I can't gauge the 4K Dolby Vision, but the 2K output in SDR is slightly less colorful than the Blu-Ray was in 1080p, but otherwise looked fine. I'm guessing that's the fault of the tone mapping, but until I can try it on a 4K set, I can't be certain.

For me, the deal breaker was the lack of any real kind of upgrade to the soundtrack. When I see Atmos, I get hopeful, maybe even a little excited it will be a real improvement like Blade Runner or even Groundhog Day where you can tell they made a concerted effort to make the soundtrack more immersive, even in moments that weren't overhead (Groundhog Day went from flat to feeling like I really was outdoors in Punxsutawney . Here, it felt like they did little more than slap the Atmos logo on my AVR and turn down the bass (I mean even the few effects that did use the overheads were pretty much there with Neural X anyway). In my opinion, they might as well have just kept the original soundtrack (2-channel) and called it a day as the Atmos soundtrack is a complete and utter let down, IMO. I've still got the 2nd and 3rd movies to watch in Atmos and with the flying car, I have a little more hope the overheads will get used more, but I'm not holding my breath.
 

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joeblow; enjoy your new setup! atmos and DTS:X are a fun time; as well as DSU and NeuralX upmixing from 2, 5.1 and 7.1 sources! Does your setup or budget allow for 4 height channels instead of 2? I would humbly recommend you do all .4 versus .2; but either will sound great! I am a 5.1.4 dolby atmos enabled setup and it sounds amazing for movies & games = )
That's a no-go for me since my Denon S960H AVR maxes out at 7.1 or 5.1.2, but thanks anyway.
 

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Has anybody out there upgraded there height channels from small satillite to bigger driver speakers. I built a system with used speakers. Monitor 7 V2 fronts cc370 centre, mini monitors for surrounds and currently cinema 70 for heights. I just found a set of 4 atom v2 for a good price. Would I notice any difference. All being powered by avr4300h.
Rich
 

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Has anybody out there upgraded there height channels from small satillite to bigger driver speakers. I built a system with used speakers. Monitor 7 V2 fronts cc370 centre, mini monitors for surrounds and currently cinema 70 for heights. I just found a set of 4 atom v2 for a good price. Would I notice any difference. All being powered by avr4300h.
Rich
It depends on how small you're talking about. As long as they can play solid down to 80Hz and cross well to a subwoofer, a larger speaker may not improve things. A better speaker in general or better timbre matched to your other speakers might, however. Crossed above 80Hz, you might notice the sub playing for tones from the heights.
 

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Thinking of just getting them and trying as I'm certain I could sell them for what I'll pay. A call to paridigm says that all thier speakers are timbre matched. The cinema 70 have a 3.5 inch driver to the atoms 5.5. Current 70 are being crossed over at 100hz as per xt32 recommendation. Just wondering if it's worth the effort. There have been many discussions I've read on the need for more capable height speakers. Some saying the info being sent to heights is served fine by a small unit while other say the opposite. Given the larger driver I would assume lower crossover would be the result. So really I've convinced myself to go for it I think. Kijiji message sent.
 

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Has anybody out there upgraded there height channels from small satillite to bigger driver speakers. I built a system with used speakers. Monitor 7 V2 fronts cc370 centre, mini monitors for surrounds and currently cinema 70 for heights. I just found a set of 4 atom v2 for a good price. Would I notice any difference. All being powered by avr4300h.
Rich
Rich,

If your interested I have what many consider a High-End Atmos system.
You can see just the Components/Gear in my signature below.
Or if your really-really interested click on my New Build and you can see Full-In-Depth Coverage of that install with tons of pictures.

Terry
 

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I tried
Thinking of just getting them and trying as I'm certain I could sell them for what I'll pay. A call to paridigm says that all thier speakers are timbre matched. The cinema 70 have a 3.5 inch driver to the atoms 5.5. Current 70 are being crossed over at 100hz as per xt32 recommendation. Just wondering if it's worth the effort. There have been many discussions I've read on the need for more capable height speakers. Some saying the info being sent to heights is served fine by a small unit while other say the opposite. Given the larger driver I would assume lower crossover would be the result. So really I've convinced myself to go for it I think. Kijiji message sent.
I wouldn't call my PSB B15s and CS500 that large, but they are capable to below 80Hz. I tried crossing them at higher frequencies to hear the effect and I could hear sounds coming from the subwoofer if I crossed above 80Hz, especially closer to 120Hz, but that may be program and/or test tone specific, but I'd prefer heights that can play well down to at least 80Hz.
 

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Bottom line, there are two competing factors:
1) All channels are "full range", and there are definitely some movies that have powerful effects in the heights, and when that happens you will notice the difference
2) On the flip side, it doesn't really happen that often, and it's also the area where our hearing is least sensitive so you can "get away" with more compromises above you

So if you're happy with the current setup, and you don't want bigger speakers hanging off the ceiling, just enjoy what you have. BUT, if you're willing to have bigger speakers, and you're itching to upgrade those and have the heights be more well-matched in capability to the surrounds, it will be an upgrade.... not a HUGE upgrade, but there will be times where you will appreciate the additional impact and dynamics above you.

Whether it's worth going to the trouble for an upgrade that will only be noticeable ~10% of the time.... that's up to you :)
 

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Bottom line, there are two competing factors:
1) All channels are "full range", and there are definitely some movies that have powerful effects in the heights, and when that happens you will notice the difference
2) On the flip side, it doesn't really happen that often, and it's also the area where our hearing is least sensitive so you can "get away" with more compromises above you
Some of the outdoor speakers have decent bass, enough that you can cross them at 80 or 100 Hz after measurements (depending on your tolerance for localization for those frequencies). Something like the PSB CS500 or CS1000. Or maybe something like a the JBL 705i?

Whether it's worth going to the trouble for an upgrade that will only be noticeable ~10% of the time.... that's up to you :)
There's another solution but AFAIK it can only be done on the Altitude. That's intermediate bass management, where you could cross, say, the front heights to the subs up to 80 Hz, then cross them to the mains underneath from 80 Hz to some higher frequency like 120 or 150 Hz, and then let them handle the bass above that. This gets around some of the localization effect if the bass is reproduced by speakers that are otherwise placed under the heights. Jon Herron touched on this in a couple of the webinars they did over the past several months.

I tested this on my system with my front heights, top middles, and rear heights, crossing in the 80 to 120 Hz range to mains, side and rear surrounds respectively, and to the subs below 80 Hz of course). The effect is subtle at best...maybe it would be more noticeable if I was listening in a bigger room at 100 db...
 
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