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Post by TDifEQ on Sept 26, 2019 9:47:36 GMT -5
Here's a perfect example (from Blu-Ray.com review of 4K Spider-man Far From Home ATMOS Audio) of why RMC-1 Owners need multiple 3D upmixers (DTS Neural:X Pro and Auromax) due to Disney's "habit" of delivering inferior 3D ATMOS audio. RMC-1 Owners would like to apply a 3D upmixer to DTS HDMA to get around this horrible ATMOS track. I was on the fence with Auromax; but now EMO has the data to support Auromax after DTS:X Pro. Thank-you Disney. EDIT: Stand corrected. It's Sony Studios, not Disney. "Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume."
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Post by lrobertson on Sept 26, 2019 10:07:25 GMT -5
Here's a perfect example (from Blu-Ray.com review of 4K Spider-man Far From Home ATMOS Audio) of why RMC-1 Owners need multiple 3D upmixers (DTS Neural:X Pro and Auromax) due to Disney's "habit" of delivering inferior 3D ATMOS audio. RMC-1 Owners would like to apply a 3D upmixer to DTS HDMA to get around this horrible ATMOS track. I was on the fence with Auromax; but now EMO has the data to support Auromax after DTS:X Pro. Thank-you Disney. "Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." This is partially why I want to learn more about applying BEQ’s for movies.
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Post by TDifEQ on Sept 26, 2019 10:21:44 GMT -5
Watched 4K DV/ATMOS Anna and 4K DV/ATMOS Rambo with 9.1.6 config. WOW. Those widths and heights really kicked in ... even on the older Rambo movie. Just listening to 9.1.6 with RMC-1, I would tell everyone on the fence to buy the RMC-1 ... even though it has minor issues being addressed by EMO ... no issues watching 4k Dolby Vision and listening in 9.1.6 ATMOS. Yes, in my home, 9.1.6 is much better than 7.1.4 (do not have a dedicated home theater room) ... with reference quality 4k DV/ATMOS movies.
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Post by goozoo on Sept 26, 2019 13:19:58 GMT -5
Here's a perfect example (from Blu-Ray.com review of 4K Spider-man Far From Home ATMOS Audio) of why RMC-1 Owners need multiple 3D upmixers (DTS Neural:X Pro and Auromax) due to Disney's "habit" of delivering inferior 3D ATMOS audio. RMC-1 Owners would like to apply a 3D upmixer to DTS HDMA to get around this horrible ATMOS track. I was on the fence with Auromax; but now EMO has the data to support Auromax after DTS:X Pro. Thank-you Disney. "Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." This is partially why I want to learn more about applying BEQ’s for movies. Easy, just buy a miniDSP and hook up the subs. Plug in the EQ filters and you're done. Good for movies like this and if you're basically a bass head.
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Post by lrobertson on Sept 26, 2019 13:23:01 GMT -5
That I am
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Post by davidl81 on Sept 26, 2019 13:38:07 GMT -5
Here's a perfect example (from Blu-Ray.com review of 4K Spider-man Far From Home ATMOS Audio) of why RMC-1 Owners need multiple 3D upmixers (DTS Neural:X Pro and Auromax) due to Disney's "habit" of delivering inferior 3D ATMOS audio. RMC-1 Owners would like to apply a 3D upmixer to DTS HDMA to get around this horrible ATMOS track. I was on the fence with Auromax; but now EMO has the data to support Auromax after DTS:X Pro. Thank-you Disney. "Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." Of course in this case if you want to upmix the better sound track (DTS) you will then be forced to watch the non-4k version of the film. We just can't win, lol. I will say that I am pretty disappointed with the Disney Atmos releases in general. None of their recent movies have sounded "Great" to me. And frankly they have the best library between Star Wars and Marvel to make awesome use of 3D audio. I watched End game a little yesterday (family was not home so I could pit everything as loud as I wanted) and even in the giant battle at the end it was just very blah. I then put John Wick 3 in (from a much smaller studio) and the soundtrack was amazing. It added so much to the movie. I am just assuming that all of the Disney 4K releases are being basically made for the Disney + streaming service so in an effort to keep the data usage down they kinda handicap the soundtracks. Just a guess on my part though.
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Post by TDifEQ on Sept 26, 2019 15:30:43 GMT -5
Here's a perfect example (from Blu-Ray.com review of 4K Spider-man Far From Home ATMOS Audio) of why RMC-1 Owners need multiple 3D upmixers (DTS Neural:X Pro and Auromax) due to Disney's "habit" of delivering inferior 3D ATMOS audio. RMC-1 Owners would like to apply a 3D upmixer to DTS HDMA to get around this horrible ATMOS track. I was on the fence with Auromax; but now EMO has the data to support Auromax after DTS:X Pro. Thank-you Disney. "Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." This is partially why I want to learn more about applying BEQ’s for movies. Looks like BEQ just went on my radar.
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Post by Gary Cook on Sept 26, 2019 22:07:56 GMT -5
"Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." This leaves me with more questions than it answers, for instance what's the Dolby True HD 7.1 track like on the 4K disc? As compared to the DTS HD MA track on the blue ray disk? Is this a Bryan Kluger review? I ask because I have found a number of his audio reviews don't align with my experience, makes me wonder what gear he is using for the reviews. FWIW the 4K is a Sony Picture release not Disney. Cheers Gary
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Post by Gary Cook on Sept 26, 2019 22:11:14 GMT -5
Of course in this case if you want to upmix the better sound track (DTS) you will then be forced to watch the non-4k version of the film. We just can't win, lol. That's not true, we can always select and listen to the Dolby True HD 7.1 audio tack on the 4K disc. Cheers Gary
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Post by goozoo on Sept 27, 2019 6:30:41 GMT -5
Of course in this case if you want to upmix the better sound track (DTS) you will then be forced to watch the non-4k version of the film. We just can't win, lol. That's not true, we can always select and listen to the Dolby True HD 7.1 audio tack on the 4K disc. Cheers Gary Technically speaking you are listening to the TrueHD track just with the added metadata for ATMOS. To bring the conversation back on topic, this is just another example of why post processing is needed in listening to today’s media and where Emotiva currently falls short with their mindset. The answer always seems to come back to lack of content for anything other than ATMOS, when the real problem is that most of the content released is grossly lacking in audio dynamics and REQUIRES post processing to approach it’s theatrical counterpart. Emotiva needs to recognize and accept this reality if they are to stay competitive with other products and stop making excuses because they lack the engineering or are too stubborn (just listen to the latest podcast and compare that to actual user’s experiences). If this thread is to remain open and moderated by Emotiva then they need to jump in and have a frank two way conversation about these more advanced topics so that their entire processor line may benefit from these enhancements. DTS:X Pro, IMAX Enhanced, Auro 3D, eARC are all features relevant in this discussion but cannot seem to get much traction.
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Post by maryal29 on Sept 27, 2019 11:18:08 GMT -5
That's not true, we can always select and listen to the Dolby True HD 7.1 audio tack on the 4K disc. Cheers Gary Technically speaking you are listening to the TrueHD track just with the added metadata for ATMOS. To bring the conversation back on topic, this is just another example of why post processing is needed in listening to today’s media and where Emotiva currently falls short with their mindset. The answer always seems to come back to lack of content for anything other than ATMOS, when the real problem is that most of the content released is grossly lacking in audio dynamics and REQUIRES post processing to approach it’s theatrical counterpart. Emotiva needs to recognize and accept this reality if they are to stay competitive with other products and stop making excuses because they lack the engineering or are too stubborn (just listen to the latest podcast and compare that to actual user’s experiences). If this thread is to remain open and moderated by Emotiva then they need to jump in and have a frank two way conversation about these more advanced topics so that their entire processor line may benefit from these enhancements. DTS:X Pro, IMAX Enhanced, Auro 3D, eARC are all features relevant in this discussion but cannot seem to get much traction. +100 In addition, no update, while there is still a lot of problems to resolve especially at the level of DTS, they could start by lifting the restriction of Dolby and repair Neural: X while waiting for Dirac. I think you're really right in saying that Emotiva's engineers are stubborn and not open-minded.
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Post by TDifEQ on Sept 27, 2019 12:27:08 GMT -5
"Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." This leaves me with more questions than it answers, for instance what's the Dolby True HD 7.1 track like on the 4K disc? As compared to the DTS HD MA track on the blue ray disk? Is this a Bryan Kluger review? I ask because I have found a number of his audio reviews don't align with my experience, makes me wonder what gear he is using for the reviews. FWIW the 4K is a Sony Picture release not Disney. Cheers Gary Thx for correction on Sony. Thought Disney bought out marvel.
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Post by TDifEQ on Sept 27, 2019 12:34:13 GMT -5
"Spider-Man: Far from Home's Dolby Atmos soundtrack is far from where it should be. The track has befallen the increasingly common (albeit mostly with Disney titles) plague of limited range and low volume. It's hushed at reference volume and even an increase in volume yields only modest returns. This is a flat, uninspired track with some fleeting moments of generous weight but little to show for it, particularly against the more potent, powerful, and fully engaging DTS track found on the Blu-ray. There's not a total absence of low end depth -- some of the action elements throughout, notably in the final act, do find some rumble and heft -- but there are other moments when the entire thing falls painfully flat. At the 1:20:05 mark a crane falls with practically no low end report. Admittedly it's curiously not of major sonic impact on the Blu-ray, either, but it's a jarring moment of nearly nothing on the UHD. A number of moments that should offer more intensity fail to do so. The Blu-ray is far more dynamic and dramatic, more capable, more enjoyable, more complimentary. Here, with the volume cranked, there's a feel that some of the deficiencies are made less obvious but there's no mistaking the track's essential shortcomings. The Atmos presentation does offer plenty of directional movement and stage involvement but with a penalty to depth. The overhead channels do enhance several key moments, including in chapter 10 when Mysterio's voice emanates from all sides and positions (also the same scene in which that aforementioned crane can be found). Dialogue approaches whisper-quiet with the volume knob at normal position and music cannot carry any scenes, either, at reference volume." ... Is this a Bryan Kluger review? I ask because I have found a number of his audio reviews don't align with my experience, makes me wonder what gear he is using for the reviews. ... Cheers Gary Spider-Man: Far from Home 4K Blu-ray Review Reviewed by Martin Liebman, September 24, 2019
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Post by lrobertson on Sept 27, 2019 12:53:22 GMT -5
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Post by davidl81 on Sept 27, 2019 14:03:38 GMT -5
This leaves me with more questions than it answers, for instance what's the Dolby True HD 7.1 track like on the 4K disc? As compared to the DTS HD MA track on the blue ray disk? Is this a Bryan Kluger review? I ask because I have found a number of his audio reviews don't align with my experience, makes me wonder what gear he is using for the reviews. FWIW the 4K is a Sony Picture release not Disney. Cheers Gary Thx for correction on Sony. Thought Disney bought out marvel. Its super complicated, but in basic terms Sony owns Spiderman movie rights. Sony "loaned" Spiderman to Disney to make movies. Sony makes most of the money, and Disney gets a cut. I'm 99% sure that on these movies Disney (via Marvel Studios) actual makes the sound mixes etc. Basically Sony just fronts the cash for the project and they get to be the Studio in title, but they do very little of the work.
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Post by lrobertson on Sept 27, 2019 21:03:02 GMT -5
Thx for correction on Sony. Thought Disney bought out marvel. Its super complicated, but in basic terms Sony owns Spiderman movie rights. Sony "loaned" Spiderman to Disney to make movies. Sony makes most of the money, and Disney gets a cut. I'm 99% sure that on these movies Disney (via Marvel Studios) actual makes the sound mixes etc. Basically Sony just fronts the cash for the project and they get to be the Studio in title, but they do very little of the work. My phone must be spying on our thread. Random timing. From my news feed. apple.news/AlX2Qg8D6TziNU_rUyk3Ouw
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Post by TDifEQ on Sept 28, 2019 7:47:51 GMT -5
That's not true, we can always select and listen to the Dolby True HD 7.1 audio tack on the 4K disc. Cheers Gary Technically speaking you are listening to the TrueHD track just with the added metadata for ATMOS. To bring the conversation back on topic, this is just another example of why post processing is needed in listening to today’s media and where Emotiva currently falls short with their mindset. The answer always seems to come back to lack of content for anything other than ATMOS, when the real problem is that most of the content released is grossly lacking in audio dynamics and REQUIRES post processing to approach it’s theatrical counterpart. Emotiva needs to recognize and accept this reality if they are to stay competitive with other products and stop making excuses because they lack the engineering or are too stubborn (just listen to the latest podcast and compare that to actual user’s experiences). If this thread is to remain open and moderated by Emotiva then they need to jump in and have a frank two way conversation about these more advanced topics so that their entire processor line may benefit from these enhancements. DTS:X Pro, IMAX Enhanced, Auro 3D, eARC are all features relevant in this discussion but cannot seem to get much traction. I'm been trying to figure this out for weeks. How does one separate the ATMOS meta data from the Dolby True HD 7.1 sound track? With video, one can strip out the HDR flags (HD Fury or some of the 4k HDR blu ray players do this) so the meta data is ignored by the sink (display) devices. Not really knowledgeable with audio, but can't the "ATMOS" flag be stripped out with some black box, like HDfury does with video, where the RMC-1 just processes the Dolby True HD 7.1 sound track? Like you said, EMO needs to do this with audio post processing. RMC-1 Owners need lots of options due there only being (most cases) 1 3D sound format to choose from. BTW, showing total ignorance, but what do they call ATMOS, a sound format mixer ... which is separate from a sound format ... as opposed to a upmixer like DSU?
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Post by lrobertson on Sept 28, 2019 8:50:07 GMT -5
Technically speaking you are listening to the TrueHD track just with the added metadata for ATMOS. To bring the conversation back on topic, this is just another example of why post processing is needed in listening to today’s media and where Emotiva currently falls short with their mindset. The answer always seems to come back to lack of content for anything other than ATMOS, when the real problem is that most of the content released is grossly lacking in audio dynamics and REQUIRES post processing to approach it’s theatrical counterpart. Emotiva needs to recognize and accept this reality if they are to stay competitive with other products and stop making excuses because they lack the engineering or are too stubborn (just listen to the latest podcast and compare that to actual user’s experiences). If this thread is to remain open and moderated by Emotiva then they need to jump in and have a frank two way conversation about these more advanced topics so that their entire processor line may benefit from these enhancements. DTS:X Pro, IMAX Enhanced, Auro 3D, eARC are all features relevant in this discussion but cannot seem to get much traction. I'm been trying to figure this out for weeks. How does one separate the ATMOS meta data from the Dolby True HD 7.1 sound track? With video, one can strip out the HDR flags (HD Fury or some of the 4k HDR blu ray players do this) so the meta data is ignored by the sink (display) devices. Not really knowledgeable with audio, but can't the "ATMOS" flag be stripped out with some black box, like HDfury does with video, where the RMC-1 just processes the Dolby True HD 7.1 sound track? Like you said, EMO needs to do this with audio post processing. RMC-1 Owners need lots of options due there only being (most cases) 1 3D sound format to choose from. BTW, showing total ignorance, but what do they call ATMOS, a sound format mixer ... which is separate from a sound format ... as opposed to a upmixer like DSU? I imagine a pre pro can turn off Atmos decoding in which case it would fall back to Dolby true hd like non Atmos receivers see. Atmos is considered three dimensional object audio. There are still channels called bed channels and then there are sounds that are overlayed on top of these in order to be backwards compatible with the old 2d format. However these individual sounds called objects have the 3 dimensional information encoded in separate metadata so they can be extrapolated and decoded by an Atmos decoder placing them on more speakers in the room that are arranged to create a 3d envelopment. This is at least how I’ve interpreted it.
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Post by TDifEQ on Sept 28, 2019 17:16:09 GMT -5
Today, confirmed DTS:X does not support widths with following nine 4K DTS:X movies. Could of tested more DTS:X movies, but what would be the point.
Used 7.1.4 config (no rears, no Middle Tops). Not a RMC-1 issue, DTS:X issue ... unless the other owners know otherwise. Had a dedicate amp driving the widths ... no other speakers powered.
1. Gladiator 2. Harry Potter #5 3. Van Helsing 4. Jason Bourne 5. Battleship 6. Bourne Ultimatum 7. Jurassic World 8. Kin 9. Ex Machina
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Post by lrobertson on Sept 28, 2019 17:26:48 GMT -5
Today, confirmed DTS:X does not support widths with following nine 4K DTS:X movies. Could of tested more DTS:X movies, but what would be the point. Used 7.1.4 config (no rears, no Middle Tops). Not a RMC-1 issue, DTS:X issue ... unless the other owners know otherwise. Had a dedicate amp driving the widths ... no other speakers powered. 1. Gladiator 2. Harry Potter #5 3. Van Helsing 4. Jason Bourne 5. Battleship 6. Bourne Ultimatum 7. Jurassic World 8. Kin 9. Ex Machina So far no objects have been mixed into DTS:X to make use of its object audio abilities I was told. The decoding has been limited to 7.1.4 until the Pro version was just released so they never had a reason in their minds which is a shame. At least it sounds like we can apply neural:x for wides with the pro on greater than 11 channels with older mixes. If you turn off your rears and middle heights you should be able to get neural:x in your wides.
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