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Post by novisnick on May 8, 2022 14:48:17 GMT -5
Thanks. I actually heard back from them pretty quickly and unfortunately it sounds like it will need to be serviced. Also, although it was in a quality surge protector, simple power outage can cause problems (what is one to do other than maybe ensure it’s in UPS as well)? Will provide an update when I have one. Thanks for the input and have a good weekend. Quick update - I shipped my rmc out for repair on Monday and got it back on Saturday. I must say that I am truly impressed with the level of customer support and communication that Emotiva (Brent) provided. I don’t say this often, but I really could not have asked for a better response or service. Sure, we all get frustrated with certain issues/bugs that we are facing, lack of info on firmware updates, etc. but it is really valuable to know that the level of customer support that we receive when there is an unforeseen issue/problem is top notch. Very happy with how things have been handled and now I just have to hope that all continues to run smoothly. As I said before, make sure you plug it into a gfci outlet if you can (and avoid VRO if feasible) to minimize your risk. A+ to Emotiva for their level of customer support. So glad that you have a happy ending in your despair! Now, on to getting some use out of your gear! Enjoy! |
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Post by hsamwel on May 8, 2022 15:40:50 GMT -5
In a 5.1 system you have surrounds and NOT back-surrounds. Even if you have one pair of surrounds, and they are in the back, they are "surrounds".
This is an industry-standard convention - on our processors and on every other processor I've ever seen.
In fact you will be UNABLE to configure the processor to have rear surrounds unless you first configure it to have surrounds.
And you don't ever want to configure a processor tho think it has speakers that aren't connected.
Both because tests like Dirac may fault when they try to test those speakers; and because sound will be routed to "the speakers that aren't there".
There are three things we were talking about and you certainly should be addressing EmoCertain; not me. One is convention. Two is position. Three is routing. One – we have no disagreement about convention. Read what I wrote. Two – position could be anywhere, though reason should prevail – side, back - but should certainly follow convention for best results; convention/position has a range. Room limitations will apply. But, even Floyd Toole suggests position experimentation for taste and to fit the room – see his Sound Reproduction book and find the reference. Also see his own system. IIRC, Toole set his Surrounds at about 70 deg. He doesn’t follow position precisely. Three – routing was something I wasn’t quite sure about. I didn’t recall what the RMC-1L would do. I ended my post by writing that surrounds shouldn’t be able to be routed as backs. I’m glad that EMO and the RMC don’t allow silly things like this. IIRC, Doc offered the Dolby room layout pics in response to EmoCertain. Good pics for convention and position. BTW. In my 7.2.6 system, I position my surrounds at 60 deg. I position the backs at 120 deg. This works very well with 5.1 DTS movie discs that I configure for 7.1. Nicely immersive. Works very well for all 7.1 movie discs, configured or actual, without a need for Wides. Also, with a quick and simple patch, I can route the Surround signals to the Back amps (no pops with balanced connections) and get perfect 120 deg convention and position for the Surround channels on 5.1 music discs. My room Surround-Back setup is a slight compromise with some ATMOS music. I don't use Dirac. Thanks for looking to the rear and finding a post of mine you felt comfortable enough to address. Surrounds at 60 deg? That’s the position of wides. Surrounds should be at 90-110 deg. Rear surrounds are placed a bit wider than fronts for a good image from the back, at 135-150 deg. This on a 7.1 or bigger setup. On 5.1 Dolby recommend having Surround slightly back from your seating at 110-120 deg. I guess some try to ”fill” the sides because of a gap between the fronts and surrounds by placing the surrounds in front of their actual position. Example with a narrow long room. Other ”solutions” to this ”problem” can be bi-pol or di-pol speakers. Although Dolby does not recommend these for modern setups. I would rather recommend speakers with a wider dispersion and then placing them at the correct angle. It gives a more correct placement of sound effects. |
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Post by PaulBe on May 8, 2022 16:45:08 GMT -5
There are three things we were talking about and you certainly should be addressing EmoCertain; not me. One is convention. Two is position. Three is routing. One – we have no disagreement about convention. Read what I wrote. Two – position could be anywhere, though reason should prevail – side, back - but should certainly follow convention for best results; convention/position has a range. Room limitations will apply. But, even Floyd Toole suggests position experimentation for taste and to fit the room – see his Sound Reproduction book and find the reference. Also see his own system. IIRC, Toole set his Surrounds at about 70 deg. He doesn’t follow position precisely. Three – routing was something I wasn’t quite sure about. I didn’t recall what the RMC-1L would do. I ended my post by writing that surrounds shouldn’t be able to be routed as backs. I’m glad that EMO and the RMC don’t allow silly things like this. IIRC, Doc offered the Dolby room layout pics in response to EmoCertain. Good pics for convention and position. BTW. In my 7.2.6 system, I position my surrounds at 60 deg. I position the backs at 120 deg. This works very well with 5.1 DTS movie discs that I configure for 7.1. Nicely immersive. Works very well for all 7.1 movie discs, configured or actual, without a need for Wides. Also, with a quick and simple patch, I can route the Surround signals to the Back amps (no pops with balanced connections) and get perfect 120 deg convention and position for the Surround channels on 5.1 music discs. My room Surround-Back setup is a slight compromise with some ATMOS music. I don't use Dirac. Thanks for looking to the rear and finding a post of mine you felt comfortable enough to address. Surrounds at 60 deg? That’s the position of wides. Surrounds should be at 90-110 deg. Rear surrounds are placed a bit wider than fronts for a good image from the back, at 135-150 deg. This on a 7.1 or bigger setup. On 5.1 Dolby recommend having Surround slightly back from your seating at 110-120 deg. I guess some try to ”fill” the sides because of a gap between the fronts and surrounds by placing the surrounds in front of their actual position. Example with a narrow long room. Other ”solutions” to this ”problem” can be bi-pol or di-pol speakers. Although Dolby does not recommend these for modern setups. I would rather recommend speakers with a wider dispersion and then placing them at the correct angle. It gives a more correct placement of sound effects. References - www.itu.int/rec/R-REC-BS.775-3-201208-I/enwww.itu.int/dms_pubrec/itu-r/rec/bs/R-REC-BS.775-3-201208-I!!PDF-E.pdf www.itu.int/dms_pub/itu-r/opb/rep/R-REP-BS.2159-7-2015-PDF-E.pdfwww.sababms.com/2316/?lang=enarqen.com/acoustics-101/surround-sound-speaker-placement/My setup is within ITU 775-3 specs. Experimentation based on comments by Floyd Toole in his book "Sound Reproduction". It is the latest of several tried iterations in my listening space, and my current favorite for 7.2.6 in my room; emphasis on the 7 base channels. YMMV. |
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EmoBrent
Emo Staff 
Processor and Product Support
Posts: 54
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Post by EmoBrent on May 9, 2022 11:11:29 GMT -5
Thanks. I actually heard back from them pretty quickly and unfortunately it sounds like it will need to be serviced. Also, although it was in a quality surge protector, simple power outage can cause problems (what is one to do other than maybe ensure it’s in UPS as well)? Will provide an update when I have one. Thanks for the input and have a good weekend. Quick update - I shipped my rmc out for repair on Monday and got it back on Saturday. I must say that I am truly impressed with the level of customer support and communication that Emotiva (Brent) provided. I don’t say this often, but I really could not have asked for a better response or service. Sure, we all get frustrated with certain issues/bugs that we are facing, lack of info on firmware updates, etc. but it is really valuable to know that the level of customer support that we receive when there is an unforeseen issue/problem is top notch. Very happy with how things have been handled and now I just have to hope that all continues to run smoothly. As I said before, make sure you plug it into a gfci outlet if you can (and avoid VRO if feasible) to minimize your risk. A+ to Emotiva for their level of customer support. Brent at Emotiva here. Glad to hear your RMC is back up and running! Don't get on the forum much, as there is enough work to do without going to look for more. But Keith let me know that you posted some kind words here, and we appreciate it. For anyone else with issues, please feel free to reach out, as we don't really monitor the forum for support reasons. If you can get ahold of me, I will do my best to stick with you until any issues are resolved or at least give you an honest assessment of what is going on with your processor or system. Regarding recent comments about the lack of firmware or progress updates with the processors, I understand why it may feel that way, but here is my take from the inside having handled much of the processor support for the past year. Component and chip shortages have contributed massively to delays in development, both regarding new features, like the HDMI 2.1 board, and existing features in the processors. Being a smaller company with more limited resources, when we have to pivot because a part is no longer available, not only do we not have as much clout with suppliers as the international conglomerates with whom we compete, but this simply drains our manpower resources having to redesign boards and/or code, be it for an existing processor component or a new board design. I have just seen that play out repeatedly behind the scenes in the year or so that I have been here, and it isn't an excuse, as we recognize areas that need improvement. But it is not all under our control by any means, especially over the past couple of years when we have needed things to move a little more quickly. I encourage you to reach out to Emotiva for support if you are having a specific issue with your processor, as we do not mine the forum for this data. But we are always willing to tackle an issue and provide suggestions from our experience. Thanks. |
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Post by rhale64 on May 9, 2022 11:24:32 GMT -5
Thank you this is at least nice to know. Finally someone gives us a clue. Brent thank you for at least acknowledging us out here in the guessing land. We have no clue what is going on. It is nice for someone to explain a little.
Thank you Brent!
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Post by pbiancardi on May 9, 2022 11:47:10 GMT -5
Can someone explain what I am waiting for on my XMC-2? I just popped in to check on firmware as I remembered there being talk of updates but now that I think about it everything has been working fine for many months so what it is we are waiting on?
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Post by marcl on May 9, 2022 11:58:38 GMT -5
Can someone explain what I am waiting for on my XMC-2? I just popped in to check on firmware as I remembered there being talk of updates but now that I think about it everything has been working fine for many months so what it is we are waiting on? This issues may or may not affect you. Take a look at the Bass Management bug thread. emotivalounge.proboards.com/thread/58985/g3p-elevated-bm-lfe-issueThere are also supposed to be some Dolby and DTS updates. |
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Post by ElectricKoolAid on May 9, 2022 12:14:02 GMT -5
Can someone explain what I am waiting for on my XMC-2? I just popped in to check on firmware as I remembered there being talk of updates but now that I think about it everything has been working fine for many months so what it is we are waiting on? I posted this a while back, here's what we should expect in the next firmware release according to previous posts: Enhancements/Updates/Bug Fixes that have been confirmed:
- Dolby Upmixer with DTS content and vice versa (03/02/22)
- Bass Management bug for single subwoofer setup/Possible additional fixes for multi sub? (12/02/21 and 10/25/21)
- Enhancements for ARC and HDMI (10/25/21)
If anyone else knows of anything definitely let me know.
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Post by PaulBe on May 9, 2022 12:49:09 GMT -5
Brent at Emotiva here... Regarding recent comments about the lack of firmware or progress updates with the processors, I understand why it may feel that way, but here is my take from the inside having handled much of the processor support for the past year. Component and chip shortages have contributed massively to delays in development, both regarding new features, like the HDMI 2.1 board, and existing features in the processors. Being a smaller company with more limited resources, when we have to pivot because a part is no longer available, not only do we not have as much clout with suppliers as the international conglomerates with whom we compete, but this simply drains our manpower resources having to redesign boards and/or code, be it for an existing processor component or a new board design. I have just seen that play out repeatedly behind the scenes in the year or so that I have been here, and it isn't an excuse, as we recognize areas that need improvement. But it is not all under our control by any means, especially over the past couple of years when we have needed things to move a little more quickly. I encourage you to reach out to Emotiva for support if you are having a specific issue with your processor, as we do not mine the forum for this data. But we are always willing to tackle an issue and provide suggestions from our experience. Thanks. Thanks Brent. This is real information. Supply issues are hitting many businesses and industries. A small information update from time to time is much appreciated. |
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Post by autocrat on May 9, 2022 17:33:49 GMT -5
Can someone explain what I am waiting for on my XMC-2? I just popped in to check on firmware as I remembered there being talk of updates but now that I think about it everything has been working fine for many months so what it is we are waiting on? The only thing that affects me is the Dolby processing - pops, clicks, gaps etc. Everything else is OK for me. |
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Post by msimanyi on May 9, 2022 19:10:18 GMT -5
autocrat My RMC-1 hasn't exhibited any of that behavior, other than some odd playback (mostly audio dropping out for a couple seconds, and *only* at the most important segments of course) on AppleTV, and this is a known AppleTV4k issue. If you haven't updated to the January firmware, you might give it a try.
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Post by frederick on May 9, 2022 19:56:35 GMT -5
Can someone explain what I am waiting for on my XMC-2? I just popped in to check on firmware as I remembered there being talk of updates but now that I think about it everything has been working fine for many months so what it is we are waiting on? The only thing that affects me is the Dolby processing - pops, clicks, gaps etc. Everything else is OK for me. When are these noises occurring? During normal playback or during starting/stopping/changing input? Thanks much. Frederick |
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Post by hsamwel on May 10, 2022 5:54:54 GMT -5
Surrounds at 60 deg? That’s the position of wides. Surrounds should be at 90-110 deg. Rear surrounds are placed a bit wider than fronts for a good image from the back, at 135-150 deg. This on a 7.1 or bigger setup. On 5.1 Dolby recommend having Surround slightly back from your seating at 110-120 deg. I guess some try to ”fill” the sides because of a gap between the fronts and surrounds by placing the surrounds in front of their actual position. Example with a narrow long room. Other ”solutions” to this ”problem” can be bi-pol or di-pol speakers. Although Dolby does not recommend these for modern setups. I would rather recommend speakers with a wider dispersion and then placing them at the correct angle. It gives a more correct placement of sound effects. References - www.itu.int/rec/R-REC-BS.775-3-201208-I/enwww.itu.int/dms_pubrec/itu-r/rec/bs/R-REC-BS.775-3-201208-I!!PDF-E.pdf www.itu.int/dms_pub/itu-r/opb/rep/R-REP-BS.2159-7-2015-PDF-E.pdfwww.sababms.com/2316/?lang=enarqen.com/acoustics-101/surround-sound-speaker-placement/My setup is within ITU 775-3 specs. Experimentation based on comments by Floyd Toole in his book "Sound Reproduction". It is the latest of several tried iterations in my listening space, and my current favorite for 7.2.6 in my room; emphasis on the 7 base channels. YMMV. Nice! But if the Dolby mixer/decoder doesn’t follow this then why setup like this? Effects that are supposed to happen on your side or even slightly backwards is coming from front sides?! Why do they recommend this kind of setup? Can it because of some human nature thing about how our ears are made to listen to sound coming infront of you rather than from the back? Note I don’t know if Dolby follows this. Just by reading their documentation which tells me the placements I noted. |
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Post by PaulBe on May 10, 2022 8:31:04 GMT -5
Nice! But if the Dolby mixer/decoder doesn’t follow this then why setup like this? Effects that are supposed to happen on your side or even slightly backwards is coming from front sides?! Why do they recommend this kind of setup? Can it because of some human nature thing about how our ears are made to listen to sound coming infront of you rather than from the back? Note I don’t know if Dolby follows this. Just by reading their documentation which tells me the placements I noted. A few notes in random order – Recommendations are different between standards but do have some overlap. I go for best compromise. Best is subjective. Search for pics of surround mixing studios. There are similarities and differences; rooms, setup, speakers. Which standard do I pick? Perhaps meta-data of the mixing studio should be encoded in a recording that alters the decoding to follow the ‘standard’ of the mixing studio. The encoder doesn’t know the exact position in the studio. The decoder doesn’t know the exact position in the listening space. Exact physical location data should be in the decode – Dolby enabled height attempted to incorporate some of this. Recordings are not all made with the same standards. I have a couple of recordings where the liner notes say the mixing surrounds were placed forward for monitoring, but the playback recommendation is to place the surrounds rearward – go figure. If a recording has sound with pinpoint location, you can’t reproduce pinpoint location without directional reproduction. If a recording has sound that is ambient, directional reproduction will still create an ambient sound environment. All speakers in a modern multi-channel setup should be directional and monopole; IMO. Position isn’t just physical location. It’s also intensity and phase. Sounds that appear to come from the sides or backs are often produced by the front speakers. I have LP’s that put sound on the sides and back. The “Planets” 2 channel LP by Tomita, 40 year old LP, reproduces pinpoint sound, in the right system, that dances around your head. Try Roger Waters “Amused to Death” in 5.1 Blu-ray and notice what speakers are producing some of the surround sound. Surround is not a modern technology. Some classical composers knew how to transport sound away from their physical location, centuries ago, acoustically. See “The Musician’s Guide to Perception and Cognition” by David Butler. There is a lot we don’t know yet about sound. Most people just want to watch a show with friends and family. Pick a surround recommendation that suits, and go make some popcorn. Most of the people who come to my home and watch a movie, don’t care one little bit if I assembled the perfect setup. My wife doesn’t care, and she has better hearing than I do. However, she does patiently listen to my musings and nod at me with good timing. I try to respect her time and attention, knowing she has more important things to do, like trimming her toe nails. These days, most of my listening is done off to the side somewhere – where this expensive 7.2.6 setup functions as a giant… table radio. |
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Post by marcl on May 10, 2022 8:45:45 GMT -5
Nice! But if the Dolby mixer/decoder doesn’t follow this then why setup like this? Effects that are supposed to happen on your side or even slightly backwards is coming from front sides?! Why do they recommend this kind of setup? Can it because of some human nature thing about how our ears are made to listen to sound coming infront of you rather than from the back? Note I don’t know if Dolby follows this. Just by reading their documentation which tells me the placements I noted. A few notes in random order – Recommendations are different between standards but do have some overlap. I go for best compromise. Best is subjective. Search for pics of surround mixing studios. There are similarities and differences; rooms, setup, speakers. Which standard do I pick? Perhaps meta-data of the mixing studio should be encoded in a recording that alters the decoding to follow the ‘standard’ of the mixing studio. The encoder doesn’t know the exact position in the studio. The decoder doesn’t know the exact position in the listening space. Exact physical location data should be in the decode – Dolby enabled height attempted to incorporate some of this. Recordings are not all made with the same standards. I have a couple of recordings where the liner notes say the mixing surrounds were placed forward for monitoring, but the playback recommendation is to place the surrounds rearward – go figure. If a recording has sound with pinpoint location, you can’t reproduce pinpoint location without directional reproduction. If a recording has sound that is ambient, directional reproduction will still create an ambient sound environment. All speakers in a modern multi-channel setup should be directional and monopole; IMO. Position isn’t just physical location. It’s also intensity and phase. Sounds that appear to come from the sides or backs are often produced by the front speakers. I have LP’s that put sound on the sides and back. The “Planets” 2 channel LP by Tomita, 40 year old LP, reproduces pinpoint sound, in the right system, that dances around your head. Try Roger Waters “Amused to Death” in 5.1 Blu-ray and notice what speakers are producing some of the surround sound. Surround is not a modern technology. Some classical composers knew how to transport sound away from their physical location, centuries ago, acoustically. See “The Musician’s Guide to Perception and Cognition” by David Butler. There is a lot we don’t know yet about sound. Most people just want to watch a show with friends and family. Pick a surround recommendation that suits, and go make some popcorn. Most of the people who come to my home and watch a movie, don’t care one little bit if I assembled the perfect setup. My wife doesn’t care, and she has better hearing than I do. However, she does patiently listen to my musings and nod at me with good timing. I try to respect her time and attention, knowing she has more important things to do, like trimming her toe nails. These days, most of my listening is done off to the side somewhere – where this expensive 7.2.6 setup functions a giant… table radio. Interesting! I'll add a couple 2-channel recordings where the sound appears above and behind: Mickey Hart At the Edge album from 1990; and Tool's Fear Inoculum, Chocolate Chip Trip from 2019. As it happens, the Philadelphia Chapter of Audio Engineering Society has a meeting June 2 at the Advanced Technology Center of a local college. The topic is Mixing in the Dolby Atmos Format. This is the first in-person meeting in two years. The first to be cancelled in 2020 due to the pandemic was also to be on the Atmos topic, with engineers from Dolby presenting in the Atmos theater at the Comcast Center in Philadelphia ... but alas. Anyway ... I'll ask a lot of questions and report back in a couple weeks.  |
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Post by tngiloy on May 10, 2022 9:14:05 GMT -5
These days, most of my listening is done off to the side somewhere – where this expensive 7.2.6 setup functions a giant… table radio. There seems to be an awful lot of talk about 'table radios' here lately. Is Emotiva planning to release a Dirac equipped, battery powered mono table radio with tubes?? The XTR-1 ?? Did I miss an Emo podcast about this?? Or is this just the next logical step forward after the return to vinyl and turntables we've seen in the recent years. I'm just trying to keep out in front of the latest A/V trends.  |
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Post by PaulBe on May 10, 2022 9:37:46 GMT -5
A few notes in random order – Recommendations are different between standards but do have some overlap. I go for best compromise. Best is subjective. Search for pics of surround mixing studios. There are similarities and differences; rooms, setup, speakers. Which standard do I pick? Perhaps meta-data of the mixing studio should be encoded in a recording that alters the decoding to follow the ‘standard’ of the mixing studio. The encoder doesn’t know the exact position in the studio. The decoder doesn’t know the exact position in the listening space. Exact physical location data should be in the decode – Dolby enabled height attempted to incorporate some of this. Recordings are not all made with the same standards. I have a couple of recordings where the liner notes say the mixing surrounds were placed forward for monitoring, but the playback recommendation is to place the surrounds rearward – go figure. If a recording has sound with pinpoint location, you can’t reproduce pinpoint location without directional reproduction. If a recording has sound that is ambient, directional reproduction will still create an ambient sound environment. All speakers in a modern multi-channel setup should be directional and monopole; IMO. Position isn’t just physical location. It’s also intensity and phase. Sounds that appear to come from the sides or backs are often produced by the front speakers. I have LP’s that put sound on the sides and back. The “Planets” 2 channel LP by Tomita, 40 year old LP, reproduces pinpoint sound, in the right system, that dances around your head. Try Roger Waters “Amused to Death” in 5.1 Blu-ray and notice what speakers are producing some of the surround sound. Surround is not a modern technology. Some classical composers knew how to transport sound away from their physical location, centuries ago, acoustically. See “The Musician’s Guide to Perception and Cognition” by David Butler. There is a lot we don’t know yet about sound. Most people just want to watch a show with friends and family. Pick a surround recommendation that suits, and go make some popcorn. Most of the people who come to my home and watch a movie, don’t care one little bit if I assembled the perfect setup. My wife doesn’t care, and she has better hearing than I do. However, she does patiently listen to my musings and nod at me with good timing. I try to respect her time and attention, knowing she has more important things to do, like trimming her toe nails. These days, most of my listening is done off to the side somewhere – where this expensive 7.2.6 setup functions a giant… table radio. Interesting! I'll add a couple 2-channel recordings where the sound appears above and behind: Mickey Hart At the Edge album from 1990; and Tool's Fear Inoculum, Chocolate Chip Trip from 2019. As it happens, the Philadelphia Chapter of Audio Engineering Society has a meeting June 2 at the Advanced Technology Center of a local college. The topic is Mixing in the Dolby Atmos Format. This is the first in-person meeting in two years. The first to be cancelled in 2020 due to the pandemic was also to be on the Atmos topic, with engineers from Dolby presenting in the Atmos theater at the Comcast Center in Philadelphia ... but alas. Anyway ... I'll ask a lot of questions and report back in a couple weeks.  Looking forward to your report! I'd like to see ATMOS Blu-ray music production take off. It's time. Time to put SACD to bed. Been reading a few tease articles lately. LP's and CD's with surround effects - Try Far East Family Band too. A lot of experimentation has been done since the 1950's. I have a couple of 2 channel test CD's with height and surround demos. 3D has been possible from 2 channel for a long time. Also a Crown demo CD with examples of Crown stereo PZM recordings, and a demo disc from Holophone with 5 channel. Atmos - 'Emergence' by Max Cooper, and 'The Gordian Knot' by Big Phat Band. A few more. The 'Emergence' ATMOS recording I have demonstrates the slight compromise I have in my setup. It has moving circular effects that need more rearward physical placement of surrounds and backs for maximum effect, and to match the recording location in the mix. It also has moving circular effects in the height channels. Sources that don't move in the mix, or that depend on phase and time instead of position, or are purely ambient, aren't as picky. |
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Post by PaulBe on May 10, 2022 9:51:53 GMT -5
These days, most of my listening is done off to the side somewhere – where this expensive 7.2.6 setup functions a giant… table radio. There seems to be an awful lot of talk about 'table radios' here lately. Is Emotiva planning to release a Dirac equipped, battery powered mono table radio with tubes?? The XTR-1 ?? Did I miss an Emo podcast about this?? Or is this just the next logical step forward after the return to vinyl and turntables we've seen in the recent years. I'm just trying to keep out in front of the latest A/V trends.  I've been using the phrase to playfully poke. If EMO comes out with an XTR-1, it will probably sell. I use a nice turntable setup on LP's I collected over a 40 year period. Fun and nostalgic. I wouldn't recommend anyone start a collection now unless bought rummage sale style. But, when ones and zeros stop streaming, I'll still be spinning.  BTW, a sound bar is kind of a trendy table/shelf radio. Jus sayin'. |
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Post by marcl on May 10, 2022 10:34:43 GMT -5
Interesting! I'll add a couple 2-channel recordings where the sound appears above and behind: Mickey Hart At the Edge album from 1990; and Tool's Fear Inoculum, Chocolate Chip Trip from 2019. As it happens, the Philadelphia Chapter of Audio Engineering Society has a meeting June 2 at the Advanced Technology Center of a local college. The topic is Mixing in the Dolby Atmos Format. This is the first in-person meeting in two years. The first to be cancelled in 2020 due to the pandemic was also to be on the Atmos topic, with engineers from Dolby presenting in the Atmos theater at the Comcast Center in Philadelphia ... but alas. Anyway ... I'll ask a lot of questions and report back in a couple weeks. Looking forward to your report! I'd like to see ATMOS Blu-ray music production take off. It's time. Time to put SACD to bed. Been reading a few tease articles lately. LP's and CD's with surround effects - Try Far East Family Band too. A lot of experimentation has been done since the 1950's. I have a couple of 2 channel test CD's with height and surround demos. 3D has been possible from 2 channel for a long time. Also a Crown demo CD with examples of Crown stereo PZM recordings, and a demo disc from Holophone with 5 channel. Atmos - 'Emergence' by Max Cooper, and 'The Gordian Knot' by Big Phat Band. A few more. The 'Emergence' ATMOS recording I have demonstrates the slight compromise I have in my setup. It has moving circular effects that need more rearward physical placement of surrounds and backs for maximum effect, and to match the recording location in the mix. It also has moving circular effects in the height channels. Sources that don't move in the mix, or that depend on phase and time instead of position, or are purely ambient, aren't as picky. 2L records has been doing Atmos and even Auro3D Blu Ray for a while but not too many titles. Their 2-channel and 5.1 recordings are excellent |
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Post by PaulBe on May 10, 2022 11:35:25 GMT -5
Looking forward to your report! I'd like to see ATMOS Blu-ray music production take off. It's time. Time to put SACD to bed. Been reading a few tease articles lately. LP's and CD's with surround effects - Try Far East Family Band too. A lot of experimentation has been done since the 1950's. I have a couple of 2 channel test CD's with height and surround demos. 3D has been possible from 2 channel for a long time. Also a Crown demo CD with examples of Crown stereo PZM recordings, and a demo disc from Holophone with 5 channel. Atmos - 'Emergence' by Max Cooper, and 'The Gordian Knot' by Big Phat Band. A few more. The 'Emergence' ATMOS recording I have demonstrates the slight compromise I have in my setup. It has moving circular effects that need more rearward physical placement of surrounds and backs for maximum effect, and to match the recording location in the mix. It also has moving circular effects in the height channels. Sources that don't move in the mix, or that depend on phase and time instead of position, or are purely ambient, aren't as picky. 2L records has been doing Atmos and even Auro3D Blu Ray for a while but not too many titles. Their 2-channel and 5.1 recordings are excellent I haven't seen anything yet in the 2L catalog that I wanted to try. The sound on internet samples is very nice. The full recordings have to be very nice. Here is where I bought some titles - www.pureaudio-bluray.com/pureaudiorecordings.com/en/pureaudiorecordings.com/en/dolby-atmos/lsolive.lso.co.uk/collections/pure-audio-blu-ray'The Gordian Knot' recording has an Auro 3D track and plays as DTS 7.1 on my setup. Also has 5.1 DTS, 2.0 PCM, and ATMOS tracks. Having multiple tracks on all the discs is kinda fun to play with. |
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