It is easy to do this with ASIO4ALL (or flexasio if you will use only one PC) and an HDMI connection to a receiver for the ear level channels (7.1) but I could not find any way to measure the ceiling speakers. So I re-calibrate all the levels and distances and use the Audyssey app to limit equalization ranges beyond which REW measures to be not ideal. And to my disappointment there is a lot that's wrong. So now I double check even the distances and levels for each speaker with REW after calibration. I was quite satisfied with Audyssey calibration for years but the more I understand and utilize REW the less satisfied I have become with MultEQ-32. I wouldn’t know without measuring myself. They may also use a weighted pink noise that gives an artificial response shape. They might bypass the Audyssey eq filters for example. This may or may not work depending on the kind of pink noise built in and how it’s piped through the processing chain. That makes measuring through ATMOS nearly impossible.Ī better solution might be to see if the receiver has built in pink noise that can be sent to discrete atmos channels and using the RTA mode.
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The processor then decides which set of speakers get the sound with what level and eq. You send it to a geometric position in hemispherical space.
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They told me it is not possible to send discrete test tones to specific atmos speakers.
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The company I talked to specializes in ATMOS and DYS:X authoring and has the software needed. I looked at having a custom test disc authored with specific test tones and sweeps. For a contract I have with a manufacturer I actually looked into this. In addition, my understanding of how ATMOS works would make it hard to do.
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There is not a way to send a test tone to those signals through something like Mulcahy can confirm, but it is my understanding that no software can send a signal with the meta-data to go to an atmos channel without purchasing a license through Dolby. Do you like it?Īs for measuring the eq filters of the atmos channels with Audyssey enabled, unless I’ve missed something big, you can’t measure that right now. That should be judged based on sound alone. They change the eq based on the level of the content. You really don’t want to measure through dynamic eq modes. This means that immersive audio for music applications could soon be available at concert venues and on the home front, making now the perfect time for both residential and commercial integrators to get their demos set up and ready to impress.Click to expand.No easy way of knowing. In the commercial sound reinforcement market, top manufacturers including L-Acoustics, Meyer Sound and Astro Spatial Audio have been promoting immersive audio as a next-generation experience for concert-goers. Demonstrating the immersive characteristics of Atmos-encoded music, Russell played Atmos tracks from Imagine Dragons (“Believer”) and INXS (“Mediate”) for an audience of integrators and designers to underscore how well music can sound in an Atmos environment. The Digital Sales Metro’s event was held at a Cortex VIP-built cinema in New York City at Dolby Laboratory’s offices. Related: Digital Sales Group, Metro to Showcase Amazing 64-Channel Dolby Home TheaterĪs part of his presentation, Russell went on to cite the remastering of the classic albums “Abbey Road “ from the Beatles’ and “Goodbye Yellow Brick Road” from Elton John this year as evidence of the trend. “There will be 10,000 audio tracks remastered for Dolby Atmos this year ,” according to Russell. Russell says integrators and music fans can expect the immersive audio market to explode over the next 12 months. During the event, John Russell, co-founder of Cortex VIP Systems, discussed some of the music applications Dolby is working on and its timeline for release. That new Dolby Atmos audio initiative was on display recently when Dave Silkin, president of Digital Sales Metro, held a high-performance home theater event in New York City at Dolby Laboratories offices.
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There is no question Dolby Atmos has put a charge in the immersive home theater experience for watching movies, but what about audio? Pre-Atmos, integrators’ surround sound audio demos were relegated to tracks from Pink Floyd’s “Dark Side of the Moon.” But now thanks to a new initiative from Dolby, a variety of songs have been remastered to Dolby Atmos, giving integrators a growing selection to use for demos with clients, giving them another powerful reason beyond just movies to consider an immersive room environment.