Search results

I think that's equally true of the Dolby Surround and DTS Neo:X upmixers. DTS steers things aggressively, especially into the overhead channels. Dolby is subtler. I use both, depending on the film, but I tend to prefer Dolby. It tends to give a smoother soundfield.

There's nothing wrong with a good matrixed Dolby Stereo or Ultra Stereo mix, and even those can be upmixed into an Atmos setup with good results. It all depends on what was present in the original mix -- the more aggressive the surround presence, the more that the upmixer has to work with.

That wasn't aimed at you at all -- I didn't even remember that you said that. It was aimed at countless others with whom I've had a debate about the subject, which is why I mentioned the other two films, as those discussions got particularly ridiculous. So I'm sorry if it looked like it was...

Master and Commander has been my go-to demo disc for as long as I've had my 7.2.4 Atmos system, despite the fact that it's "just" a lowly 5.1 track. When upmixed to 7.2.4, it sounds better than many native Atmos/DTS:X mixes. (For the record, I prefer Dolby Surround with that one to Neo:X.) It's...

Strangely enough, I had a similar reaction to the opening titles of the 2020 version of The Invisible Man, with the waves crashing in Dolby Atmos, and the titles breaking through the waves like something out of a David Fincher movie (Panic Room, for instance). I had read the positive reviews...

It wasn't the bit rate. That affects the overall sound quality, but not the nature of the mix. There's long been a debate over whether the level of the subs and/or the surrounds were boosted on some DTS laserdiscs.

The DTS laserdisc for that was my absolute go-to demo disc back in the day, both for the immersion of the crashing branches around the viewer, and the reverberations of the raptor's snorts inside the cage. Plus, when that low rhythmic thumping note from the John Williams score kicked in, it...