Yep. And although the Atmos mix is of necessity "derived" from stereo, Siney did not use "programs. . .where you can upsample a stereo mix into Atmos and it pulls the sound apart" (I wish I knew more precisely what he was referring to there). Instead, it sounds like he used reverb plug-ins in order to recreate the room and convey a sense of being "in the best seat in the hall." Somewhat similar to the approach Steve Genewick has taken with Kind of Blue, the classic Blue Notes, etc. Not my favorite approach--especially when it comes to off-stage sounds, which Siney has not attempted to pull out of the stereo field, even though he concedes that Culshaw would certainly have been all over that if the technology had been available to him.
