Agreed! Even though I like the band, I can digest Kraftwerk in small doses only . Listening to Yello / Point is less "demanding" and more fun actually.In comparing Kraftwerk 3D and Yello - Point on Atmos, I'd have to go with Point as being the better reference example.
Completely agree. I find myself going back to and listening to Yello Point in its entirety while a little Kraftwerk goes a long way. And as AYanguas noted, Point is a more aggressive mix.Agreed! Even though I like the band, I can digest Kraftwerk in small doses only . Listening to Yello / Point is less "demanding" and more fun actually.
Well thanks to all of you enablers I ordered it today from the Yello website:Mine is shipped today from JPC (Germany) jpc.de (€ 29,99 with free shipment to NL)
Their shipping rates were outrageous on the Yellow Shop (like more than the blu-ray itself) so no, I didn't use it. JPC.de's shipping was about 1/10 as much and they remove the VAT from it which lowered the price with shipping to less than the price was to begin with in Euro.Well thanks to all of you enablers I ordered it today from the Yello website:
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Or at least I think I did. I went through the usual cart check out & selected pay in advance. It bounced me back to the product page & said "before you go, rate your satisfaction". So I gave 'em a 10 and then never was I requested for Paypal or charge card. It did say my cart was empty... anyone else order directly from the Yello Shop?
Listening to Yello on Tidal this morning to see if I want to invest in the BD. So far, it ain't grabbin' me...I've heard Yello in stereo this morning via Tidal. Not having heard the surround mix, I can't say whether Kraftwerk or Yello is the way to go for a demo disc, but Kraftwerk is superior in terms of music and historical value of their work. Kraftwerk 3D covers the entire band discography and it's one of the surround releases of the recent years I enjoyed the most. The visuals are great too. Yello isn't bad at all, and I'll probably end up getting the blu-ray, but I don't think you can compare the two bands at all Some of their music can remind of the late Kraftwerk production? Maybe Techno Pop or Expo?
I agree wholeheartedly with this review.Oh yeah.....OHHHHHHHH YEAAAAAHH!! Beautiful! MORE Beautiful!
I just listened to Yello's POINT album in Dolby Atmos like 3 times and used the track Way Down to try out Dolby Digital EX 6.1 + Surround Modes and PCM 24-bit 2.0 stereo from 2.0 to 17.1 with the surround modes.
A few technical points, first. This album, unlike most previous "immersion" albums I've tried has more bass in the Dolby Atmos (and DD EX) tracks than the PCM stereo tracks. Booka Shade's Dear Future Self album, for example had far more kick drum in the stereo mix so I was a bit surprised to find that the stereo mix almost sounded like they forgot to move the LFE track to the 2.0 mix or something. Having said that, Wow! The mere 2.0 stereo mix when expanded to Neural X had more surround effects in it than many newer (admittedly worse examples of) Atmos movies. The stereo track has a lot of width and some surround phase notes, but nowhere near as much as some Q-Sound and similar stereo albums I have, but turn on Neural X and you'd be forgiven for thinking it was in Atmos mode (at least until you hear the actual Atmos track). As usual DSU is somewhere in-between.
Next, I kicked in the Dolby Digital 6.1 EX track (I don't know about on a BD player if it can even select the DD EX track as it's a fallback "core" seeing I don't usually use an actual BD player here; I ripped to MKV and use KODI to select the audio tracks and it's happy to let me play the core EX 6.1 track, which isn't 6.1 discrete, but has steering logic to use the rear speakers as one big mono channel). Wow! Once again, it kicks it a step up. All that Neural X goodness from 2.0 becomes discrete sounds all over the place and now, if you didn't think you were in Atmos, you'd certainly think so blindfolded. But it's not Atmos...not yet. Admittedly, the switch to Atmos from 6.1 Neural X isn't as shocking as from plain Stereo to Atmos, but now everything is discrete and you know it's placed exactly where it's meant to be (Neural X usually guesses well, though, a credit to DTS's upmixer for sure).
So how's the Atmos? In a word? AWESOME! I think I enjoyed this album MORE than Booka Shade's two albums I have in Atmos (Galvany Street and Dear Future Self), probably because the music is closer to what I actually like to listen to when not trying to find anything, just anything music-wise in Dolby Atmos. Yello is hard to describe because they're all over the place. Some tracks are very techno-orientated and others are more bluesy (Big Boys Blues) or pop-rock sounding (Way Down) while others (Hello Waba Duba!) are just bizarre. The album is about 50 minutes long so it didn't take as long to get through it, leaving me going back to try some songs in other seats/rows in the room (with all my home theater's bizarre lighting tricks going from my movie prop displays and other mood lights).
It usually takes me a few listens to like an album, but I was grooving right along to Basic Avenue (bring back the BASS!) and Out of Sight. In fact, I think the first half of the album was really great. A few of the latter songs (Hot Pan, Siren Singing and even the short, but odd Zephyr Calling) weren't quite as interesting musically, but the great thing about Atmos is, even when the songs aren't drawing you in, the music moving around the room keeps your brain occupied and this album moves sounds around the room like a snowflake in a blizzard! It's every bit as interesting surround-wise, IMO as Dear Future Self. There's sounds behind you constantly, floating around you and across the ceiling. It was quite as well balanced for the back rows, however, as it uses more fill and other effects at times than having "copies" of the stuff going on up front, which is to say in a 24' long room, Dear Future Self probably sounded better mixed for the back row (as the front isn't as loud back there and the back is louder), but from the front and even the middle, it's excellent.
Waba Duba is supposedly the first single track from the album with a wacky music video out there to go with it, but it's really not that great a song, IMO. The Vanishing of Peter Strong has a great background fill, but oddly it's more of a narrative story-telling track (I did something similar on my own album from 2012 so I can't complain). Way Down is where the fun really begins and it's a nice relatively short 3:19 track so that's where I concentrated on the different tracks and surround modes. I think Auro-3D (well it's upmixer Auromatic presented itself as an outlier mode in that I was surprised to find that there was surround beyond just a "hall effect" in the surround speakers even with the 2.0 mix, but it was more subdued than DSU and Neural X, but far more ambient than plain stereo. Overall, I'd stick with Atmos on an Atmos system.
So how was Atmos? I read comments by at least one person that the album is "anemic" sounding. I didn't get that impression at all. I did have to raise the volume level to -4.5 compared to -8 for Dear Future Self to get a similar volume level, but that's still 4.5dB below Dolby reference. Big Boy's Blues seemed to be at a lower overall level compared to the other tracks except for the vocals, but I think it was meant to be that way, which lead me to crank it to -4.5 at which point I realized the whole album sounded much better at that setting so I can imagine if Tidal's DialNorm setting is 14dB down in volume (I think that's what someone said), it might be an issue getting some systems up to the proper volume. But I can tell you there's nothing "missing" from the signal. It's not as constantly bass heavy as Dear Future Self, for instance, but it's not a "house mix" type album. It has room shaking bass in several places, but has more pop/rock level bass on average rather than trance or hip-hop. I didn't find it the least bit "anemic" sounding in the slightest. Dieter Meier's voice is VERY low in the bass register (as far as human voices go) and I thought he sounded great. I don't know if I'd call that singing in the traditional sense (kind of a deeper version of what you might expect from say the Pet Shop Boys in "singing" terms), but it works.
Overall, I thought the sound quality was excellent. The use of Atmos was fantastic and brought my 12'x24' room to life front-to-back in a way most Atmos movies fail to do in the rear of the room (for some odd reason, most (not all) movies don't use rear surround speakers anywhere near as much as the side surrounds and overheads). I could plainly hear sounds in the back of the room nearly 14 feet behind me. The room just feels larger with music that uses the rear surrounds discretely almost as much as the mains. If anything, I think some of these Atmos music albums tend to use the rear speakers more than the side surround speakers (as a single location anyway; when mixed sounds move along the entire length of the room on the side walls or in-between). A few tracks had sounds that circled the room to give you a sense of size and how even the sound's timbre is.
Anyway, it's hard to describe the actual music. Either you like Yello or you don't, I suppose. I ended up liking it a lot more than I expected. I may have to go buy some more Yello albums I missed over the years to check out. But those of you on the fence about buying this album, all I can say is get off the fence and go for it.