Listening to in Dolby Atmos Streaming, via Tidal/Apple

QuadraphonicQuad

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benfolds5

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It doesn't sound like this release will even include any 5.1. Its all CDs in one package and all vinyl in the other.
Yeah, there won't be any surround mixes of the physical releases. But usually, this kind of release is accompanied by a newly remastered version for DSPs, so maybe there's still hope for Atmos.
 

benfolds5

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Any tips on how to manage playlists on Apple Music?
I currently have 2 playlists where I dump all atmos singles and albums, but they are now too long for me to search.
 

~dave~~wave~

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Anybody manage to get this to play in Atmos? Seems like it might be good, but I can only get stereo out it, even though it's labeled Atmos. Wonder if something went wrong when they were preparing the files for Apple Spatial Audio.
I get Atmos on all the tracks.
Huh. Yeah, the display says Atmos, but for me it's only playing in stereo. I've removed it from my library and added it fresh--same thing. No problems with other albums. Weird.
there's two versions labelled Atmos in the UK and neither of them do diddly squat of a Surround nature! 🤷🏻‍♀️

This mix is certainly a conundrum.
I gave it a casual listen on release, but didn't grab me.

My interest was re-ignited by this profile in the New Yorker about the duo and their live shows.

A second listen on airpod binaural Atmos during a long bicycle ride was enjoyable and seemed to have a spacious soundstage and noticeable panned elements.
At home in the sweet spot, pretty much 2.1 stereo.
Strong sub, otherwise nothing but mains.

Using my recently-updated for Atmos project studio, I have the ability to isolate each channel, boost the gain, & monitor in headphones.
I can confirm there is content in all 12, though mixed some 40-odd dB down, so as to be inaudible for normal listening.

I'm trying to keep an open mind about artistic choices and the mix fitting the music as more creatively sparse mixes are appearing.
The new Julian Lennon & Marcus Mumford, for example.

No need for action in all the channels all the time for scanter content.
Little bursts of discrete sound from mute channels add dramatic spice to a spare mix.

But coupled with the recent interview with Bob Clearmountain, where his younger counterpart admitted he'll put nothing but "'verb tails" in the rears & only enough content in all channels to technically qualify as Atmos...
 

humprof

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This mix is certainly a conundrum.
I gave it a casual listen on release, but didn't grab me.

My interest was re-ignited by this profile in the New Yorker about the duo and their live shows.

A second listen on airpod binaural Atmos during a long bicycle ride was enjoyable and seemed to have a spacious soundstage and noticeable panned elements.
At home in the sweet spot, pretty much 2.1 stereo.
Strong sub, otherwise nothing but mains.

Using my recently-updated for Atmos project studio, I have the ability to isolate each channel, boost the gain, & monitor in headphones.
I can confirm there is content in all 12, though mixed some 40-odd dB down, so as to be inaudible for normal listening.

I'm trying to keep an open mind about artistic choices and the mix fitting the music as more creatively sparse mixes are appearing.
The new Julian Lennon & Marcus Mumford, for example.

No need for action in all the channels all the time for scanter content.
Little bursts of discrete sound from mute channels add dramatic spice to a spare mix.

But coupled with the recent interview with Bob Clearmountain, where his younger counterpart admitted he'll put nothing but "'verb tails" in the rears & only enough content in all channels to technically qualify as Atmos...
Thanks for the sleuthing/testing. -40dB! Surely even "verb tails" would be more audible than that. Gotta be a screw-up--one would hope. I read that New Yorker profile, too (and another one in DownBeat), and like you, it moved me to want to give their music another chance, especially given some of the folks they work with (Flying Lotus, Robert Glasper, Anderson .Paak...). The advertised Atmos mix was another incentive. But in stereo, it's still not grabbing me, and I donno how much harder I'm willing to try.
 

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Here's a surprise. Unfortunately, like the Caroline Shaw album on Nonesuch that dropped last week, it seems to be the functional equivalent of all-channel stereo:
I'm just baffled by all of this. On the one hand, WMG seems to be commissioning some good Atmos mixes for its new rock & pop releases, even as it continues to bury us in an avalanche of fake-Atmos crap when it comes to legacy material. Meanwhile, with classical, it's just the opposite: Warner Classics have trotted out some pretty decent stuff from the Angel/EMI catalogue, while Nonesuch repeatedly wastes our time--and, to add insult to injury, does it with modern composers like Reich and Shaw whose work would be really well suited to an adventurous, or even a competent, Atmos mix. Who in holy hell is minding the store at Warners? And will someone please explain to them that copying-and-pasting the stereo image from the fronts into the rears, sides, and overheads does not constitute "Atmos"?
 
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steelydave

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Accordng to this little trailer/documentary, 128 channels of audio recorded.

Technically this is a "live album," but as with all of Snarky Puppy's recordings, it's really more of a hybrid approach, one that I think is pretty much unique to them. They play the album in a live music venue (in this case the Deep Ellum Art Co.) in front of a crowd, but there's no PA system. It's done like a "silent disco" - that is, everyone wears headphones, both the musicians and the audience, which means there's no sound leakage between the PA or the instruments. As a result you get an album that is (ideally) the best of both worlds: the excitement of a live recording with the sonics of a studio recording.

These guys are one of my favourite bands of recent years, and I've touted them on here a number of times so I was incredibly excited to see this album getting the Atmos treatment. 2015's Sylva (with the Metropole Orkest) and 2016's Culcha Vulcha are amazing albums - I didn't like their last album, Immigrance (from 2019) nearly as much, but Empire Central is a real return to form, my ears.

This album is also notable that it features that last recorded performances of Bernard Wright, who came out of the same Jamaica area of Queens in the early 80s that produced Marcus Miller and Tom Browne (and whose 1981 album 'Nard spawned the jazz-funk classic Haboglabotribin') and who was Snarky Puppy founder Michael League's mentor. He died in a car accident just a couple of months after this album was recorded.

If you like jazz-funk or jazz-fusion of the '70s and early '80s you must give this album a spin.
 

J. PUPSTER

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Accordng to this little trailer/documentary, 128 channels of audio recorded.

Technically this is a "live album," but as with all of Snarky Puppy's recordings, it's really more of a hybrid approach, one that I think is pretty much unique to them. They play the album in a live music venue (in this case the Deep Ellum Art Co.) in front of a crowd, but there's no PA system. It's done like a "silent disco" - that is, everyone wears headphones, both the musicians and the audience, which means there's no sound leakage between the PA or the instruments. As a result you get an album that is (ideally) the best of both worlds: the excitement of a live recording with the sonics of a studio recording.

These guys are one of my favourite bands of recent years, and I've touted them on here a number of times so I was incredibly excited to see this album getting the Atmos treatment. 2015's Sylva (with the Metropole Orkest) and 2016's Culcha Vulcha are amazing albums - I didn't like their last album, Immigrance (from 2019) nearly as much, but Empire Central is a real return to form, my ears.

This album is also notable that it features that last recorded performances of Bernard Wright, who came out of the same Jamaica area of Queens in the early 80s that produced Marcus Miller and Tom Browne (and whose 1981 album 'Nard spawned the jazz-funk classic Haboglabotribin') and who was Snarky Puppy founder Michael League's mentor. He died in a car accident just a couple of months after this album was recorded.

If you like jazz-funk or jazz-fusion of the '70s and early '80s you must give this album a spin.

Not Atmos, but?...

 
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