1K Club - QQ Shooting Star
- Apr 27, 2006
- Pembroke Pines, FL
You want to add Dolby Digital and/or DTS encoding to the Surround Master? That's going to make it more expensive. Also, the other reason for using the analog multichannel inputs would be with universal BD/DVD players that have the DSD and MLP processing built in. As for ATMOS, I'm too old to care about that.It's not necessarily a good thing either. Most home theater setups are not using full range speakers. That's the entire point of bass management. Now my mains in my home theater are rated down to 35Hz, which is usually fine for music (Carver system upstairs plays down to 26Hz without a sub), but my REW graphs do show a significant improvement in overall room response using Audyssey room correction (+/- 2.5dB at the MLP which goes to more like +/- 5dB without it. That's not horrible given most speakers are +/- 3dB at best (My PSB speakers are rated +/- 1.5dB over most of the range), but it's still up to a 10dB difference in frequencies, which isn't exactly small (double/half the perceived volume possible between frequencies). It would be nice if receivers had an ADC section and offered all their modes with analog signals, but most don't since in 2021, almost all signals are digital save perhaps the "comeback" of the LP.
Marantz receivers like my 7012 still have 7.1 analog inputs on them (one of the significant differences between them and Denon models despite the same parent company these days). Most receivers have dumped them due to most people having no use for them. They were originally designed to allow receivers to be used with Dolby Digital and DTS decoders that were just starting to become available in the 1990s and were "5.1 Ready" (and later 7.1 ready), which was a bit like early HDTVs not having built-in tuners and were "HD Ready". There weren't many external 7.1 decoders made. I actually bought one to use with my Yamaha AVR which was from 2006 and didn't have HDMI inputs and of course it bypassed its own room correction system (which was never very good) and bass management, but soundtracks already have LFE so the bass thing wasn't quite as big of a deal, particularly if the surround decoder already had bass management built-in (like my old Technics DD/DTS unit I still have connected to my Carver system for occasional surround use (with Klipsch surround speakers). With KODI, it basically works with everything as KODI will generate a Dolby Digital signal from everything including Atmos sources.
I suppose the SM could offer similar conversion for optical digital output (which would work with receivers bass management and room correction and most of them still offer Optical/Coax inputs), but 5.1 is then no longer "lossless" and despite decent 640kbps rates sounding pretty good to my ears (transparent most of the time), there is of course a stigma associated with all forms of "lossy" by the industry (even when they shoot themselves in the foot towards streaming needs now) regardless if it's audible or not because like audiophile equipment, marketing lossless as "better" (whether you can hear it or not) is a marketing strategy to sell more crap (ironic as they want to ditch disc formats).