KISS Destroyer is coming out in Atmos on a bluray disc:
This is really what we need more of, not necessarily at that price point though. Blu-ray gives you lossless TrueHD/Atmos whereas streaming Atmos is always lossy DD+/Atmos. Lossless on Apple only refers to stereo tracks.
When comparing Steven Wilson’s Future Bites I found my Blu-ray ($25) sounded notably better than the Tidal Atmos version, and my Bob Marley Legend 5.1 BD sounded better than the Tidal Atmos version, all in terms of fidelity.
There are many Atmos mixes of studio music on BD now, sadly none of Pearl Jam’s have made it. I would snap up BD releases of No Code and Ten for $30/ea in a heartbeat.
Tragically Hip’s Road Apples has an Atmos BD coming out next month, Loreena McKenna’s The Visit also, and I just ordered the Steven Wilson Atmos mix of the 1975 Gentle Giant album on CD+BD for $26.
I find Atmos in headphones to be largely pointless and silly. The only real benefit to me is if the Atmos mix itself has benefited from some overall improvement in fidelity. Many times when doing these mixes, they go back to the original source multitracks and do new high resolution transfers which can make things sound better, cleaner, less hiss, etc. Other than that sort of general sound quality improvement, I find Atmos in headphones do not really accomplish any sort of significant "3D" sound. I just think you need a surround sound system in order to do that. And No Code or Ten in Atmos on a 5.1 system (and more) IS a game changing experience for both albums.
But, you do only have two ears?
That’s for hearing though, the correct analogy would be does real life sound come at you only from two points like headphones Project or from all around you like an Atmos system comes closer to representing. Listening to a movie in 2.0, if gunfire is coming from behind you it will not sound that way from a L/R stereo system. With surround the sound will be broadcast from behind you etc
I find Atmos in headphones to be largely pointless and silly. The only real benefit to me is if the Atmos mix itself has benefited from some overall improvement in fidelity. Many times when doing these mixes, they go back to the original source multitracks and do new high resolution transfers which can make things sound better, cleaner, less hiss, etc. Other than that sort of general sound quality improvement, I find Atmos in headphones do not really accomplish any sort of significant "3D" sound. I just think you need a surround sound system in order to do that. And No Code or Ten in Atmos on a 5.1 system (and more) IS a game changing experience for both albums.
But, you do only have two ears?
That’s for hearing though, the correct analogy would be does real life sound come at you only from two points like headphones Project or from all around you like an Atmos system comes closer to representing. Listening to a movie in 2.0, if gunfire is coming from behind you it will not sound that way from a L/R stereo system. With surround the sound will be broadcast from behind you etc
Sure, but wherever the sound comes from, it gets to your brain via a hole on either side of your head for most people. Therefore the sound should be able to be modelled as two (almost) point sources.
If you could perfectly capture the sound as it arrived at each ear and then perfectly reproduce that, how would it sound different? And if you can't do it perfectly, how close is "good enough"?
Ten Club sent an email mentioning Vs. and Lightning Bolt have anniversaries in October. Did anyone else immediately wonder if that means those two albums might be next to get Atmos mixes released?
PORTLAND - 18 JUL 98 // TAMPA - 12 AUG 00 // PORTLAND - 02 NOV 00 // SEATTLE - 05 NOV 00 // SEATTLE - 09 DEC 02 BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13 CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
Ten Club sent an email mentioning Vs. and Lightning Bolt have anniversaries in October. Did anyone else immediately wonder if that means those two albums might be next to get Atmos mixes released?
Let’s hope so…can you imagine how good Indifference will sound in DA?! 🤯
Wembley Arena, London - 28/10/96 Wembley Arena, London - 30/05/00
Wembley Arena, London - 18/06/07
02 Arena, London - 18/08/09
Hammersmith Apollo, London - 30/07/12 EV Solo Bowl, Milton Keynes - 11/07/2014 Hammersmith Apollo, London - 06/06/17 EV Solo O2 Arena, London - 18/06/18 O2 Arena, London - 17/07/18
It's an art to live with pain, mix the light into grey...
So we all know that Pearl Jam did a Dolby Atmos surround mix of Gigaton to go alongside the whole visual album thing they released (eventually) on AppleTV+ and for purchase. And then when Apple did their whole new Dolby Atmos driven Spatial Audio thing, they made Gigaton a part of that, even apart from the visual album. When you stream Gigaton on compatible systems (headphones or surround systems) you hear the Atmos mix.
Now today (I think) without any fanfare or word that I could find, they suddenly put brand new Dolby Atmos surround mixes up of both Ten and No Code. These are brand new full Atmos surround mixes of these two albums, never heard before now that I am aware of. Like Gigaton, when you stream either Ten or No Code using Apple Music on compatible systems (headphones or surround systems) you hear the Atmos mix, if Atmos is turned on in your settings for Music.
The impact in headphones is definitely noticeable, for me largely because it's a clearer, richer sound with deeper and more natural bass sound. But on my Atmos surround home theater system, it's a completely insane revolutionary experience. The music envelopes you like never before, instruments and sounds come from behind, beside you, all around. Sometimes the. music swirls around and comes from everywhere in the room. It's mind blowing on some songs.
Does anyone else enjoy music in surround? Is anyone else listening to these?
Finally switched Atmos on with Apple Music. Thought I’d see how it plays through my iPhone 12.
Tried “Why Go” randomly & WOW! I got goosebumps. It was like hearing the song again for the first time 🤯
Looking forward to giving the whole of Ten & No Code a spin, spin. This time bluetoothed through my stereo.
Wembley Arena, London - 28/10/96 Wembley Arena, London - 30/05/00
Wembley Arena, London - 18/06/07
02 Arena, London - 18/08/09
Hammersmith Apollo, London - 30/07/12 EV Solo Bowl, Milton Keynes - 11/07/2014 Hammersmith Apollo, London - 06/06/17 EV Solo O2 Arena, London - 18/06/18 O2 Arena, London - 17/07/18
It's an art to live with pain, mix the light into grey...
Ten Club sent an email mentioning Vs. and Lightning Bolt have anniversaries in October. Did anyone else immediately wonder if that means those two albums might be next to get Atmos mixes released?
I find Atmos in headphones to be largely pointless and silly. The only real benefit to me is if the Atmos mix itself has benefited from some overall improvement in fidelity. Many times when doing these mixes, they go back to the original source multitracks and do new high resolution transfers which can make things sound better, cleaner, less hiss, etc. Other than that sort of general sound quality improvement, I find Atmos in headphones do not really accomplish any sort of significant "3D" sound. I just think you need a surround sound system in order to do that. And No Code or Ten in Atmos on a 5.1 system (and more) IS a game changing experience for both albums.
But, you do only have two ears?
That’s for hearing though, the correct analogy would be does real life sound come at you only from two points like headphones Project or from all around you like an Atmos system comes closer to representing. Listening to a movie in 2.0, if gunfire is coming from behind you it will not sound that way from a L/R stereo system. With surround the sound will be broadcast from behind you etc
Sure, but wherever the sound comes from, it gets to your brain via a hole on either side of your head for most people. Therefore the sound should be able to be modelled as two (almost) point sources.
If you could perfectly capture the sound as it arrived at each ear and then perfectly reproduce that, how would it sound different? And if you can't do it perfectly, how close is "good enough"?
With headphones the sound comes from a single driver for each ear, so the sound ALWAYS comes from the same spots. I am not good with ambiguous descriptions and don't have a clear understanding of what your second paragraph is trying to convey. But if you captured a sound moving in 360 degrees in a circle on your left side from 2' away (closest point) to 10' away (furthest point) you would have no idea on playback whether the sound was moving away from you or not, nor whether it was moving in a circular pattern. If you were told it was moving in a circular pattern you would have no idea whether it was counter-clockwise or clockwise unless you were told. If you were told it was moving in a circular pattern clockwise, your brain would perceive that. If I was told it was moving in a counter-clockwise pattern my brain would perceive that. The only thing we are both guaranteed to get right if we listen without any information or visual cues ahead of time is that the sound is on the left side.
With surround sound you do not need to be told and you do not need visual cues, you can place what the sound is doing because it's coming from a point in the room that your multi-speaker system is able to reproduce using multiple drivers around the room.
I'll give one more example, if I record the sound of a train approaching a bridge, in stereo playback you would know when the train hits the recording point because of the Doppler effect, but you would only be guessing whether it had come from in front or behind unless you were told ahead of time or have a visual cue (movie for example). We could listen to the same thing and you could say it went front to back while I say back to front. We each have a 50/50 chance of being right. In an Atmos system without any cues or information, unless you have some hearing impairment you should find 100% of people will correctly identify which direction the train was travelling.
It's simple science, the "two ears" argument just doesn't make sense as it's referring to HEARING, not reproduction of sound.
Hey dobyblue aren't you also a poster on those old Blu Ray forums? Or is it Quadrophonic Quad?
They are old now aren't they? lol Still a good site for release specs, upscale or native for UHD releases etc.
Yes, that's me...mod on Blu-ray dot com since 2008 and big fan of QQ forum also. I absolutely love well done surround and finally got to experience surround live in late 2018 when I saw Steven Wilson who mixes live shows in quadraphonic sound. I even have 5.1 in my vehicle, having convinced the wife we needed the "Touring" trim of the Honda Odyssey when kid #3 arrived, it was the only minivan on the market that does discrete 5.1 decoding.
I pre-wired the loft in my new house for Atmos ceiling and rear surround speakers. My partner is fine with it, but really wants the sub first. I stopped posted on Blu Ray cuz it was sooooooo dead. I find QQ is active enough that I greatly enjoy it there. Nice to see you here too!
As for my own question above, I actually find the idea of Vs. and Lightning Bolt as the next two Atmos mixes to be a pretty good choice. One classic album and one newer album. Nice mixture. Not that they're going to do it. Just pure fantasy at this point...
PORTLAND - 18 JUL 98 // TAMPA - 12 AUG 00 // PORTLAND - 02 NOV 00 // SEATTLE - 05 NOV 00 // SEATTLE - 09 DEC 02 BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13 CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
With headphones the sound comes from a single driver for each ear, so the sound ALWAYS comes from the same spots. I am not good with ambiguous descriptions and don't have a clear understanding of what your second paragraph is trying to convey. But if you captured a sound moving in 360 degrees in a circle on your left side from 2' away (closest point) to 10' away (furthest point) you would have no idea on playback whether the sound was moving away from you or not, nor whether it was moving in a circular pattern. If you were told it was moving in a circular pattern you would have no idea whether it was counter-clockwise or clockwise unless you were told. If you were told it was moving in a circular pattern clockwise, your brain would perceive that. If I was told it was moving in a counter-clockwise pattern my brain would perceive that. The only thing we are both guaranteed to get right if we listen without any information or visual cues ahead of time is that the sound is on the left side.
With surround sound you do not need to be told and you do not need visual cues, you can place what the sound is doing because it's coming from a point in the room that your multi-speaker system is able to reproduce using multiple drivers around the room.
I'll give one more example, if I record the sound of a train approaching a bridge, in stereo playback you would know when the train hits the recording point because of the Doppler effect, but you would only be guessing whether it had come from in front or behind unless you were told ahead of time or have a visual cue (movie for example). We could listen to the same thing and you could say it went front to back while I say back to front. We each have a 50/50 chance of being right. In an Atmos system without any cues or information, unless you have some hearing impairment you should find 100% of people will correctly identify which direction the train was travelling.
It's simple science, the "two ears" argument just doesn't make sense as it's referring to HEARING, not reproduction of sound.
Your examples don't take into account phase differences or reflections based on the shape of your head/ears/torso etc. Sure, a pure stereo reproduction can only really offer left/right positioning but the use of a HRTF allows point positioning in 3D space.
You seem to be suggesting that the only way to simulate 3D sounds is by having 3D sources but that's just not the case. Any decent binaural recording will show what's possible, I'm sure you've heard the virtual barbershop. Not impressed? Even Tchad's dog running around at the start of Rival had some definite 3D-ness.
In other words, just because the sound comes from 2 spots on either side of your head doesn't mean your brain perceives it that way. That's obvious, right?
I am definitely getting the Atmos mix on my Android phone with this. I know this thanks to whoever pointed out the "avalanche" anomaly in Who You Are!
I'm playing this over Bluetooth (from my Android phone) to a Denon receiver which controls a 5.1.2 setup. My Denon app isn't telling me whether it's recognizing the input as Atmos. The Amazon Music app does say it's outputting Atmos. This is probably accurate because it didn't say that when I tried to use the cast button to play it on the same receiver (and I got the "avalanche" lyric on that occasion).
Any thoughts from experts here on the fidelity of Atmos over Bluetooth?
There's no way Bluetooth has the bandwidth to pass Atmos. It can't even pass lossless stereo, it has to be compressed. If you were using Airplay or some other Wifi format, maybe you could get the full Atmos experience, but it won't do Atmos over Bluetooth. Also, if you get Avalanche on No Code, doesn't that mean it's the non-Atmos mix? When I listen to No Code on Atmos, I get the original lyric from 1996.
PORTLAND - 18 JUL 98 // TAMPA - 12 AUG 00 // PORTLAND - 02 NOV 00 // SEATTLE - 05 NOV 00 // SEATTLE - 09 DEC 02 BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13 CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
There's no way Bluetooth has the bandwidth to pass Atmos. It can't even pass lossless stereo, it has to be compressed. If you were using Airplay or some other Wifi format, maybe you could get the full Atmos experience, but it won't do Atmos over Bluetooth. Also, if you get Avalanche on No Code, doesn't that mean it's the non-Atmos mix? When I listen to No Code on Atmos, I get the original lyric from 1996.
Yeah, what i meant was that previously when i tried to cast to the receiver, the mix switched to regular stereo and I got the "avalanche" lyric.
When I tried to stream on receiver via Bluetooth instead, there was no "avalanche", so the app was definitely outputting the Atmos mix.
Thanks for your insights. That was my suspicion as well (that Bluetooth wouldn't be able to transmit Atmos signals with decent fidelity).
There's no way Bluetooth has the bandwidth to pass Atmos. It can't even pass lossless stereo, it has to be compressed. If you were using Airplay or some other Wifi format, maybe you could get the full Atmos experience, but it won't do Atmos over Bluetooth. Also, if you get Avalanche on No Code, doesn't that mean it's the non-Atmos mix? When I listen to No Code on Atmos, I get the original lyric from 1996.
Yeah, what i meant was that previously when i tried to cast to the receiver, the mix switched to regular stereo and I got the "avalanche" lyric.
When I tried to stream on receiver via Bluetooth instead, there was no "avalanche", so the app was definitely outputting the Atmos mix.
Thanks for your insights. That was my suspicion as well (that Bluetooth wouldn't be able to transmit Atmos signals with decent fidelity).
I am assuming your receiver is streaming over its own wifi. You cannot stream atmos over bluetooth. Atmos is an uncompressed digital format. Airplay maxes out at 16 bit/44.1khz. If you airplay a dolby atmos mix, it will downsample the mix to its own version of dolby atmos stereo. This is the mix meant for headphones which probably gives some simulated surround effect that people here seem to be enjoying. Its possible you may be listening to that mix but it is not the true dolby atmos mix.
Right now the only way to listen to this seems to be:
apple music app on a compatible device, (like an apple 4k tv), that sends a hardwired digital signal over hdmi to a receiver that can decode dolby atmos, that outputs to at least a 5.1 speaker system, preferably more channels like 7.1 or 9.1 etc.
There's no way Bluetooth has the bandwidth to pass Atmos. It can't even pass lossless stereo, it has to be compressed. If you were using Airplay or some other Wifi format, maybe you could get the full Atmos experience, but it won't do Atmos over Bluetooth. Also, if you get Avalanche on No Code, doesn't that mean it's the non-Atmos mix? When I listen to No Code on Atmos, I get the original lyric from 1996.
Yeah, what i meant was that previously when i tried to cast to the receiver, the mix switched to regular stereo and I got the "avalanche" lyric.
When I tried to stream on receiver via Bluetooth instead, there was no "avalanche", so the app was definitely outputting the Atmos mix.
Thanks for your insights. That was my suspicion as well (that Bluetooth wouldn't be able to transmit Atmos signals with decent fidelity).
I am assuming your receiver is streaming over its own wifi. You cannot stream atmos over bluetooth. Atmos is an uncompressed digital format. Airplay maxes out at 16 bit/44.1khz. If you airplay a dolby atmos mix, it will downsample the mix to its own version of dolby atmos stereo. This is the mix meant for headphones which probably gives some simulated surround effect that people here seem to be enjoying. Its possible you may be listening to that mix but it is not the true dolby atmos mix.
Right now the only way to listen to this seems to be:
apple music app on a compatible device, (like an apple 4k tv), that sends a hardwired digital signal over hdmi to a receiver that can decode dolby atmos, that outputs to at least a 5.1 speaker system, preferably more channels like 7.1 or 9.1 etc.
All Atmos is compressed, the only uncompressed digital formats are PCM (as LPCM or wav) and DSD.
Atmos/TrueHD is losslessly compressed, all streaming Atmos is DD+/Atmos which is lossless.
But yes, Atmos to any Atmos-compatible receiver requires HDMI.
I wonder why Atmos on Tidal seems so much easier to rip than Atmos on Apple, different container perhaps? Haven't looked into it that much, but so far all Atmos rips I've seen appear to come from Tidal's library.
Comments
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
Hopefully someone in Eddies life also (For sure it must be)?
Or is the new ATMOS version of Release stuck with referencing a movie that came and went in 2013...
ITS NOT EVEN CERTIFIED FRESH ON ROTTEN TOMATOES
A nightmare on elm street is though. Praise the lord.
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
When comparing Steven Wilson’s Future Bites I found my Blu-ray ($25) sounded notably better than the Tidal Atmos version, and my Bob Marley Legend 5.1 BD sounded better than the Tidal Atmos version, all in terms of fidelity.
There are many Atmos mixes of studio music on BD now, sadly none of Pearl Jam’s have made it. I would snap up BD releases of No Code and Ten for $30/ea in a heartbeat.
Tragically Hip’s Road Apples has an Atmos BD coming out next month, Loreena McKenna’s The Visit also, and I just ordered the Steven Wilson Atmos mix of the 1975 Gentle Giant album on CD+BD for $26.
If you could perfectly capture the sound as it arrived at each ear and then perfectly reproduce that, how would it sound different? And if you can't do it perfectly, how close is "good enough"?
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
Wembley Arena, London - 30/05/00
Wembley Arena, London - 18/06/07
02 Arena, London - 18/08/09
Hammersmith Apollo, London - 30/07/12 EV Solo
Bowl, Milton Keynes - 11/07/2014
Hammersmith Apollo, London - 06/06/17 EV Solo
O2 Arena, London - 18/06/18
O2 Arena, London - 17/07/18
It's an art to live with pain, mix the light into grey...
Looking forward to giving the whole of Ten & No Code a spin, spin. This time bluetoothed through my stereo.
Wembley Arena, London - 30/05/00
Wembley Arena, London - 18/06/07
02 Arena, London - 18/08/09
Hammersmith Apollo, London - 30/07/12 EV Solo
Bowl, Milton Keynes - 11/07/2014
Hammersmith Apollo, London - 06/06/17 EV Solo
O2 Arena, London - 18/06/18
O2 Arena, London - 17/07/18
It's an art to live with pain, mix the light into grey...
bring it on!
edit- it looks like certain tracks are only. Nvm
With surround sound you do not need to be told and you do not need visual cues, you can place what the sound is doing because it's coming from a point in the room that your multi-speaker system is able to reproduce using multiple drivers around the room.
I'll give one more example, if I record the sound of a train approaching a bridge, in stereo playback you would know when the train hits the recording point because of the Doppler effect, but you would only be guessing whether it had come from in front or behind unless you were told ahead of time or have a visual cue (movie for example). We could listen to the same thing and you could say it went front to back while I say back to front. We each have a 50/50 chance of being right. In an Atmos system without any cues or information, unless you have some hearing impairment you should find 100% of people will correctly identify which direction the train was travelling.
It's simple science, the "two ears" argument just doesn't make sense as it's referring to HEARING, not reproduction of sound.
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
Yes, that's me...mod on Blu-ray dot com since 2008 and big fan of QQ forum also. I absolutely love well done surround and finally got to experience surround live in late 2018 when I saw Steven Wilson who mixes live shows in quadraphonic sound. I even have 5.1 in my vehicle, having convinced the wife we needed the "Touring" trim of the Honda Odyssey when kid #3 arrived, it was the only minivan on the market that does discrete 5.1 decoding.
I am in therapy.
As for my own question above, I actually find the idea of Vs. and Lightning Bolt as the next two Atmos mixes to be a pretty good choice. One classic album and one newer album. Nice mixture. Not that they're going to do it. Just pure fantasy at this point...
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
You seem to be suggesting that the only way to simulate 3D sounds is by having 3D sources but that's just not the case. Any decent binaural recording will show what's possible, I'm sure you've heard the virtual barbershop. Not impressed? Even Tchad's dog running around at the start of Rival had some definite 3D-ness. In other words, just because the sound comes from 2 spots on either side of your head doesn't mean your brain perceives it that way. That's obvious, right?
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
Lol
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
I am definitely getting the Atmos mix on my Android phone with this. I know this thanks to whoever pointed out the "avalanche" anomaly in Who You Are!
I'm playing this over Bluetooth (from my Android phone) to a Denon receiver which controls a 5.1.2 setup. My Denon app isn't telling me whether it's recognizing the input as Atmos. The Amazon Music app does say it's outputting Atmos. This is probably accurate because it didn't say that when I tried to use the cast button to play it on the same receiver (and I got the "avalanche" lyric on that occasion).
Any thoughts from experts here on the fidelity of Atmos over Bluetooth?
BERN, SWITZERLAND - 13 SEP 06 // PORTLAND - 26 SEP 09 // CHICAGO - 19 JUL 13 // PORTLAND - 29 NOV 13
CHICAGO - 20 AUG 16 // CHICAGO - 22 AUG 16 // PHOENIX - 09 MAY 22 // CHICAGO - 05 SEP 23 // CHICAGO - 07 SEP 23
When I tried to stream on receiver via Bluetooth instead, there was no "avalanche", so the app was definitely outputting the Atmos mix.
Thanks for your insights. That was my suspicion as well (that Bluetooth wouldn't be able to transmit Atmos signals with decent fidelity).
apple music app on a compatible device, (like an apple 4k tv), that sends a hardwired digital signal over hdmi to a receiver that can decode dolby atmos, that outputs to at least a 5.1 speaker system, preferably more channels like 7.1 or 9.1 etc.
Atmos/TrueHD is losslessly compressed, all streaming Atmos is DD+/Atmos which is lossless.
But yes, Atmos to any Atmos-compatible receiver requires HDMI.
I wonder why Atmos on Tidal seems so much easier to rip than Atmos on Apple, different container perhaps? Haven't looked into it that much, but so far all Atmos rips I've seen appear to come from Tidal's library.