::.. =[]= ..::     ::.. =[]= ..::     ::.. =[]= ..::     ::.. =[]= ..::

Spatial audio is the most exciting thing to happen to pop music since stereo

| November 12th, 2017 by r0gu3Sec | Comments Off on Spatial audio is the most exciting thing to happen to pop music since stereo

I wanted this beauty and well written article in my library.

A milestone footage of Music? 😉

Source “Dox” 😉

Sam Machkovech /
Tech Culture Editor



As much as I love overpriced gizmos in my living room, I still tend to be reluctant about new standards. TVs are a great example. I’ve appreciated the bonuses offered by 3D, 4K, and HDR, but I concede they all lack content and are less amazing than salespeople would lead you to believe. They’re also generally not worth replacing TVs that are only a few years old.

The same goes for audio, which fortunately hasn’t strayed far from a “5.1” surround-sound profile since the dawn of DVD adoption. Really, I’ve been fine with two good speakers and a subwoofer for my entire adult life. I laugh at overblown, pre-film Dolby intros in a theater. I shrug at the surround effects in hectic action movies. I have failed A/B tests in picking out major differences between 5.1 and 7.1 systems.

Surround audio can be cool, sure. But if I were to ever change up my entire living room, I’d need something to blow my aural expectations away. This week, that might have finally happened.

I am not lying when I say that a “spatial audio” experience this week left me gasping, laughing, and crying in sonic bewilderment. The impact came in a way that I never expected: not from a monstrous demo of sci-fi blasts in a film or video game, but from the acoustic majesty of an R.E.M. album brought to life anew. What’s more, the engineers behind this “first-ever” Atmos release were happy to share how they pulled it off—and how the Beatles’ Sgt. Pepper set everything into motion.

Sweetness follows

Roughly a month ago, the PR team working for the Athens, Georgia, pop/rock band R.E.M. sent me an out-of-nowhere invite to listen to the band’s latest 25th-anniversary re-release: the 1992 album Automatic For The People. R.E.M. began packaging and selling special editions of albums well before the band split in 2011. As a lifelong fan, I’ve picked up each one, full of unearthed B-sides and demos. I didn’t have much access to counterculture art as a kid, but I savored whatever mainstream gateway stuff I could get my hands on. R.E.M. showed up in my pre-teen life as a soft-and-weird complement to the loud-and-weird stuff I loved in metal and grunge. Automatic For The People was equal parts acoustic and electric, not to mention both wholesome and subversive, and that changed me as an 11-year-old.

As much as I love Automatic, I had no Ars-specific reason to request a promotional copy. But my tech-critic attention was captured by one sentence: this would be the “first major commercial music release in Dolby Atmos.” From the announcement:


I’d normally dismiss such a buzzword-filled promise. Worse, its attachment to the Dolby Atmos standard left me a little cold. Atmos is one of the latest entries in the burgeoning “spatial audio” landscape, right next to DTS-X and Windows Sonic. The sales pitch: if you plug headphones into the right hardware and listen to compatible content, sounds will be processed in such a way that their frequencies trick your brain. Sound effects and music will light up “around” you in a virtual-surround way. Unlike older virtual-surround trickery, this stuff should sound like a full, three-dimensional dome of sound, so that you can perceive the angle and height of sound. (Normal surround-sound systems operate with a flatter circle of sound.)



You have just been leveled up 2 points and are awarded to read the rest of this milestone in music article at Arstechnica


Don`t drink and Drive… Smoke Weed and fly…

(Visited 138 times, 1 visits today)

Comments are closed.

Please note: Comment moderation is enabled and may delay your comment. There is no need to resubmit your comment.