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There has been some confusion as to the reasons we designed for DTS-X Pro our first Wallscreen Skylounge. I will attempt to organize all the images and documents here. Also for ATMOS we design for Cinema Tops spacing.
I will start explaining the synthesis of my quest for Neural-X pro.
Sound Engineers please bear with my apparent subjectivism, it is the way I think besides translation from Spanish does not quite come across as intended, not trying to make anything sound Fancy, although Technically Fancy is the goal on every aspect of the project.
In 1999 I commissioned a meridian cinema with Sony 3 chip dlp in a house in Tahiti Beach Miami. The house had several zones fed by an 11 foot rack of meridian surround processors. The purpose of it was to do distributed surround sound. The only native codec at the time for multichannel music was dts cd.
It was interesting to play the same Pavarotti and Lisa NY NY and Steve Miller fly like an eagle across the different 5.1/quad rooms, in the living room using equalized invisible speakers with meridian 561s & Nakamichi amps you could almost hear Pavarotti coming down the left side of the grand double stairways steps, and Lisa Minnelli singing from the right side of the stairway.
This concert but in glorious 5.1
https://youtu.be/oT4TgPjFjyQ?t=23
That grand living room invisible sounded incredible, yes the content has a lot to do with that.
What was an accidental discovery of very intriguing "sound-field epicureanism" was the pool. We had installed 4 Rockustics around the pool we were expecting a single layer sound image. In reality because of the way the DTS Music images, the sounds appeared to come from a cupola of sound that extended 18 inches underwater by the Jacuzzi, and soared up to an invisible bubble, palpably 16 to 18 feet up into the air.
So there are complex phase related height layer imaging nuances evident on many a multichannel dts music content, perhaps all multichannel music, including videos as you will see in the second Event occurrence 16 years later at CEDIA 2015.
JBL SYNTHESIS 2015 DEMO USING TRINNOV Music Video.
https://youtu.be/Q3oItpVa9fs
Just like Pavarotti and Steve Miller by the Jacuzzi, the sound this time equally emerged from 10-15 degrees below the M2 LCR's sitting on the floor. Experiencing that triggered a very powerful Memory Recall Reaction.
That is when I said that by using bottom speakers a la NHK and an upmixer, having a discrete speaker on the floor would further push the imaging under. And believe me i will goose their gain until they image proper.
Not to mention that we resolve 10 degrees below zero in our daily life, see median plane definitive study.
By the way we fastidiously aim for exact precision of the median plain speaker elevation angles, that enhance discreteness, which otherwise goes diluted with Home Atmos Guidelines. Very exactly.
RE DTS-X PRO Trinnov feature:
I knew trinnov had the dts-x working for years since 2015, but in 2018 I bugged the president of DTS-X Home Audio and offered the PH Project as a possible Neural-X Pro showcase. He said yes. 2 years later here we are with DTS-X Pro. I was merely a side instigator to help catalyze the development, maybe due to the size of the carrot. La Salle is a witness to the whole story.
Here is what I presented to Mr. Barkett of Experi to get his OK as Pilot DTS-X PRO System.
6DLHCVKRV/ke17ZwdGBToddI8pDm48kA47qaxzGU3oa60Mv3IrElh7gQa3H7 8H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLf rh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0jBK0T3M-v-AVkQFEHxhNgUudw45kiY-UQ73op4W9iSPFDhmgzum_ZisgY9UJzHOlA/solfar+4-19+2.png?format=2500w">
If the above cedia 2015 Jbl demo music video did not image well below the main channels try this other one, here in my topsmerssion lab (the term explains use of atmos cinema spacing with inter-tops separation of 30 degree azymuth), it images 32 inches below my main tweeters.
https://youtu.be/qQrgto184Tk
My curation of over 300 immersive music popular discs, points to a very promising active Neural-X Pro sound-field with plenty of Low Hanging treats for the taking. Then we will get SONY reality 360 and atmos tracks in our cinemas at some point soon. Multi-room Surround may yet catch this time around, 20 years after the Tahiti Beach Pool Bowl of sound.
https://youtu.be/qQrgto184Tk?t=5
As I told The President of DTS during the persuasion campaign, after I gave as background the 10 degree below water and cupola pool imaging anecdote, i pumped dts' rich 5.1 heritage etc. "I really did not want it for DTS-X Pro but for the full channel count Neural-x". Neural X is not an original DTS IP, it was on the market, evaluated by THX but DTS bought it. The combination of the dts music imaging extended physically by many individual speakers using my favorite upmixer is what I want to perfect. I also explined some Kaleidescape Studios do not release the advanced codecs, a perfect situation for NEURAL-X PRO.
I prefer a tweaked neural-X over auro 3D, the laterit sounds ok at Brads but i prefer the cupola. Here is me at Brad's reacting to Auro 3D, i exaggerate lol.
https://youtu.be/Q3oItpVa9fs?t=45
I will start explaining the synthesis of my quest for Neural-X pro.
Sound Engineers please bear with my apparent subjectivism, it is the way I think besides translation from Spanish does not quite come across as intended, not trying to make anything sound Fancy, although Technically Fancy is the goal on every aspect of the project.
In 1999 I commissioned a meridian cinema with Sony 3 chip dlp in a house in Tahiti Beach Miami. The house had several zones fed by an 11 foot rack of meridian surround processors. The purpose of it was to do distributed surround sound. The only native codec at the time for multichannel music was dts cd.
It was interesting to play the same Pavarotti and Lisa NY NY and Steve Miller fly like an eagle across the different 5.1/quad rooms, in the living room using equalized invisible speakers with meridian 561s & Nakamichi amps you could almost hear Pavarotti coming down the left side of the grand double stairways steps, and Lisa Minnelli singing from the right side of the stairway.
This concert but in glorious 5.1
https://youtu.be/oT4TgPjFjyQ?t=23
That grand living room invisible sounded incredible, yes the content has a lot to do with that.
What was an accidental discovery of very intriguing "sound-field epicureanism" was the pool. We had installed 4 Rockustics around the pool we were expecting a single layer sound image. In reality because of the way the DTS Music images, the sounds appeared to come from a cupola of sound that extended 18 inches underwater by the Jacuzzi, and soared up to an invisible bubble, palpably 16 to 18 feet up into the air.
So there are complex phase related height layer imaging nuances evident on many a multichannel dts music content, perhaps all multichannel music, including videos as you will see in the second Event occurrence 16 years later at CEDIA 2015.
JBL SYNTHESIS 2015 DEMO USING TRINNOV Music Video.
https://youtu.be/Q3oItpVa9fs
Just like Pavarotti and Steve Miller by the Jacuzzi, the sound this time equally emerged from 10-15 degrees below the M2 LCR's sitting on the floor. Experiencing that triggered a very powerful Memory Recall Reaction.
That is when I said that by using bottom speakers a la NHK and an upmixer, having a discrete speaker on the floor would further push the imaging under. And believe me i will goose their gain until they image proper.
Not to mention that we resolve 10 degrees below zero in our daily life, see median plane definitive study.
By the way we fastidiously aim for exact precision of the median plain speaker elevation angles, that enhance discreteness, which otherwise goes diluted with Home Atmos Guidelines. Very exactly.
RE DTS-X PRO Trinnov feature:
I knew trinnov had the dts-x working for years since 2015, but in 2018 I bugged the president of DTS-X Home Audio and offered the PH Project as a possible Neural-X Pro showcase. He said yes. 2 years later here we are with DTS-X Pro. I was merely a side instigator to help catalyze the development, maybe due to the size of the carrot.
La Salle is a witness to the whole story.Here is what I presented to Mr. Barkett of Experi to get his OK as Pilot DTS-X PRO System.
6DLHCVKRV/ke17ZwdGBToddI8pDm48kA47qaxzGU3oa60Mv3IrElh7gQa3H7 8H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLf rh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0jBK0T3M-v-AVkQFEHxhNgUudw45kiY-UQ73op4W9iSPFDhmgzum_ZisgY9UJzHOlA/solfar+4-19+2.png?format=2500w">If the above cedia 2015 Jbl demo music video did not image well below the main channels try this other one, here in my topsmerssion lab (the term explains use of atmos cinema spacing with inter-tops separation of 30 degree azymuth), it images 32 inches below my main tweeters.
https://youtu.be/qQrgto184Tk
My curation of over 300 immersive music popular discs, points to a very promising active Neural-X Pro sound-field with plenty of Low Hanging treats for the taking. Then we will get SONY reality 360 and atmos tracks in our cinemas at some point soon. Multi-room Surround may yet catch this time around, 20 years after the Tahiti Beach Pool Bowl of sound.
https://youtu.be/qQrgto184Tk?t=5
As I told The President of DTS during the persuasion campaign, after I gave as background the 10 degree below water and cupola pool imaging anecdote, i pumped dts' rich 5.1 heritage etc. "I really did not want it for DTS-X Pro but for the full channel count Neural-x". Neural X is not an original DTS IP, it was on the market, evaluated by THX but DTS bought it. The combination of the dts music imaging extended physically by many individual speakers using my favorite upmixer is what I want to perfect. I also explined some Kaleidescape Studios do not release the advanced codecs, a perfect situation for NEURAL-X PRO.
I prefer a tweaked neural-X over auro 3D, the laterit sounds ok at Brads but i prefer the cupola. Here is me at Brad's reacting to Auro 3D, i exaggerate lol.
https://youtu.be/Q3oItpVa9fs?t=45
Attached Files
I am redesigning the main columns.
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