Listening to in Dolby Atmos Streaming [Classical edition]
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A favorite from 2L.
I see nothing going on in the heights, and the original blu-ray release only has stereo and 5.1 https://www.2l.no/e-book/2L-RR1-SABD.pdf
@mkt, thanks for starting/seeding this thread! I haven't really been keeping up with all the latest classical releases (although I saw fredblue post a Boulez/Stravinsky album on DG to the main streaming Atmos listening thread yesterday, as well as a new Caroline Shaw EP). But here's what I'm checking out right now--MacBook only; haven't had a chance to listen on my main system--inspired by the Naxos podcast:
The Bologne biopic is evidently streaming on Hulu.
The Bologne biopic is evidently streaming on Hulu.
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Echoing that. Thanks @mkt.
Much of my work involves writing/editing and I can’t listen to vocal music when doing that, otherwise it would be a lot of hours of classic rock pumping through the speakers.
While I’ll mix in some jazz, fusion and ambient, classical is my preferred working music... the Baroque and Classical periods in particular. I don’t think I could carry on a smart conversation about classical music, but my enjoyment and appreciation of it continues to grow.
The Arabella Quartet link is going on my list.
Working my way through this one this morning. It’s 5 hours of music, so I’ll probably do it in stages.
Read a nice review about it last night in BBC Music magazine. Didn’t realize it was in Atmos until I added it to my playlist.
Read a nice review about it last night in BBC Music magazine. Didn’t realize it was in Atmos until I added it to my playlist.
Out today
and Gramophone Recording of the Month for August 2023. I count 6 in spatial audio in this month's editor's choices (with Apple Music links).
https://www.gramophone.co.uk/classi...august-2023-the-best-new-classical-recordings
https://www.gramophone.co.uk/classi...august-2023-the-best-new-classical-recordings
JediJoker
Audio Engineer/Enthusiast
I really like MTT's Grammy-winning SFS Sacre du Printemps recording from 1999 (stereo only, though). I was lucky enough to sing in the children's chorus for a post-Grammy Award reprise performance of Persephone with the SFS at Davies. I'm definitely curious to hear the new maestro's interpretation. I wonder if it will get a physical, lossless release on Blu-ray?
Just finished this one. A solo instrument in Atmos always initially seems odd to me, but it’s a nice album. Plus, Gymnopedies #1 is one of my all-time favorite classical songs.
erebus
Active Member
Maurice Ravel. Daphne et Chloe. Berliner Philharmoniker. Pierre Boulez.
Gramophone recording of the month September 2023
https://www.gramophone.co.uk/classi...tember-2023-the-best-new-classical-recordings
>Sigh.< I usually find Seth Colter Walls a perceptive critic, but he doesn't get Atmos--or spatial audio in general.
The piece he wrote for today's Times gives readers the mistaken impression that the sole point of spatial audio is to make things sound better over headphones: "Given the right production process...and tech setup, headphone sounds no longer need feel so statically pressed to each ear; instead, they can seem to whiz around your head or beckon from the nape of your neck." "Whether you're focusing on a stray slide-guitar accent in the Dolby Atmos mix of Taylor Swift's 'Mine (Taylor's Version)' or appreciating the serrated details of brass-arrangement filigree in Frank Zappa's vintage 'Big Swifty,' the idea is to bring the souped-up, three-dimensional feel of large-speaker arrays into your ears." Yeah, okay, but....
In the course of the article, he serves up one interesting historical tidbit--Stockhausen's 1956 "Gesang der Juglinge," which "employed a five-speaker mix (including one on the ceiling)"--and mentions a couple of recent surround performance installations. And he rightly points out that some of what you find on Apple Music's "Classical in Spatial Audio" playlist is a "poor advertisement for what Dolby Atmos can provide when applied to the right repertoire." But his point of reference for evaluating recordings is always binaural, whether it's legacy ambisonics or Dolby Atmos for Headphones. And while he mentions some of the better classical Atmos works by name-brand orchestras that have appeared recently on Apple Music (e.g., the CSO's Contemporary American Composers album and the SFS's series of Ligeti EPs under Esa-Pekka Salonen), he doesn't bother talking to people like Morten Lindberg or Daniel Shores who've made it their life's work to record, mix, and produce extraordinary classical immersive albums, or Nathaniel Reichman, who's done amazing mixes of works by John Luther Adams, Caroline Shaw, and Julia Wolfe.
I blame some of this on Dolby, which from the start has encouraged people to treat Atmos for Headphones and Atmos for Home Theater as if they were one and the same thing. Still: don't editors ask reporters to do their homework any more? (That's a rhetorical question.)
The piece he wrote for today's Times gives readers the mistaken impression that the sole point of spatial audio is to make things sound better over headphones: "Given the right production process...and tech setup, headphone sounds no longer need feel so statically pressed to each ear; instead, they can seem to whiz around your head or beckon from the nape of your neck." "Whether you're focusing on a stray slide-guitar accent in the Dolby Atmos mix of Taylor Swift's 'Mine (Taylor's Version)' or appreciating the serrated details of brass-arrangement filigree in Frank Zappa's vintage 'Big Swifty,' the idea is to bring the souped-up, three-dimensional feel of large-speaker arrays into your ears." Yeah, okay, but....
In the course of the article, he serves up one interesting historical tidbit--Stockhausen's 1956 "Gesang der Juglinge," which "employed a five-speaker mix (including one on the ceiling)"--and mentions a couple of recent surround performance installations. And he rightly points out that some of what you find on Apple Music's "Classical in Spatial Audio" playlist is a "poor advertisement for what Dolby Atmos can provide when applied to the right repertoire." But his point of reference for evaluating recordings is always binaural, whether it's legacy ambisonics or Dolby Atmos for Headphones. And while he mentions some of the better classical Atmos works by name-brand orchestras that have appeared recently on Apple Music (e.g., the CSO's Contemporary American Composers album and the SFS's series of Ligeti EPs under Esa-Pekka Salonen), he doesn't bother talking to people like Morten Lindberg or Daniel Shores who've made it their life's work to record, mix, and produce extraordinary classical immersive albums, or Nathaniel Reichman, who's done amazing mixes of works by John Luther Adams, Caroline Shaw, and Julia Wolfe.
I blame some of this on Dolby, which from the start has encouraged people to treat Atmos for Headphones and Atmos for Home Theater as if they were one and the same thing. Still: don't editors ask reporters to do their homework any more? (That's a rhetorical question.)
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This seems interesting. Listening to the last "re-mix" track now
review (non atmos version?) here
http://www.musicweb-international.com/classrev/2019/Oct/Bates_choral_DE3573.htm
http://www.musicweb-international.com/classrev/2019/Oct/Bates_choral_DE3573.htm
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