Universal Music to Remix Thousands of Songs Into Dolby Atmos

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Not at all skeptical about the enhancement wrought by more channels, or even just by upmixing (I am a devotee of Dolby upmixers). Though I'm not sure that music needs 'height' as much as, say, movie soundtracks do. I'm open to being convinced.

I just find it hard to believe that UMG would foot the bill to truly remix thousands of separate, individual tracks from the multitracks of hundreds of albums, to showcase a surround format. I'll be happy to be amazed if so.

That's what I can't understand about the whole Atmos thing. I mean, great, bring it on. But if the general population is listening on a Bluetooth mono wireless speaker, and won't put up with a receiver and real speakers in their living space, let alone a 5.1 speaker set up, why would they expect them to accept 7.1 or 8.1.2 or whatever the Atmos layout might be? And if they would not mix surround for DVD-A or SACD after 2004 or so, why now for Atmos?

I wonder what exactly is moving this initiative forward?
 
I could have sworn I saw a video somewhere on QQ where Steve Genewick specifically states that he's been doing these Atmos mixes, and he discusses details of his mixing choices which would seem to negate the idea that the new releases will be upmixes (but I could be wrong :) )

These aren't upmixes...Steve has already mentioned his work on the Atmos titles...people are focusing on the "thousands of songs" WAY too much....they didn't say they were doing them this year or next year...and it's SONGS...not albums....and a major point that has been missed is in this article.. streaming...skipping the physical disc can streamline a production quite a bit...no sending it to a pressing plant and no distribution problems
 
'Coby' -- complete with Sony typography


See the source image
 
That's what I can't understand about the whole Atmos thing. I mean, great, bring it on. But if the general population is listening on a Bluetooth mono wireless speaker, and won't put up with a receiver and real speakers in their living space, let alone a 5.1 speaker set up, why would they expect them to accept 7.1 or 8.1.2 or whatever the Atmos layout might be? And if they would not mix surround for DVD-A or SACD after 2004 or so, why now for Atmos?

I wonder what exactly is moving this initiative forward?

What is moving the tech forward....it's already here...it's embedded in the video world...Dolby is just expanding it to include strictly music applications now...and despite your feelings about sound bars...that's the way it will spread
 
That's what I can't understand about the whole Atmos thing. I mean, great, bring it on. But if the general population is listening on a Bluetooth mono wireless speaker, and won't put up with a receiver and real speakers in their living space, let alone a 5.1 speaker set up, why would they expect them to accept 7.1 or 8.1.2 or whatever the Atmos layout might be? And if they would not mix surround for DVD-A or SACD after 2004 or so, why now for Atmos?

I wonder what exactly is moving this initiative forward?

CORPORATE GREED......another perceived gimmick to sell more music...in yet ANOTHER format! And I really do wonder with this impending massive lawsuit against UMG resulting from the 2008 fire if this will impede the ATMOS project in any way?
 
What is moving the tech forward....it's already here...it's embedded in the video world...Dolby is just expanding it to include strictly music applications now...and despite your feelings about sound bars...that's the way it will spread

True but in the same vein Clinty 3D movies continue to be made and shown in ATMOS theaters and look what happened to 3D? Still big in Asia and Europe but DEAD in the USA...on HOME video!
 
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I can't help but wonder if this Atmos initiative and the fire are connected. The desire to find multitracks for Atmos could be what brought this whole fire thing to light in the first place. Just speculation here of course.
 
I can't help but wonder if this Atmos initiative and the fire are connected. The desire to find multitracks for Atmos could be what brought this whole fire thing to light in the first place. Just speculation here of course.

My thoughts, exactly, Philip. The Atmos remix article preceded the New York Times' Universal Fire article by only a scant few weeks ....... Connect the dots......
 
My thoughts, exactly, Philip. The Atmos remix article preceded the New York Times' Universal Fire article by only a scant few weeks ....... Connect the dots......
Ahhh a conspiracy... just like the fake moon landing...

in these instances... don't they always say.. follow the money. :D
 
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The NYT article was in the works for months, if not years. No dots to connect.

But the fact that it was FINALLY made public, I'm sure, was a cause of consternation for the Universal execs ....... This will, IMO, be a massive lawsuit. The lawyers representing the artists are even seeking restitution from the settlement Universal received from NBC who actually rented those vaults to Universal.

This debacle would surely make for a great HBO movie: THE DAY THE MUSIC REALLY DIED ..... there may even be a part in the movie for you, ssully!:eek:
 
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But the fact that it was FINALLY made public, I'm sure, was a cause of consternation for the Universal execs ....... This will, IMO, be a massive lawsuit. The lawyers representing the artists are even seeking restitution from the settlement Universal received from NBC who actually rented those vaults to Universal.

And Universal will surely reply, via lawyers, that the physical recordings always belong/belonged to Universal, not the artists...who are considered 'work for hire' . That's how the music biz works.

The smart/rich/lucky artists make sure they own or buy back their masters.
 
I just find it hard to believe that UMG would foot the bill to truly remix thousands of separate, individual tracks from the multitracks of hundreds of albums, to showcase a surround format. I'll be happy to be amazed if so.

If it were just UMG I would feel the same way. They are blood suckers. But it makes perfect sense for Dolby to do this and there are only three majors at this point to partner with, and Sony is married to their own tech, so it was really a 50/50 proposition at this point.
 
Not at all skeptical about the enhancement wrought by more channels, or even just by upmixing (I am a devotee of Dolby upmixers). Though I'm not sure that music needs 'height' as much as, say, movie soundtracks do. I'm open to being convinced.

but all true "concerts" would be performed in a concert hall. I remember in the old days my receiver had a "concert hall" setting to emulate this. Now Atmos can do it with much, much more computer precision.

In a concert hall there is definitely a 2D x,y axis prominence of sound (left and right) but BIG concert halls have almost as much space (z axis) above the performers as they do to the left and right so atmos is able to capture that space.

Outdoor concerts are a terrible way to "hear" the performers because the z axis (height) sound just evaporates into the air.
Studio recordings definately have a lot of "reverb" from the ceiling so being able to computer equalize that into a 3D atmos sound definately gives a truer representation of what the engineer and performer hears in studio and concert hall.

I guess what I'm trying to say is, music, as well as everyday sound is truly 3D spatial, just go outside and listen to the birds in the trees (my favorite surround when I'm high :p), so why not have a technology that can reproduce that, isn't that the whole point of technology in the fist place?

Don't hate the technology, hate the corporation.

Many a good technology has been killed by greedy corporations but don't blame the tech, boycott the corps, c'mon you hippies, why die inside, teach your children, well.
 
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Hoo boy, this smells like failure with a smokin' Capital F.
Half baked and underfunded, this will die quickly and quietly.

Not that I want to see failure here, I just can't see this taking hold in today's consumer world.
The problem here is not delivering the technology, it's the consumer $HARDWARE$ requirement for a decent payoff.

Unless you think there is a big future in Costco $599 Atmos Soundbars.... you know the ones with the pair of 2.5 inch up-firing Atmos speakers connected via Bluetooth. 12 and a half watts of 5.1.2 bliss. This is what America wants right?
It's gonna take some great marketing to get the crowd to educate/invest properly here.

Looking like a big F to me.

Oh, and they are not gonna properly remix everything. They will upmix and re-encode and launch another new streaming service that will fail.
(Half baked and underfunded)

Wish I was more upbeat on this but it just reeks of a money grab.
 
They probably looked around and saw how nicely the Beatles White, Hendrix Ladyland, and Imagine came out, plus Roxy, VU, Allmans, Wilson's Yes, Crimson, and Tull packages, and then read about our excitement on the various forums, and the figured "Hey, we can do this same kind of thing, skip the expensive packaging, skip the outtakes and stereo remixes, books, boxes, and the cost of multitracks being unearthed, and just whip up some tunes, like hits only, and sell them at a pretty high prices, and the surround suckers will lap it up like the desperate losers that they are. They buy almost anything in surround anyway. They saw we like stand-alone issues, and decided ok, we'll give them stand-alone already!!!

Hoo boy, this smells like failure with a smokin' Capital F.
Half baked and underfunded, this will die quickly and quietly.
Looking like a big F to me.

Oh, and they are not gonna properly remix everything. They will upmix and re-encode and launch another new streaming service that will fail.
(Half baked and underfunded)

Wish I was more upbeat on this but it just reeks of a money grab.
 
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