Good read: why comparing specifications is pointless

@amir_asr

This will be my last post to you.

You are acting like a petulant child. Go away, I'm not buying your BS, and no how many times you feel the need to get the last word, I don’t agree with you.

I think you’d be better served if you packed your carnival up and moved on to the next forum.

@coralkong  x10 I am out too. 

More immersive audio specs, here is a room even smaller than mine that Wilfred Van Balen also commented on, the mixing stage at Sony Pictures. It uses the same immersive audio specs that the Toole, the Kota and Abbey Road uses. Matching speakers, same angles, use of center height and VOG channel. This is where specs can be useful, if you are setting up your speakers at home using the same specs that the mixing stage uses it helps reproduce the audio as it was meant to be heard

“The Sony Pictures Post Production mix stage adds to the growing footprint of Dolby Atmos enabled post production facilities and gives the Hollywood creative community the tools they need to deliver an immersive experience to consumers, adding additional depth, detail and clarity to the soundtracks,” said Curt Behlmer, Senior Vice President, Content Solutions and Industry Relations, Dolby Laboratories.

“The hope of film buffs and makers alike is an experience that fully transports the audience into the world of the characters,” said Auro Technologies CEO Wilfried Van Baelen. “Having major releases from Sony Pictures Home Entertainment incorporating Auro-3D helps provide this immersive experience, with sound design unlike anything audiences have heard before, to ensure they are able to enjoy films how the creator intended—with full impact.”:

These specs for setting up your room vary slightly between Dolby and Auro 3D. All of the rooms I have posted use a setup that work with both, a "universal" setup.

The Dolby Institute lays out these specs for Speaker Specifications and Placement in the video I posted in my thread on setting up your room for Atmos.

The Dolby specs also include "Room Tuning". Bryan Pennington, Senior Field Applications Engineer at Dolby Institute, discusses the importance of tuning your room. Some general specs he shares is 60/40 to 70/30 is a good rule of thumb to follow when figuring out how much absorptive surfaces to reflective surfaces to use in your room. That includes floor, walls, AND ceilings. Bryan states:

"Money spent on this type of help (room treatments and acoustics) will be more valuable than ANY piece of gear you will ever buy"

That brings us right back to the title of this thread, unless you have the specs of your room setup and tuning right, the specs of any gear you use in that room won’t matter.

Bryan states there are many DIY sources for treating your room. The specs I followed are laid out by Anthony Grimani and then I tailored them for my room with the help of Wilfried Van Baelen. The specs for Anthony’s DIY acoustic treatment recipe is laid out in the diagram below. Bass traps in the corners and then combo panels on the front wall. The side walls alternate with diffusors and absorbers but do NOT mirror each other. You’ll notice if you have a diffusor on the left wall there will be an absorber on the opposite wall. 2D diffusors in the front of the room, 3D diffusors in back. Anthony recommends absorbers in the front half of the ceiling and 3D diffusors on the ceiling in back. Wilfried felt you should include bass traps on the ceiling. I found the Auralex Geofusors a perfect workaround. It is a 3D diffusor that can be back filled with absorption and double as a bass trap. I placed the Geofusors above the MLP. I hung an acoustic cloud of the Auralex Sustain Lens diffusors where you see the 3D ceiling diffusors in the diagram below. The cloud hangs perfectly beneath my PJ. Here is a diagram of Anthony’s specs for room treatment that I used for my room. IMO these are the specs that matter because unless you get them right the specs of your gear don’t matter, just like the title of this thread: