I am curious as to whether there was any reason for the installers to have set up the whole set (theatre, 18s and 28s) as a group called TrueImage though?!? Assuming it wasnt random, and they are possibly following some guidance?

Raises the broader question about how Atmos and TrueImage play together / work with or around each other.

Pretty sure Geoff has been anticipating (fearing perhaps!) having to explain some of this, with all the best will in the world.

it does indeed help, thanks very much.

Very well written too, and even a dumb dumb like me understood the piece!

link

This may help – at least as a start. Cheers – geoff

For sure interesting reading, but... doesn't the Theatre have 27 output paths? Or do I mis interpreter the system?

link

Moreover one point of marketing emphasis is, as you infer, on the capability of a Theatre alone with 28s as rears

Oh duh, of course, B&O's model home" diagram (lounge/dining single L-shaped room) with the TV in front of the sofa and the pair of surround speakers that do double-duty as dining room stereo "ventriloquists." Now just make it a Theatre and 28s (no front L/R) and voilà! Same as before only grander (and more "grands").

link

link

This may help – at least as a start. Cheers – geoff

For sure interesting reading, but… doesn’t the Theatre have 27 output paths? Or do I mis interpreter the system?

   

8 plus 8 plus 11 is 27 ?

MM

Not in Canada.... 8+8+11 = 25. We work in a hybrid system alternating between hexadecimal and Fahrenheit...

It's fixed. Thanks for ripping the thin veil off my stupidity... ;-)

-g

link

This may help – at least as a start. Cheers – geoff

Grateful for the info but worried for the result: TrueImage has the potential to cause *such* a mess. Recently at a dealer, the pit-crew scene in "Ford vs. Ferrari" sent the dialog to the Harmony center at a low volume, and to wide Celestials at about the same level!!! I couldn't judge if the distance had been tweaked to sound the center sooner but no matter what the settings, it was !@#$%. (Using 50s as rear surrounds made for great vroom noises though!) There is no beam-width or virtual-speaker justification for open-air dialog to come from the ceiling. <rant>Alas, no test disc (or stream, 21st c.) exists. Dolby FAQ spouts some pabulum about rights-holders as if they couldn't force cross-licensing or just take snippets under fair-use --- and then has the gall to say, "If you're calibrating a new Dolby Atmos® setup, you actually don't need a Dolby Atmos demo disc." Nonsense. Suggestion: It's a non-revenue project when writ small, but writ large, if B&O really wants their system to be enough of a "wow" that it sells millions, they will create a test to show how good the system (or installer) has done. Even if it's the Danish National Opera playing cha-chas. Otherwise Floyd Toole's Circle of Confusion will reign and nobody will know if the Beosound Theatre is any better than a Sennheiser Ambeo or Sonos Arc(+Sub), except, big whoop, one might play louder than the others. As @Sandyb is implying above if not stating so obnoxiously as I dare, will we all be wishing for a simple On/Off switch to squelch TrueImage, and another one for Atmos? Both "Off" forces 5.1 or 7.1 which are predictable and easily calibrated. </rant> Regarding that dialog from Celestials, at least a Beosound Theatre when used stand-alone will have all its real drivers location-constrained.

Hi Trackbeo,

Just like the BV11/Eclipse/Harmony, the Theatre gives you the option to not use True Image if that's what you'd prefer, and just like the Harmony, if you choose Downmix instead, then by using only a 5.x or a 7.x output, I think that you'll get what you're asking for.

If you choose 1:1 mode instead, then your output will be a direct reproduction of the input. So (as long as you have outputs assigned to the appropriate Speaker Roles) then the whole up- and down-mixing processing is bypassed - which may also be closer to your preference.

The goal (as always) is to make a system that has enough "handles" to be customisable for your preferences.

 

As for Floyd's Circle of Confusion: as much as I like Floyd (I've known him for decades...) I disagree with his circle. In contradistinction to this concept, there is a reference: whatever the recording or mastering engineer heard in the studio. Take 100 recordings and count how many are made with the intention of making you feel like the musician is in your living room... The number will be very close to 0. (Just like there are no movies that are created to make you feel like you're one of the cast, or sitting in a theatre watching a play.) So the circle becomes a line, where the point of "truth" is in the middle. Of course, achieving that target is impossible, since no two studios or studio monitors are  identical... But this is a different discussion, best had over a pint.

Cheers
-geoff

 

Hey Geoff,

Are the drivers in the theatre made by tymphany? or are they from scan-speak?