Ep. 18: Atmos Music Explored

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Diving deeper into the territory William Erb staked out in his Atmos Music: A World Beyond Movies, we talk to Stefan Bock—founder, director, engineer, and producer at Munich’s MSM Studio Group and developer of the Pure Audio Blu-ray format—about the state of and potential for high-resolution immersive audio, and explore an eclectic group of titles—ranging from electronica to classical to jazz—released in the format.

 

Here are the highlights:

  1:29   How William came across Atmos music

  2:28   William introduces Stefan Bock

  3:00   Stefan’s early experiences with Atmos

            music

  4:17   Stefan describes the creation of the Pure

            Audio Blu-ray format

  6:24   Frank Doris talks about his experiences

            with Yello’s Point in Atmos

  8:03   Frank on how gimmicky DVD-Audio and

            SACD mixes gave surround music a bad

            reputation

  8:47   Dennis Burger on how he prefers Atmos

            for music instead of movies

10:14   Dennis on Yello’s Point

12:03   Dennis on the Big Phat Band’s Gordian

            Knot

12:47   We’ve become used to surround sound,

            so music now sounds more natural mixed

            that way

15:22   Stefan on how to determine the right

            approach to an Atmos mix

16:59   Frank on the Big Phat Band

ATMOS MUSIC DISCS REFERRED TO IN THE EPISODE

 

Gordon Goodwin’s Big Phat Band,
The Gordian Knot   

 

Kraftwerk, 3-D 

 

Morten Lindberg, Reflections             

 

Alessandro Quarta
Alessandro Quarta Plays Astor Piazzolla         

 

Yello, Point

Ep, 18 Atmos Music Explored

17:39   Atmos music works just as well with solo performers as with complex ensembles

18:53   William on the Big Phat Band

20:06   Stefan on Alessandro Quarta’s reaction to first working in Atmos

21:15   Stefan on his approach to the Big Phat Band recording

21:57   Does Atmos music represent a way of achieving the elusive goal of the “absolute sound”?

26:13   The ability of Atmos music to create an immediacy other formats can’t

30:15   Atmos mixes encourage you to focus on the albums instead of treating them as background music

31:51   Frank on Kraftwerk’s 3-D

33:41   Discs vs. streaming for delivering Atmos music

35:58   Encouraging people to use their Atmos systems for music listening as well as watching movies

37:30   How to get people to appreciate Atmos music on its owns terms and as not just another surround-sound

            music format?

40:13   Getting the acoustics of your room to dovetail with the acoustics of the recording

42:32   Accessing Atmos music on disc

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Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast who somehow also manages to find time for technological passions including high-end audio, home automation, and video gaming. He lives in the armpit of Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire Terrier who thinks he’s a Pomeranian.

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a number of audio & music industry clients. He is also the editor of Copper magazine, a professional guitarist, and a vinyl enthusiast with multiple turntables and thousands of records.

William Erb is a longstanding movie enthusiast, music lover & home AV tinkerer. He has been using his spare time, now that he is semi-retired after a career in banking and biotech, to renovate his new home in Los Angeles with a private cinema and a distributed audio system, both state-of-the art. William became a client of Sam Cavitt’s Paradise Theater in the very early stages of his renovation project. He was lucky enough to get the private cinema completed just before lockdown, and is glad not to need an excuse to stay home to watch movies and listen to music.

Michael GaughnThe Absolute Sound, The Perfect Vision, Wideband, Stereo Review, Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs, a couple TV shows, some commercials, and now this.

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