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Immersive Audio continues to gain steam, adding to the current streaming catalog of 25,000+ albums, with more enjoyable releases available for purchase. In the last month or so I’ve added TrueHD Dolby Atmos albums from artists that I know well and artists in which I previously had little interest. In all cases, the fact remains that immersive audio has brought me more musical enjoyment than any other technology or format I can remember.

This week the nine time Grammy winning album Genius Loves Company from Ray Charles was made available for purchase at Immersive Audio Album. The TrueHD Dolby Atmos download was co-mixed by Eric Schilling and Michael Romanowski, and mastered by Romanowski at Coast Mastering in Berkeley.

I loved this album when it was released in stereo in 2004, never really listened to the 5.1 mix back in the day, and now I’m enthralled with the immersive mix twenty years later. Of course everything starts with the world’s best artists joining the genius Ray Charles and original engineering by the best people in the business (Al Schmitt, Doug Sax, etc…). Eric Schilling and Michael Romanowski took the aforementioned ingredients and baked an immersive masterpiece. The new mix serves this wonderful music perfectly.

It doesn’t matter where one starts listening, all the tracks on this immersive release are superb. As I write this, I feel like I’m sitting in the studio with Elton John and Ray Charles, with a string section enveloping my listening chair. It’s just beautiful. A big tip of the cap to Eric Schilling and Michael Romanowski.

Genius Loves Company is available as a TrueHD Dolby Atmos download at IAA for $24.99 (link). I hate to say it, but I’d pay twice that price for an album this good. If there are more albums waiting in the wings, please pre-add them to my cart or start a subscription for me :~)

Here are details for each track, including the standard Dolby Atmos high dynamic range.

Immersive audio has a way of pulling listeners into the music, even if they’ve heard it thousands of times in stereo and even if they’ve previously written off the artist, album, or even complete genre. The first example of this, for me, is Thin Lizzy’s 1976 : Jailbreak and Johnny The Fox. I’ve heard Jailbreak on the radio a million times and have never been thrilled. I tapped play in JRiver Media Center on the extracted TrueHD Dolby Atmos release and didn’t stop listening until all nineteen tracks were finished.

I was so drawn into the music that I started the album again and while listening I researched the band. I had no clue these guys were Irish and knew nothing about one of my new favorite musicians, bass guitarist, lead vocalist and principal songwriter Phil Lynott.

That’s the power of great music and a great immersive mix. Music created a year after I was born, that has been played-out on FM radio for decades, now has a new fan and I’m discovering deep cuts I love much more than the hits. I could listen to Romeo and the Lonely Girl all day long!

Thin Lizzy 1976 Jailbreak - Johnny The Fox was available from Super Deluxe Edition (link) on Blu-ray Disc with a Dolby Atmos mix, 5.1 mix, and new stereo mix for 25 GBP, but is now sold out. I REALLY wish these sold out physical releases would then be sold as downloads via Immersive Audio Album. It’s hard for a label to make money after a physical release no longer exists and it’s impossible for fans to enjoy something unobtainable. In other words, please take our money by offering this as a download.

Here are details for each track, including the standard Dolby Atmos high dynamic range.

Along the same lines as Thin Lizzy, in terms of my fandom, is David Bowie and The Rise and Fall of Ziggy Stardust and The Spiders From Mars. Neither Bowie nor this album were on my list of favorites. After getting the TrueHD Dolby Atmos version of the album, I’m all-in on Bowie and Ziggy. After watching Ken Scott, the original co-producer of the album (and many others from Bowie), as well as Dolby Atmos mix engineer, Emre Ramazanoglu talk about the album and mixing process, I have a newfound respect for Bowie, the engineers involved, and this album.

The music on its own, in TrueHD Dolby Atmos, is really neat. The quality of the mix is what takes it to another level for me. Scott and Ramazanoglu did a masterful job, changing some details from the original and bringing this album into 2024 and to a new generation of Bowie fans, myself included.

To be honest, I’d likely have gone the rest of my life without listening to this album. To my detriment of course, but it’s the truth. However, the Atmos version sounds so good it enables me to get into the music and actually feel it on an emotional level. In stereo, this album was too out there for me and left me distant. In Atmos, I feel a connection to the musicians and the story being told. Listening to Bowie literally in tears at the end of Five Years, is an experience I won’t soon forget. It’s hard to explain much better than that. In a way I’m at a loss for words. Everyone should experience this first hand.

The Rise and Fall of Ziggy Stardust and The Spiders From Mars is available direct from David Bowie’s website for $24.98 (link) as a physical Blu-ray Disc with TrueHD Dolby Atmos, 2024 stereo mix (24/96), 1972 stereo mix remaster (24/192 and 24/48).

I encourage everyone to watch this video produced by Dolby, with Ken Scott and Emre Ramazanoglu.

Here are details for each track, including the standard Dolby Atmos high dynamic range.

Some other TrueHD Dolby Atmos releases in my library this month include:

Frank Zappa - Apostrophe (link)

Tori Amos - Unrepentant Geraldines (link)

David Gilmour - Luck and Strange (link)

Carly Simon - No Secrets (link)

Chicago - IX Greatest Hits (link)

Seal - Seal I (link)

Trio Medieval - Yule (link)

About the author - https://audiophile.style/about
Author's Complete Audio System Details with Measurements - https://audiophile.style/system

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Inspired(?) by the recent Immersive mixes piece by the proprietor in these here parts, I thought it was time to chime in again with some of my favorites of the newer Atmos recordings that have been added to my collection. A couple are new releases this week. Others are a few years old. Most are MKV files and one a Pure Audio Blu Ray disc. The musical styles are quite varied from different sources but all share a couple of things in common, namely stellar recording quality and fantastic use of the Atmos format.

1.  Himmelborgen (2L) Pure Audio Blu Ray (link)

This recording has been around for awhile and I have The Absolute Sound’s Andy Quint (@ARQuint) to thank for introducing this title to me at a recent listening session at his place. Thankfully Morten Lindberg at 2L was gracious enough to send me the disc when I inquired into the availability of a MKV file of this recording. Hopefully one will be eventually. You will note Morten being mentioned in a few of these releases as he was involved in the mastering of some of the non 2L Atmos mixes as well. Quite frankly, I can’t think of anyone who has done more to advance the state of the art of immersive recording than Morten.

Himmelborgen was recorded at the Uranienborg Church in Norway in May and June 2018. It features the Uranienborg Vokalensamble, and Elisabeth Holte conducting. This recording is one of the finest Atmos mixes, if not the finest Atmos mix, I have heard. It gave me goose bumps the first time I heard it and does so on repeated listening. I have been fortunate to have attended quite a few organ/chorus concerts over the years in churches in Europe. While I recognize how fleeting aural memory is, this recording takes me back to those concerts, placing me in those venues once again. The soaring sound of the chorus against the forceful and deep rumbling of the organ pedals, the reverb trails that seem to go forever. The sound is effortless yet powerful. The large chorus blends beautifully together yet one can clearly discern the individual voices. If you are a fan of immersive audio in any of its formats, you owe it to yourself to hear this recording.

2. Magnificat (2L) (link)

This is another 2L recording by Morten Lindberg featuring music composed by Kim Andre Arnesen, Aaron Jay Kernis and Ola Gjeilo. The music is performed by the Nidarosdomens jentekor and Trondheim Solistene. This recording is yet another example of Mr. Lindberg’s recording prowess. It is a perfect balance of a chorus, string ensemble and church organ in real space. Recordings like this bring the same sense of space and grandeur that you hear in the recording venue in a way that stereo, quite frankly, can’t even come close to delivering.

3. Sweet Caress Franco Ambrosetti & Strings (link)

This is a new recording being released this week by enja records, produced by Jeff Levenson, featuring Franco Ambrosetti on flugelhorn, John Scofield on guitar, Peter Erskine on drums, Scott Colley on bass and Sara Caswell on on violin and concertmaster all backed by an orchestra by conducted by  Alan Broadbent. Anyone familiar with recordings by the likes of Diana Krall, Jane Monheit and Paul McCartney should know of Mr. Broadbent. The album was recorded at Sear Sound in New York in December 2023 by renowned engineer Jim Anderson, with assistance from Steven Sacco and Ulrike Schwarz. The stereo release was mixed at Anderson Audio New York in Brooklyn. The immersive mixing engineers were Jim Anderson and Ulrike Schwarz with assistance from Dann Thompson. Immersive mastering and authoring was by Morten Lindberg at 2L in Siggerud, Norway. There is the Morten Lindberg guy again.

When I was informed about this forthcoming release and the technical team behind it, I was expecting great things. I was not disappointed. Jim Anderson is well known in both the recording and audiophile worlds as is his wife Ulrike Schwarz. As one would expect, the sound here is superb with great tone, timbre and dynamics. Mixed at 7.1.6, the sense of space is wonderful. Pinpoint imagining of the main individual musicians is spot on in the front of the room. You can just “see” them before you, even with your eyes closed. In the past with mass string arrangements in jazz recordings, they tended to be on the shrill side. Not here. The strings are full bodied surrounding you in sound with not only a sense of space but height, more like real thing, with separation between each set of strings. One can clearly follow each instrumentalist. Sweet Caress is yet another reference immersive mix from the team of Anderson, Schwartz and Lindberg.

4. Bebo Valdes-Suite Cubana (link)

Suite Cubana by  the late Cuban jazz master Bebo Valdes was not a recording I was familiar with so I inquired of Ulrike Schwarz who was involved in this release to get the background story. Apparently, Bebo Valdes was a fan of engineer Jim Anderson and wanted him to record the album for the Calle 54 label. Jim was not available so this big band album was recorded at Avatar in 2002 by James Farber. Jim Anderson did the stereo mix in 2002. A 5.1 mix was done in 2019 for the Spanish Market but Ulrike and Jim loved the album so much that they were able to secure the rights to do an immersive mix which they did at Skywalker Ranch with subsequent mastering by Morten Lindberg.

This is a very dense big bang mix with a ton of horns and percussion. It was decided to do a traditional Columbia records mix, with saxes to the left, trumpets in a phantom center  and trombones on the right as Jim Anderson felt that this type of mix better served the music. The recording was so dense, that most of the percussion was placed in the rears so you are essentially surrounded by the big band. Heights were not used so we have what is a 5.1 mix. What you ask, not 7.1.4? No but is works. This album is a gas to listen to. It is fun, rich and dynamic. Did I mention it is fun? At its core music is meant to be fun, no? This mix delivers fun in spades. Atmos is but a tool and can be used in many different ways. The team of Anderson, Schwartz and Lindberg nailed another one with this release. If you are unfamiliar with the music of Bebo Valdes, give this release a listen. I have little doubt that you will be glad you did.

5. Anohni and the Johnsons- My Back Was A Bridge For You to Cross.

I was completely unfamiliar with Anohni and The Johnsons before I heard this release, available on Immersive Audio Album. The music can best be described as avant- soul and rock. The Atmos mix was performed by Jimmy Hogarth. Frankly some of the tracks are not my cup of tea, but the Atmos mix is superb, one of the best mixes of this type of music I have ever heard. Track one in particular, It Must Change, is as good as it gets with the surrounds gently caressing the listener. By all means, give this one a listen.

6. Monkey House - Remember The Audio (link)

This is another release found on Immersive Audio Album. This album sounds like something Steely Dan would be doing  if not for the death of Walter Becker. A nice mix of pop, rock and jazz. It is well recorded with an aggressive use of all channels. It is a bit repetitive but still great fun.

7. Nicolas van Poucke-Sweelinck, Mozart & Debussy-live at the Royal Concertgebouw (TRPTK) (link)

Several years before Covid, my wife and I were blessed with being able to attend two performances at the Concertgebouw in Amsterdam, one in the main hall and another in the Kleine Zaal right behind the Main Hall. The Kleine Zaal seats 437 and is about 66 feet by 49 feet. The concert at the Kleine hall was particularly memorable for the incredible solo piano performance by Boris Giltberg along with the hall’s incredible acoustics.

This recording of a solo piano performance by Nicolas van Poucke on the TRPTK label and was recorded in that very same venue that we found so memorable. The man behind TRPTK, Bredan Heinst,  is a devotee of Morten Lindberg and records in the highest resolution available and is a believer in immersive audio. When I noticed this recording was available for download on the TRPTK website, I grabbed it, in the hopes that the sound would be as great as I recalled. Was it, yes indeed.

The rendition of the piano is completely natural sounding like a real piano in your room with a sense of size that stereo can’t deliver. All of the natural reverb and reflections you would hear in the hall are presented in your space. You can hear the coughing and the shuffling of feet of the people around you just like you are there. The piano is rich and dynamic. The use of the height channels brings the piano up a bit sounding like you are sitting in a seat below the stage and the location of the piano, which you are. When the crowd applauds they are all around you.  In my opinion, only immersive audio can give you this perspective. The performance by Mr. Van Poucke is wonderful and judging from the enthusiastic applause, the audience agrees. This is a fantastic recording and Atmos mix and takes me back to my experience at Kleine Zaal all those years ago. Superb.

Well that is all for now. Check some of these recordings out if you will. Happy listening.

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In 2024 immersive audio continues to pour out of the record labels and independent artists at a very nice pace. I’ve been enjoying the roughly 25,000 immersive albums available on Apple Music and the growing number of high resolution TrueHD Dolby Atmos releases, both downloadable and on Blu-ray Disc.

I encourage all audiophiles to seek out some immersive audio demonstrations. Similar to two channel audio, neither all immersive material nor all immersive demos are created equal. Spend some time with it, get educated about it, and try to understand where it fits along side our beloved world of two channel audio. This isn’t an either / or, black / white, red team / blue team type of thing. It’s a terrific way to increase one’s enjoyment of our wonderful hobby.

Note: I’m working right now to design and install a 7.1.4 immersive audio system at a high end audio retail location in Los Angeles. I can’t wait for more people to experience what I listen to all day, every day.

Now that we are half way through 2024, it’s time to share some of my favorite immersive releases of the year. I’ve split them into two categories and ranked them within each category. Please enjoy responsibly, meaning as loud as possible but no louder :~)

High Resolution TrueHD Dolby Atmos Releases

5. Yes - Fragile

I’ve never been fan of Yes. No matter how hard I tried, I just couldn’t get into the band’s music. This all changed with the release of the Steven Wilson Dolby Atmos mix of the album Fragile. Wow, this album is an experience and it sounds really good from an audiophile perspective. Listeners who enjoy mixes that make full use of every loudspeaker in one’s system should enjoy what Steven Wilson has created with this Atmos mix.

Purchase Here

4. Spoon - Lucifer on the Sofa

Don’t quote me on this, but I believe the first time I ever really listened to anything by the band Spoon was when I sampled the immersive release of its album Lucifer on the Sofa. I was instantly hooked.

The album was mixed for Atmos by Spoon dummer Jim Eno, who did a fantastic job. Every track was mixed so tastefully, enabling the immersive technology to serve the music in the best way possible.

I don’t know how many times I’ve cranked the track The Hardest Cut, but I’m willing to bet my neighbors might know.

Note: The online store Immersive Audio Album recently started offering Atmos downloads from the Beggars Group of labels, including Matador Records, the label on which Spoon released this album.

Purchase Here

3. Berlin Philharmonic - Shostakovich Symphonies 8, 9, 10

The last few years I’ve become a Shostakovich fan who can’t get enough immersive releases of his symphonies. I’m not sophisticated enough to identify most of the nuances between conductors and musicians taking on these musical masterpieces, and perhaps that’s for the better. Right now I just enjoy all of them.

This release of Symphonies 8, 9, and 10 in Dolby Atmos is presented differently than the aforementioned albums from Yes and Spoon in that it’s more of a “realistic” approach to recreating what one would hear at the Berliner Philharmonie. There’s some wrap-around with the string section enveloping the listener and a nice amount of volume coming from most of the channels. Sonically the album is terrific, second only to albums from boutique labels such as TRPTK and 2L.

Purchase Here

2. Bob Reynolds Group - Live in Munich

If one wants to let off some steam after a long day, and be transported to a jazz club for a concert, putting on the immersive mix of this album will do it. Everything from the musicianship and music, to the immersive mix and sound quality, is fabulous.

Right from the opening note, the listener is transported to the Unterfahrt Jazz Club in Munich, Germany. Bob Reynolds’ saxophone, Ruslan Sirota’s piano, Janek Gwizdala’s bass, Gene Coye’s drums, and even the crowd, sound wonderful.

I’ve been a fan of Bob Reynold’s work in Snarky Puppy, but had never heard of drummer Gene Coye until this release. All I can say is WOW! Tapping play on track two, Chrysalis, will make even the sleepiest listener sit up in his/her chair and take notice. Gene sounds so awesome on this track, and the entire album. Ii encourage everyone to put this track on and give the volume some love.

The immersive release of this album is pushing hard up against my number one selection for the first half of 2024. It’s just that good.

A big tip of the cap to the team who worked on this album, specifically engineer Kseniya Kawko who recorded and mixed it for immersive and stereo formats!

Purchase Here

1. Pearl Jam - Dark Matter

My favorite band of all time. New music that hits like a ton of bricks. Mixed for immersive audio by two of the best guys in the business, Josh Evans and Nick Rives. Released in high resolution TrueHD Dolby Atmos. Of course this album is the leader in the clubhouse at this point.

The more I listen, the more I love Dark Matter.

My fill review can be found here.

Purchase Here

Apple Music Dolby Digital+ Releases

5. The Flaming lips - Yoshimi Battles the Pink Robots

My introduction to The Flaming Lips came in 1993 as a junior in high school, when the band released the single She Don’t Use Jelly. I thought the song was stupid, and I wrote the band off until roughly three weeks ago.

Thirty years after placing The Flaming Lips on my ignore list, Yoshimi Battles the Pink Robots was released in Atmos and I held my nose as I tapped play. As Jack Skellington said in Nightmare Before Christmas, I thought, “What’s this!”

The album is masterfully mixed for immersive audio and the music, although made long before we had speakers on the ceiling, was made for Dolby Atmos.

On the track Yoshimi Battles the Pink Robots, Pt. 1, the mix serves the music perfectly. Strange noises emanating from unorthodox places, just like one would imagine from a song with its title.

The music is more of an acquired taste, but I picked it up fairly fast because the immersive mix is so enjoyable. Every instrument and all the sounds have their own spaces, with nice separation, enabling the listener to understand what’s going on, on a pretty chaotic album.

Stream Here

4. Fink - Lowswing Sessions

I’m a big fan of Fink. His voice and delivery really do it for me. This single, The Lowswing Sessions, is a perfect example of great music, great musicianship, and immersive audio for quite small arrangements.

On this single, Fink covers Soundgarden’s Black Hole Sun and David Bowie’s Modern Love, live in studio with an acoustic guitar. On first blush, one might think there’s no need for an immersive release for this type of music. However, after one listen, that type of thinking is put to rest.

Guy Sternberg mixed this album for Atmos terrifically. The listener is placed in the Lowswing studio with the artists. The reverb of the drum kit, behind the main listening position, enables listeners to experience what musicians and engineers hear all the time. It may seem pedestrian to them, but this is the stuff that makes us music junkies go crazy. It’s just fantastic.

Oh yeah, Fink’s versions of these tracks are absolutely stellar on their own, without immersive playback, but the immersion takes the listening experience to another planet.

Stream Here

3. Jimi Hendrix Experience - Electric Ladyland

I wrote about this album a few weeks ago. It captures another one of those great experiences in the recording studio, that us civilians never get to experience. Until now.

“I never listened to Voodoo Chile until the Atmos version was released. I’ve heard Voodoo Chile (Slight Return) numerous times and enjoy that song immensely. But, straight up 15 minutes of Voodoo Chile was never on my bingo card, until now. And, WOW!”

Here’s my full take on the album, scroll down near the bottom.

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2. Wilco - Hot Sun Cool Shroud EP

An incredibly vanilla arrangement from a band I haven’t listened to in years. I remember trying to get into Yankee Hotel Foxtrot back int eh day, but never succeeded. When Hot Sun Cool Shroud came out in Atmos, I gave it a spin. I’m very glad I did.

In stereo, this is one of those albums that I’d find “pretty good” but likely let fall into the abyss of a zillion other albums available on streaming services that I’ll never listen to again. In Atmos, there’s really something to this release that I love.

Tracks one and two aren’t my cup of tea, but tracks three through six are right up my alley and are mixed very well. As soon as I heard Ice Cream, I was sucked in by the lyrics and by the immersive mix that envelopes the listener, in a way that shows what’s possible with Atmos and a basic acoustic arrangement.

Say You Love Me is another track that pulls at one’s heartstrings and is served very well by the enveloping immersive mix.

I really love this EP. It’s the perfect meld of music and technology serving it, as it should be in my opinion.

Stream Here

1. Loma - How Will I Live Without a Body

I’d never heard of the band Loma until this year. Now I’m a huge fan.

I saw that Steven Wilson mixed the album How Will I Live Without a Body for Dolby Atmos, so I thought I’d give it a listen. My love for the album, and interest int he band’s other work, was instantaneous.

I love everything about this album. The moody music, the immersive mix, and even the band’s willingness to listen to my pleas for a high resolution TrueHD Dolby Atmos release. Come on Sub Pop, even the band wants this :~)

How Will I Live Without a Body is an album that I play from start to finish, every time I listen to it. Once I start, I can’t stop. It’s that good. Listening to track two, Arrhythmia, I always turn up the volume a little too much, if that’s even a thing, because Dan Duszynski kick drum is both subtle and huge at the same time and I’m absolutely here for it.

Pink Sky is another track that has become a favorite, on an album with zero filler.

Steven Wilson mixed this album perfectly. The music is served by the envelopment, when appropriate, and a more front focus when needed. Given the gigantic artists Wilson works with, it’s great to see him working with Loma, a band on Sub Pop, who hasn’t had an album go Diamond (yet).

If 2024 ended today, I’d put this album in my top three overall, with Pearl Jam’s Dark Matter and Bob Reynolds Group’s Live in Munich.

Stream Here

Honorable Mention (in no specific order):

Jon Foreman - In Bloom

ANOHNI and the Johnsons - My Back was a Bridge for You to Cross

The National - The First Two Pages of Frankenstein

Berlin Philharmonic - Kirill Petrenko conducts Sergei Rachmaninoff

Eline Hensels - Nocturne, et Lumineux

About the author - https://audiophile.style/about
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This month the Sun, Moon, and Earth aligned, record store day fell on 4/20, and Pearl Jam released a new album. One of the aforementioned items made my eyes well up, delivering an emotion experience about which I’ll be talking for a long time. Eclipses are neat and 4/20 meant more to me back in the day, but the new Pearl Jam record, Dark Matter, is something special.

In 1991 I went from an eighth grader listening to misogynistic Motley Crue to a high school freshman awakened by Pearl Jam’s debut album Ten and the band’s activism. Pearl Jam changed my life, and I can’t imagine it going any other way. I would happily take PJ’s music on a mono AM radio, like the one on which my dad listened to WCCO 830 in the bathroom every morning, rather than any other band’s music on the world’s highest resolution stereo. It’s about the music, the message, and the emotion. Sure, we hear music with our ears, but some music we feel in our hearts.

Like the rare solar eclipse, once in a great while we experience the perfect sonic storm, in the best way imaginable. A sublime storm that mixes our favorite music with incredible sound quality, to be played on an audio system built for just this purpose. On April 19th Pearl Jam released Dark Matter on Blu-ray Disc, among many other formats and variants, containing a high resolution TrueHD Dolby Atmos immersive mix. This is an absolute game changer.

The main ingredient in this perfect storm is of course an album that I love. Every song on Dark Matter is impactful musically and lyrically. Track one, "Scared of Fear," gets my heart going and my mind imagining what it’s going to sound like live. The opening guitar riff is an instant classic, and one that I can see the band kicking their chairs aside, to launch into after opening a show seated, playing some slower tempo tracks.

The title track, "Dark Matter," is as close to a perfect Pearl Jam song as I’ve ever heard. Matt Cameron pounding the drum kit in fine form, Stone Gossard playing sick and filthy riffs, Mike McCready ripping a solo that’ll melt your face, Jeff Ament providing the groove to which Eddie Vedder lays down some potent truth-to-power lyrics. I dare anyone to listen to this song and not feel the energy. It’s going to be a banger live in concert.

Speaking of guitar, Mike McCready’s solos on this album are plentiful and legendary. For example, the track "Upper Hand" has two guitar leads. The first is David Gilmour-esque, his influence on McCready and Pearl Jam in general can’t be overstated. McCready actually wrote out the first lead before recording the song. With roughly a minute left in the song McCready flows into one of his memorable, off the cuff, leads for which he’s come to be known. It’s believable and unbelievable that most of his guitar leads are unwritten, played in one take, and based on the feeling he gets from the music, other guys in the band, and raw emotion. On this entire Dark Matter album, McCready solidifies his status even more, as another Pacific Northwest guitar god.

The biggest surprise for me on Dark Matter is the drumming of Matt Cameron. Of course he was the hard hitting drummer for Soundgarden and has backed Pearl Jam for seemingly ever, but I’ve never heard him play like this. He plays like a madman influenced by a combination of John Bonham and Buddy Rich! The first time I heard this album, it was Cameron’s drumming that amazed me and got me really excited, more than anything. Perhaps he was a touch polite on some of the previous albums, but on Dark Matter he’s a launch pad, enabling this band to reach new heights.

Lyrically, Dark Matter is full of what many of us love about Pearl Jam. Thoughtful lyrics with meaning, perceptive turns of phrase, and above all lyrics with endless emotion. Eddie Vedder puts emotion into his lyrics, that pulls emotion out of us listeners upon playback. No song captures this more than "Something Special." If you don’t feel something listening to this song, or even reading this first verse, chances are you aren’t a parent. As a parent, especially of a daughter, I connect with this song more than any other. (Tidal link)

If you could see what I see now

You gotta know I'm looking up, oh, so proud

The one I used to hold is, oh, so special

Mmm, and every setback now but a chance to grow

If further proof that you're phenomenal

You better believe it that you are something special

Whoa, ooh, whoa

Afraid to fail, oh, same as afraid to try

These are the days to accept all the invites

'Cause you're so cool and, baby, on the level

Let’s Talk About Sound and Immersion

The other ingredient in this perfect storm of greatness, is the team behind the scenes. Like all albums, there are countless people involved in getting an album out the door. A great Dolby Atmos mix requires engineers who understand the band and its music, have adequate time to create something special, and understand the technology involved in taking this music to another level. On Dark Matter, and all Pearl Jam immersive releases, these engineers are Josh Evans and Nick Rives. These guys are the best in the business at using the right, and right amount of, technology to serve the music and deliver an immersive experience unavailable from any other format.

What Josh Evans and Nick Rives have created with the Dolby Atmos version of Dark Matter is nothing short of a masterpiece. This mix will be used as the benchmark by which other releases are measureed /  judged, although judging art is a fool’s errand. Speaking of judging, these guys absolutely deserve a Grammy nomination for Best Immersive Audio Album. I’ll be watching the announcements come November. They went for it, took chances, and created an unsurpassed experience that brought me closer to Pearl Jam’s music than ever before.

There’s only one “first time” and the first time I listened to Dark Matter in Dolby Atmos, my eyes welled up with tears. It was this perfect storm hitting home. As previously mentioned, the music was fantastic, and this mix was every bit its equal. I still have goosebumps while I type this, thinking about the experience.

Right from the opening of the opening track, it was evident that Dark Matter, the album, was special. The opening music emanates from behind the listener, building toward the front, then BAM! "Scared of Fear" kicks into gear with a front and center guitar riff, followed by guitars that fill in from the sides. Bass and drums are in lock-step together in the front, to maintain a solidly cohesive sonic image. On the chorus, backing vocals can be heard from the sides, supporting the main vocal, in a way that lifts up the entire performance. It’s as if this support from the side is elevating, and it serves the track amazingly well.

The Atmos mix on the title track, "Dark Matter," is so extraordinary, that once it’s heard, there’s no going back to the stereo version. Seriously, hearing "Dark Matter" in Atmos, with Matt Cameron banging away up front, supporting guitars loading the soundstage in front and on the side, other sounds ducking in and out appropriately from other speakers, is like no other Pearl Jam experience I’ve had while listening at home since 1991.

But wait there’s more, at about 2:45 into "Dark Matter," when Mike McCready rips into his lead guitar solo, Josh Evans and Nick Rives brilliantly elevate the soundstage through heavy use of the front two height channels, meanwhile the rest of the band continues to sling riffs around like Barry Sanders scores touchdowns (incredibly talented, but acting like he’s been there before). The "Dark Matter" title track is now THE track I will play for people who visit my listening room, and want to experience music in a way they never thought possible. It’s the perfect Pearl Jam song, and the perfect immersive Atmos mix.

Flipping the script a bit, Josh Evans and Nick Rives preset the track "Something Special" and all its emotional pull, in a way that’s incredibly organic. From my listening chair, I feel like I’m sitting in Shangri-La studio in Malibu, CA with Mike, Stone, Jeff, Matt and Eddie around circle in the same room with me. Eddie singing up front with Matt and Jeff keeping the rhythm, with Stone and Jeff sitting to my right and left sides around the circle, playing guitars and adding some backing vocals when appropriate. This sonic immersion elevates an already emotional song into an ethereal experience, where theater of the mind transports the listener into another time and place. No visual queues necessary, or even allowed. The Dolby Atmos mix of Something Special is something special.

Dark Matter and Immersive Wrap Up

This is a perfect storm that’s as rare as a solar eclipse. Anyone with a pulse can see why I was in tears. It’s my favorite band. It’s my favorite music. It’s my favorite way to listen to music. It’s high resolution TrueHD Dolby Atmos. It’s absolute perfection.

The immersive version of Dark Matter is for everyone, even if they have’t realized it yet. A sonic experience this distinctive can’t hide behind the already acclaimed stereo version. It also shouldn’t leap ahead of it because this isn’t competition. The Atmos version of Dark Matter is yet another way to experience music, get closer to the emotional magnetism and electric energy put out by Pearl Jam.

In addition, this Atmos mix solidifies the album’s place as a must-have for future Pearl Jam fans and immersive music lovers. When my twelve year old daughter and her friends come up to my listening room to hear Pearl Jam, Taylor Swift, Olivia Rodrigo, or Billie Eilish, which version do you think they ask for, stereo or Atmos? It’s all about Atmos for them, all day long, and they even request it by name. As Neil Young said, he’s “making all [his] old albums in Dolby Atmos / Apple Spatial so the next generation can hear them.” When the next generations listen to Dark Matter in Atmos, they’ll be affected like the first time some people heard Dark Side of the Moon, or like the first time I listened to Ten in 1991. It’s an unforgettable experience.

Dark Matter, produced by Andrew Watt, is an instant classic in and of itself. Whether on AM radio, satellite radio, a vinyl record, streamed high resolution, or TrueHD Dolby Atmos, the music remains powerful, emotional, and energizing. The Atmos mix by Josh Evans and Nick Rives released on Blu-ray Disc in TrueHD Dolby Atmos is unsurpassed and brings this music to another level entirely. This perfect storm brought tears to my eyes, the very first time I listened to the album. I can’t say that’s ever happened before, as it usually takes a strong historical and emotional connection for me to get emotional when listening.

It’s time to crank this album again, memorize more lyrics, and get ready to see the band live this summer. Hearing Dark Matter live is going to be legendary.

Pearl Jam

Dark Matter

Deluxe CD & Blu-ray

Buy the album HERE

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I was tipped off to this recording by Wilson Audio’s Peter McGrath, a stellar recording engineer himself, by any measure. As a self-admitted classical music novice who deems any recording with a violin as borderline classical and who also doesn’t understand classical sub-genres, I felt a bit out of my league after discussing the recording with Peter. On one hand, this probably puts me in a group with most people on Earth, but on the other hand I’m very eager to listen and learn.

Impressing a novice is usually easy. It’s much harder to impress the experts in one’s field of study or work. This is why I sat up in my chair and took notice when Peter McGrath told me about this recording. Yes, Mahler’s Third and the London Symphony Orchestra conducted by Jascha Horenstein are enough to make most aficionados listen, but this recording is special on another level. It’s one of those rare recordings that entices casual classical fans into a “beginning to end” listening session, pausing for a brief moment to silence one’s phone midway through the opening movement.

Why is this recording so special? The answer can’t be narrowed down to a single reason, as there were so many talented professionals involved (musicians, composer, conductor, recording engineer, editor, and restoration professionals, etc…), but I believe that recording engineer Jerry Bruck played an outsized role in enabling us to enjoy this magnificent music more than 50 years after the original performance in Croydon, London on July 27, 28 and 29, 1970 at Fairfield Concert Hall.

The liner notes of this album detail much more information, such as the fact that there were two different recordings of this performance using different gear and different engineers, and I encourage everyone to read them. The really fascinating parts for me revolve around Jerry Bruck’s recording techniques. Jerry was so ahead of his time that he recorded for immersive audio 50 years before it became a thing!

Stereo listeners stick with me because you’re also in for a real treat. The way Bruck recorded this Mahler piece, and the way Peter McGrath still records to this day, makes the two channel stereo version fantastic while the four channel version ads concert hall information making it even better. Stereo listeners don’t miss out on anything “placed” in the other channels. In fact, I can listen to the four channel version with the rear channels muted, and the sound is 100% identical to the stereo version. Un-muting the rear channels is amazing because it opens the space of the concert hall in one’s listening room better than any other playback adjustment or format.

But Wait, There’s More

The stereo and four channel versions of this recording, now available through High Definition Tape Transfers, are fantastic. But, nothing I said yet explains why Bruck was so ahead of his time in my opinion, what’s immersive about his recordings from 1970, and how listeners can reproduce these recordings exactly as Bruck recorded them.

From the liner notes:

“Bruck used a unique mic set-up that captured the sessions with remarkably well-focused clarity… This experimental array was situated relatively near the orchestra, with the two front mics recording the left and right channels, another one facing the rear wall of the hall in the same plane, and the fourth pointed straight up at the ceiling. Unlike some recording set-ups that place mics in the rear of the space to capture ambient signals, Bruck captured the ambient hall sound as reflected back to the nominal listener’s ears from the hall’s rear walls and ceiling, with that nominal listener seated roughly in the center of the mic array. The intent was to capture a hemisphere of sound where the nominal listener was situated, with the “up” and rear channels consisting entirely of reflected sound (an exception is the flugelhorn solos in the third movement; that instrument was situated in the back of the hall).

… if a listener wants to reconstruct the original set-up, all that has to be done is route the right rear channel to an overhead speaker and the left rear channel to a center rear speaker; the two “hall” channels devoted to reflected sound are still intact, as recorded.

The effect of hearing all four channels is not to swamp the music in reverb but rather to add another dimension of clarity and realism, an effect that is clearly perceived when the rear channels are suddenly muted. The locational cues are of course still provided entirely by the front channels, as the direct sounds captured in those channels arrive to the listener first.”

Bruck recorded Mahler’s Third in an immersive way, capturing height information and enabling listeners with immersive audio systems to reproduce the performance extremely close to how it was captured. But, this is where we enter uncharted territory, at least for me.

The pertinent part of the liner notes for those of us attempting to play the rear and height channels as they were captured, is this, “route the right rear channel to an overhead speaker and the left rear channel to a center rear speaker.” I don’t know of many audio systems that have center height and center rear channels (home theaters yes, but not music systems). My solution to this issue is to route the audio a bit differently to my 7.1.4 system (7 ear level, 1 subwoofer, and 4 ceiling height channels).

As I said, this is uncharted territory for me, so I’m willing to admit mistakes and happy to make corrections to this technique, in service of the music. I’m testing several different channel routing options, which are easy to play given the flexibility of my immersive audio system.

Using Music Media Helper, I routed the audio in the following way for my first attempt at reproducing this as captured. Front left and right remain front left and right. The rear left channel that captured the rear of Fairfield Concert Hall is routed to both rear left and right channels. The rear right channel that contains what the microphone pointed upward captured, is routed to all four of my ceiling height channels.

I honestly don’t know if this is technically a “correct” way to do things. Perhaps I need to reduce the level in the rear channels by 50% because I went from 1 to 2 speakers, and reduce by 75% for the height channels because I went from 1 to 4 channels reproducing the sound. Or, perhaps this is something in my head that I’m overthinking. I’m eager to accept corrections.

The input to Music Media Helper was the four channel 24/192 version of the recording. The output is a 7.1.4 twelve channel WAV file with music in the aforementioned channels, and nothing in the center, side, and subwoofer channels.

For the technically inclined, the FFMPEG details are = FFmpeg Filter: pan=7.1+TFL+TFR+TBL+TBRIc0=c01c1=C11c6=c21c7=C21c8=c31c9=c3/c10=c3e11=c

Time Capsule / Listening Session

This is all about listening to music for me. All of the channel routing and thinking about how best to reproduce it as Jerry Bruck intended, is all in service of the music. I love music and go to great lengths to make listening an incredibly enjoyable experience. After about 5 seconds of listening to Mahler’s Third “immersively” I easily concluded it was worth the extra effort up front, to enjoy this time capsule of a recording for a lifetime.

Pressing play on Kraftig Entscheiden and immediately hearing the horn section and percussion sound so realistic and as if I’m sitting in Fairfield Concert Hall in July of 1970, five years before I was born, was an otherworldly experience. We’ve all seen photographs from a time before we were born, but most people have never experienced being audibly / virtually placed in a concert hall 50 years ago and listening to the London Symphony Orchestra play right in front of them, like Jerry Bruck has enabled us to on this impeccably captured and restored recording.

It’s experiences like this, playing a 1970 orchestral recording through an immersive audio system, that turn me and other novices into classical fans. I doubt I took many breaths for the entirely of the nearly 34 minute first movement! I was in awe of the music, the performance, the recording, and the experience as a whole. Just magnificent!

A huge thank you to Jerry Bruck at Posthorn Recordings, Bob Witrak at High Definition Tape Transfers, and John H. Haley at Harmony Restorations LLC, for making this possible. This is what most audiophiles and music lovers I know live for.

Purchase this recording at High Definition Tape Transfers: Mahler Symphony No 3 & Strauss Death And Transfiguration - Jascha Horenstein LSO (HDTT15476) (link)

About the author - https://audiophile.style/about
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Welcome to the Digital Signal Processing chapter of the Ultimate Guide To High End Immersive Audio. The main table of contents can be viewed here.

Digital signal processing or DSP is a proverbial four letter word in many audiophile circles. DSP means many things to many people, and is often an undefinable scapegoat on which questionable sound quality is pinned. Back in the day there were good reasons for this distaste of DSP. The first implementations were technically interesting, but sounded terrible. Today, DSP is used in every digital playback system, and is even used to create the infamous but great sounding Mobile Fidelity Ultradisc One-Step series of vinyl reissues. This chapter of The Definitive Guide To High End Immersive Audio scratches the surface of the cavernous topic of digital signal processing, focusing on two areas of importance, decoding immersive music and digital room correction.

Definitions

Decoding - Nearly all immersive music is encoded in a proprietary format requiring decoding by the listener’s audio system. Discrete Immersive content is the only music that doesn’t require decoding because it’s delivered as ten or twelve channel WAV files at 24 bit / 352.8 kHz. Most other music is encoded in a Dolby format such as Dolby Digital Plus or TrueHD Dolby Atmos. Auro 3D, Sony 360 Real Audio, and IAMF (Immersive Audio Model and Formats) are also available somewhat, but extremely limited in distribution and market acceptance (currently).

The decoding process not only involves unpacking a digital audio stream, but also rendering audio to the correct, and correct number of, channels. An encoded Atmos file can be played on systems from two through sixteen channels. The decoding system is told how many channels and in which configuration it should render the audio for playback.

Proprietary formats are often viewed skeptically by audiophiles who’ve used FLAC for decades. However, formats such those from Dolby don’t really have an open source or free alternative that can match the market penetration and feature set.

Digital Room Correction - Another sensitive topic in the audiophile world, even though by 2024 it really shouldn’t be. Everyone should be at least trying state of the art digital room correction in their own systems because it’s that good. DRC is a massively confusing topic for all but the most nerdy audiophiles. For this chapter the DRC concepts most easily digestible are time and frequency correction. Time correction ensures that the direct sound hits the listening position at the same time while frequency correction smooths out the peaks and dips caused by one’s listening room (too much or too little bass for example).

Within the world of digital room correction there are countless main topics, sub-topics, and differing opinions. This guide attempts to cover some broad areas and provide listeners actionable information they can use to audition the results of different DRC concepts by listening to different products or working with an expert in DRC.

Why It’s Required

As an audiophile I like to think I can “will” my musical playback into perfection with the straight wire with gain philosophy, but that’s a fool’s errand. A middle ground approach, involving the manual adjustment of time and frequency parameters, is also one that’s more likely to produce dubious results, but at least provide endless hours of DIY fiddling / entertainment for those so inclined. Don’t get me wrong, I have the utmost respect for those who roll up their sleeves and white knuckle DSP and I have no doubt they are satisfied with the results, but the level of accuracy achieved by a human can’t match that of a machine. Enabling a machine to handle the tough parts and using human subjective evaluations for the final touches, results in a state of the art listening experience of which our audiophile forefathers could’ve of only dreamt.

The focus for a long time in this hobby was bit perfection. Playing an album as perfect as possible was a laudable goal in the early days of computer audio, when many apps mangled our music before our DACs even had a chance to convert the bits to audio. Now, with playback apps more under control and state of the art DSP we can focus on audio that’s “bit perfect” at our ears.

Using digital room correction in the time domain is absolutely required unless one’s listening position is equidistant from every loudspeaker. It takes a very special room to accommodate such a setup. This is typically only seen in audio laboratory settings or certified ITU/EBU control rooms. Associated with the timing adjustments is the volume level because a loudspeaker that’s closer to the listening position may be louder than those further away and may have different sensitivity characteristics than the “main” front speakers.

Digitally correcting for frequency issues should be done after one attempts to physically adjust the listening room, using absorption, diffusion, and preferably normal human items such as plants, furniture, etc… No matter how a room is designed, the laws of physics will overpower the will of even the most dedicated anti-DSP listener. Correcting for bass issues, with very long sound waves, can foil all but an anechoic chamber’s worth of absorptive material.

Last, the decoding aspect of DSP is required if one wants to hear all the channels of an immersive album. Without a TrueHD Dolby Atmos decoder, one can’t hear the entire album as it was designed to be heard. Listeners may get a portion of the channels and a portion of the music via some other means, but not the true immersive experience.

Decoding and Room Correction Options

The reason both decoding and digital room correction are included in the same DSP chapter is because they are linked in most audio systems. Splitting the decoding from DRC will gain more traction as new devices hit the market that enable decoded audio to be output to a number of other devices as pure PCM audio, but currently these devices are few and far between (Arvus offers two, and another manufacturer will offer one soon). An example of this decoding and DSP link can be seen when using a traditional processor (Trinnov, Marantz, Anthem, etc…). If one decodes an immersive audio signal into twelve channels prior to the processor’s input (HDMI or other), the processor can’t handle a decoded PCM signal with that many channels. Thus, the decoding must take place within the processor, if one wants to use the processor’s room correction.

It is possible to decode immersive audio using an Arvus H1-D and output the audio via Ethernet or the Arvus H2-4D and output via AES or Ethernet, unlinking the decoding from room correction, as long as one has a device capable of accepting a high channel count AES or Ethernet signal and running the proper room correction.

In Simple Terms

Here are three ways of decoding and running digital room correction for immersive music playback, in simple terms and in no specific order.

Computer - This is how I do everything because it’s the only way to obtain true state of the art playback at the highest of audiophile capabilities. Please understand that the other methods are also great, otherwise I wouldn’t mention them, but just like in sports, only one team / method can be the best with respect to sound quality. However, there are also drawbacks to using a computer. For one, it’s a computer. It’ll have issues. There’s no way around that fact. Fortunately I’m capable of handling any of the issues that come up, but I understand not everyone cares to deal with them, even if they are tech savvy.

Using a computer to decode immersive audio can be done using the macOS operating system when playing from Apple Music, as the Dolby Digital Plus decoder is built-in. Decoding Dolby TrueHD Atmos and Auro 3D are more difficult. Auro offers a VST plugin that I’ve used to decode Auro 3D music through JRiver Media Center, but this plugin hasn’t been updated to work on Macs with Apple Silicon. In other words, the Auro plugin doesn’t work on any Mac sold in stores today. It does work on Windows and Intel based Macs for roughly $20 per month.

Decoding TrueHD Dolby Atmos on a computer, for content that’s sold as MKV files or ripped from Blu-ray, is done either in real time or offline mode using a combination of apps. This approach requires a bit of extra work, but results in decoded WAV files capable of being played with any app that supports the requisite number of channels (JRiver, Audirvana, etc…).

The easiest way to decode TrueHD Dolby Atmos is to do it offline. Using the application named Music Media Helper and the Dolby Reference Player, MKV files downloaded or ripped from Blu-ray can be converted into any supported Atmos channel configuration (5.1.2, 5.1.4, 7.1.4, 9.1.6, etc…) as WAV files. FLAC will never support more than eight channels without embedded / encoded data, and WAV works pretty good anyway. Once the files are decoded, the listener is free to use state of the art digital room correction.

There are countless ways to do this, but I will explain what I believe is the absolute best. At a high level, using a good mic preamp with an Earthworks M30 microphone or better, and Audiolense on a Windows PC (only runs on Windows currently) to measure and create the room correction filters, is the best. Period. I recommend hiring Mitch Barnett to walk you through the measurement process and create filters for you, unless you’re a glutton for punishment.

The current state of the art in room correction begins with the Audiolense application. To my knowledge, and I will happily include corrections if notified, no other application that runs on a computer or in a traditional processor, is as powerful and capable as Audiolense. As a real world example of this superiority, Audiolense features digital crossovers with bass offloading that’s totally configurable for each loudspeaker. This means speakers with limited frequency ranges can have the bass offloaded to a subwoofer, while full range speakers in the same system can reproduce audio to the limits of their capabilities as well. In practice, a listener playing Tsuyoshi Yamamoto’s album A Shade of Blue, with Hiroshi Kagawa’s double bass emanating from the center channel, can have the very bottom end of the frequency range of that bass offloaded to a subwoofer, if the center channel can’t reproduce the aforementioned frequencies. Without this capability, the bass is sent to the center channel and not reproduced in the audio system. Another less than optimal way would have all the bass for all channels sent to the subwoofer, but then the front left and right channels wouldn’t reproduce Hiroshi Kagawa’s bass as they should because they can often reach down to 20 Hz.

Using a computer for room correction also enables one to use incredibly powerful FIR filters created by Audiolense. I use Accurate Sound’s Hang Loose Convolver to host these filters as it works better than any native in-app convolution engine. A real world example of these powerful filters can be seen using simple math.

It starts with 65,536 tap FIR filters. This alone is well beyond the capabilities of traditional processors. As one listens to higher sample rates, the filter can be upsampled to several hundred thousand or over one million taps automatically. This ensures the frequency resolution of the FIR filter stays the same when the sample rate increases and is a distinction with a major difference.

Frequency resolution = fs / N where fs is the sample rate and N is the number of filter taps.

A 65,536 tap FIR filter at 48 kHz (Atmos is currently all released at 48 kHz) has a frequency resolution of 48000/65536 = 0.732 Hz. 

The frequency range spans 0Hz to 24 kHz. Thinking of an FIR filter as a graphic equalizer: 24000/0.732 = 32,768 sliders for an FIR equalizer. This FIR real world example has 1000 times the frequency resolution of a 1/3 octave equalizer. In addition a rough rule of thumb is that the effective low frequency limit of the filter is to multiply the frequency resolution by 3, which is 3 x 0.732 Hz = 2.2 Hz. A 65,536 tap FIR filter running on a computer can control frequencies down to 2.2 Hz.

Notice I’ve been talking about FIR (finite impulse response) filters. These are phase linear and processor/memory intensive. Traditional hardware processors can’t use FIR filters for the lowest frequencies, because they lack hardware DSP processing power, and often use less precise IIR (infinite impulse response) filters in combination with FIR filters to cover the full range. IIR filters are frequently less stable and suffer from unequal delays at different frequencies. More information about the difference between IIR and FIR filters can be seen here (link).

There is no free lunch with 65k tap FIR filters or such powerful DSP in general. Using a computer can either be a pro or a con depending on the user and situation. In addition, high tap count filters increase latency. This is a non-issue for music only listeners, but can be an issue for those watching movies. Sophisticated applications such as JRiver Media Center offer latency compensation that works in conjunction with Hang Loose Convolver’s VST plugin. HLC reports the latency to JRMC, and JRMC compensated for this during video playback, removing lip-sync issues. For my music only system this isn’t an issue at all. Alternatively, one can use minimum phase FIR filters which still have the power to control the bass frequencies at the expense of giving up the time domain correction. But a minimum phase FIR filter has zero latency so will work with Apple TV, or YouTube or Netflix through standalone convolution (example).

Another potential issue with these state of the art filters is called insertion loss. This means the volume level is cut, based on the amount of correction used. An audio system with enough headroom can easily make up for this volume reduction, but it should be understood while designing an audio system.

One last benefit of using a computer for digital room correction is the ability to play discrete immersive albums, and even on rare occasions Atmos ADM files. I’ve purchased ADM files through Bandcamp, but these are certainly not the norm. Playing ten or twelve channel discrete immersive DXD content with 500,000+ tap filters is the height of living, with respect to high fidelity music playback. It takes a computer to make it in the studio, and to play it at home.

Note: One method I've bene experimenting with is using an Aurender music server to play immersvie music, up through tweleve channel DXD, and routing the audio through a computer for DSP, then on to my Merging Technologies hardware for playback. This method will continue to evolve and improve ease of use in the long run for music lovers.

Hybrid Approach -There is a hybrid approach between using a computer for everything and nothing. As we move away from using a computer, the solutions usually get easier to use, but performance does decrease. Whether or not that performance decrease matters is up to each listener. This guide is about presenting facts, not making friends.

One example of this hybrid approach to DSP is decoding and measuring on a computer while running the room correction filters on an audio hardware device. In my system I have this setup for testing as well as the previously mentioned computer only approach. I use the Sonarworks SoundID Reference application with a Sonarworks microphone to measure my system in my room. The process takes about an hour, but is fairly idiot proof. The app walks one through each microphone placement and tells the user what to do at each step along the way. This is different from Audiolense which requires either serious knowledge or a professional such as Mitch Barnett working with the user.

After running the measurements, SoundID Reference displays a few options and shows a frequency response curve. It’s possible to make manually adjustments or select from built-in options such as the Dolby curve. I’ve done both, but usually wound up using the Dolby option. After a curve is selected, the filter is exported to work with a number of hardware devices. In my case I uploaded the filter to my Merging Technologies Anubis and enabled it.

One the filter is enabled on the Anubis, thinking about filters is over. It operates on all audio signals routed through the device, no matter the sample rate or channel count, without user intervention. This is convenient. Changing channel counts while using Hang Loose Convolver can involve manually switching filters, to ensure the channels are routed to the correct loudspeaker.

In the real world playback looks fairly similar to the computer only approach, with the exception of not running convolution software on the computer. This means no VST plugin in an app like JRiver or no Hang Loose Convolver accepting audio from Apple Music or Audirvana before outputting to the same Merging Anubis.

The downsides of this Hybrid stem from a limited measurement and filter creation application and hardware horsepower. Using the double bass in the center channel example from above, when I play this track and use SoundID Reference in my system, none of the center channel bass is offloaded to the subwoofer. Because my center channel, like most center channel speakers, is low frequency limited, I just don’t hear the full capabilities of the double bass in the center channel.

Other negatives are the mixed filter mode using FIR and IIR, with phase changes, and lack of filter taps for low frequency control compared to a full computer solution, equaling less resolution.

One really nice feature of this hybrid approach is a zero latency mode. It’s possible to have zero latency, but the amount of correction is limited. I’ve used SoundID Reference for testing video playback, and everything is in sync perfectly. However, use of minimum phase FIR filters, as mentioned above, also offer zero latency and control bass frequencies very well.

This hybrid approach is most commonly used in professional studios rather than audiophile listening rooms. However, it is a nice option to have. I’m glad it is an add-on to the Merging Anubis because I can use it if I need it. But, I wouldn’t go out of my way to get it, if I already had Audiolense and a convolution engine running on a computer. The audio output just doesn’t sound as good to me, most likely because it’s objectively less precise due to hardware and software limitations.

Traditional Processor - This approach is the most popular and by far the easiest. Traditional processors such as those from Trinnov, Marantz, and Anthem have built-in immersive audio decoders and digital room correction. Dirac, RoomPerfect, and Audyssey are some of the bigger names embedded into traditional processors.

The typical workflow for decoding and room correction couldn’t be easier. Connecting an Apple TV to a processor and streaming Apple Music or Tidal will get Dolby Atmos music flowing into the system with a couple clicks. Playing TrueHD Dolby Atmos can be done by putting the MKV downloads or Blu-ray rips onto an NVIDIA Shield connected to the processor and tapping play. Fully decoded and processed with the tap of a finger.

The quality of digital room correction in traditional processors is all over the board. It ranges from those that make the sound worse to those that do a really great job. It all comes down to the sophistication of the software and the horsepower of the hardware.

Taking measurements involves zero computers and often a microphone made specifically for the processor or brand of processors. Just add to cart, connect it when it arrives, and run through the setup wizard. Sophisticated products like the Trinnov Altitude 16 or 32 enable one to VNC into the processor to make adjustments and see an approximation of the end results of the DSP. The beauty of this is a good Trinnov dealer will handle all of the configuration, and use the brilliant team at Trinnov for backup in tough situations.

Similar to the hybrid approach, running DSP on A/V hardware hits its limits due to lack of horsepower. Limited number of filter taps, IIR filters or mixed mode IIR and FIR filters, will equate to sound quality that isn’t as good as the computer only approach. However, and this is a big however, because these processors are designed to work with video simultaneously, they are designed to have minimal latency, which lowers the amount of DSP processing they can do. The products are working as designed.

On the other hand, a processor like a Trinnov Altitude 32 uses a computer internally and technically could adjust for latency like JRiver does, but I don’t believe it has enough processing power to run 65,536 tap FIR filters to keep everything in phase and control bass down to 2.2 Hz.

The ease of use of these processors can’t be overstated. In fact, I’ve been working with a very high end dealer for the last several months on an immersive system design, and I recommended a Trinnov Altitude processor for the specific installation. It’s the right horse for many courses. In this case, the listener forwent playback of discrete DXD and state of the art room correction, in favor of great room correction and ease of playing Atmos content from an Apple TV and NVIDIA Shield. The fact that the Trinnov is a Roon Ready endpoint for up through eight channel PCM is also a bonus that factored in the final decision.

Given that the traditional processors are all proprietary, it’s hard to say what’s going on inside. The user manuals give some clues and show users how to use different filter modes, such as IIR, FIR, and mixed FIR+IIR, but that’s a very high level look into what’s going on. I wish some of them would reveal more details because they really have a lot to offer as opposed to some of the mass market processors using the cheapest and weakest chips to get audio decoded and processed.

When I began my immersive audio journey I planned on using a Trinnov Altitude processor as method of playback. I would still like to make this happen, more because I want to experience it first hand in my own room and I want to know how it works as well as I can. This would enable me to educate readers about the product much more.

Last, as a music only audiophile I don’t want a screen in my listening room. Call me old school, but that’s just the way I like it. A traditional processor necessitates the use of a screen of some type. There are possible ways to use some processors without a screen, but as of right now, I wouldn’t wish it upon anyone who likes a fiddle-free listening experience. I’m looking for and testing solutions that enable me to use a device like the Arvus to decode and output Atmos from an Apple TV and Shield, without a display. The Shield can be operated without a display, but the Apple TV is another story. I have some ideas.

Digital Signal Processing Wrap Up

DSP, both decoding and digital room correction, not to mention all the other items for which DSP is used, is a cavernous hole with many unknowns to all but the most geeky audiophiles. I don’t consider myself an expert by any stretch of the imagination, but I have used many of the products and talked to several true experts in the field.

Like many technologies, digital signal processing is limited by the sophistication of the software and horsepower of the hardware. In addition, in the hands of a professional, DSP can be magical or in the hands of a novice, it can enable sound quality that reaches new lows. Tread lightly and call in the pros when needed.

Immersive audio playback involves decoding and room correction, which are commonly linked to the same device. They don’t have to be, but they usually are. Understanding oneself is key to making a decision about which route will best work in any given system. A Computer only route will provide the best objective audio performance, while the traditional processor route will provide the most convenient and easiest use. For many the key will be bringing these two ends of the continuum as close together as possible, and as of today this is done with a Trinnov Altitude processor.

I am sold on the state of the art room correction offered by Audiolense and filters created by Mitch Barnett of Accurate Sound. The sound quality is second to none, both subjectively and objectively. This is the only way to create a high end immersive experience on the same level as many two channel audiophile systems.

Further Reading

• Playing TrueHD Atmos Music Downloads & Blu-ray Rips The Easy Way
• How To Decode and Play Dolby TrueHD Atmos on Windows and macOS
• The Digital Side Of My Immersive Atmos Music System
• Lossless TrueHD Atmos Just Got Much Easier
• An Audiophile’s Journey into Immersive Audio

• All Audiophile Style immersive audio articles can be fund here (link)

NOTE: Please post comments, questions, concerns, corrections in the section below or contact us. 

    Audio: Listen to this article.

I imagine the seasoned multichannel audiophiles shaking their heads, remembering the 1970s when they started listening to four channel albums, and saying this is nothing new, we were listening to this before you were born. Some may be saying, what took you so long, while others are saying, welcome to the club. I accept it all in the good spirit in which it’s intended.

I was born in 1975 and didn’t start purchasing music until my first cassettes in the early eighties, then it was on to compact discs shortly thereafter. Quad wasn’t a thing for me back then, and certainly not when I started getting in to HiFi in the mid nineties. Now, quad is a thing for me and it’s really cool!

Rather than internet eye rolling, I hope the experienced quad fans can chime in offering some nuggets of information and share their own experiences. What follows is my own initial experience with Quadio. Sit back, re-live your own experience, and possibly see it through a fresh set of non-rolling eyes. I feel like a kid with a new toy, experiencing four channel audio for the first time.

Fresh Quadio Hot Out of The Oven

When I first saw an announcement that Rhino was re-releasing some four channel Quadio albums on Blu-ray, I thought it was interesting it didn’t move my needle. Then I saw the second announcement with four more Quadio titles and I started paying more attention. I even had the initial eight releases in my shopping cart on the Rhino site, but couldn’t pull the trigger for some reason. Once I saw another four Quadio titles were coming in January 2024, and in that batch are War’s The World is a Ghetto, and Average White Band’s AWB, I was all in. I ordered the first two batches of four albums and waited.

I received the Blu-ray albums and finally had a chance to sit down and listen over the weekend. Wow, these are really cool! Plus, the sound quality is fantastic! These Quadio releases, “are transferred from the original half-inch four-channel masters at 192/24 resolution and sound amazing. Considering they’ve been in the vault for 50 years, the tapes were in pristine condition and needed no tweaks or fixes. They sound as fresh, rich, and powerful as the day they were created. And, of course, there’s also a 192/24 stereo program from the two-track master as well.” According to Rhino’s Steve Woolard, Director of A&R for the Quadio series.

Blu-ray is a perfect medium for the new Quadio releases, just like it is for the new immersive Atmos releases of which I’ve been purchasing way too many. I don’t have a traditional Blu-ray player, but I do have a Blu-ray drive for ripping on my Mac. I put Black Sabbath’s Paranoid into the drive, opened MakeMKV, and converted the disc to a single MKV file. This MKV file can be played on many systems with a traditional surround processor, but of course I can’t be normal and have to run my audio through state of the art DSP without a processor, on its way to my 7.1.4 system.

Using Music Media Helper, a free Windows only app, I extracted the four channel tracks from the MKV file to WAV files. Technically I could’ve stopped there and started listening. But, I wanted to make the process even easier. Using the same Music Media Helper app, I converted the four channel WAV files into twelve channel files by adding silent channels. The process is simple and takes a couple clicks. I do this because it makes playback extremely simple. I can leave a twelve channel room correction filter in place while playing four channel music, and switch back and forth between my Atmos releases easily. It’s the little things that make all the difference :~)

Clicking play on Black Sabbath’s Paranoid, I was stunned at what I heard from the beginning of track 1, War Pigs. Whoa, what an experience. I was instantly transported to London, England in June of 1970 at Regent Sound studio. In a recording studio, members of the band are often placed around the room, not like they are on a stage, and this is exactly what I heard. Granted the mix isn’t intended to place the musicians around the room, it’s an experience with sounds emanating from different channels however engineers Mike Butcher and Spock Wall deemed appropriate. However, this mix really places the listener in the middle of a heavy metal assault and it feels like sitting in the middle of a band trying to punish the listener in the best way possible. It’s fantastic.

The sonic quality is better than I’ve ever heard the album sound. Sure, Ozzy, Tony, and Geezer sound great, but what really got to me was Bill Ward’s drums. The cymbals in War Pigs and their placement made me chuckle a little because they sounded so good. The rest of his kit blew me away as he railed on it throughout the track. In my opinion, he is the start of War Pigs. Prior to hearing this Quadio release, I would’ve never said that or even thought anyone would say that. So enjoyable!

More Quadio Please

Similar to many immersive releases, these Quadio albums turned me on to music I’d never have listened to previously. I’ve heard of Gordon Lightfoot, Spinners, and Jefferson Starship obviously, but time is precious and I wouldn’t have spent it on listening to them. Until now. The excellent sound quality, high dynamic range, and engaging Quadio mixes on the albums makes for an incredibly enjoyable experience.

Quadio releases in 2023 included:

Alice Cooper - Billion Dollar Babies

America - Holiday

Charles Mingues - Mingues Moves

J. Geils Band - Nightmares

Black Sabbath - Paranoid

Jefferson Starship - Red Octopus

Spinners - Spinners

Gordon Lightfoot - Sundown

Releases in 2024 (sor far):

Randy Newman - Good Old Boys (Jan 19th)

War - The World Is A Ghetto (Jan 19th)

Average White Band - AWB (Jan 19th)

Gil Evans - Svengali (Jan 19th)

Check out the Rhino Quadio page for more information - Rhino Quadio

Quadio Wrap Up

Rhino baking fifty year old tapes to bring them back to life and produce fantastic high resolution quad releases, wasn’t on my bingo card a couple years ago. As of a few months ago, listening to quad releases wasn’t on my bingo card either. Fortunately the releases kept coming and I finally took the chance on something many of my audiophile friends had already known and loved. I didn’t listen to naysayers who said quad’s ship had sailed nor did I listen to those saying it was fantastic. I just want to make up my own mind, independent of external influences and I’m so very happy I jumped into quad, and that Rhino is delivering Quadio releases on Blu-ray. This isn’t just a search for out of print titles, it’s a real thing happening now and I love it.

    Audio: Listen to this article.

Atmos? We don’t need no stinking Atmos.

From the beginning, I told Chris Connaker that writing about a 12-channel Atmos system would appeal to very few audiophiles. It’s hard enough to afford a highly satisfying two-channel system let alone one that requires additional amplifiers, speakers, dacs, and cables. And how many of us have a room (or the incredibly tolerant wife) to accommodate such a system?

Full disclosure: I have never heard a 12- or 16-channel Atmos system. Chris has invited me to his home to listen and, so far, I haven’t taken him up on his very kind offer. I’m sure that’s my loss.

For those who contend that Atmos is not true-to-the-source, I have to ask, “What is the source?” The flat master, the CD, vinyl, or one of multiple streaming versions? What about first pressings, subsequent pressings, remastered or even upsampled versions? Which of those options is TTTS? The truth is, we don’t care about being true to the source nearly as much as we care to hear the sound we like.

If that weren’t true, there wouldn’t be highly regarded tube amplifiers which introduce several percentage points of distortion into the audio chain. I’ve already mentioned upsampling which, depending on the software and settings used, can create a variety of sonic results. And what about the variety of speakers employing various technologies (horn, ribbon, electrostatic, dynamic cone, etc.) each with different sonic characters and their own following?

Are there bad Atmos recordings? Absolutely and I have some. I also have my share of bad stereo recordings. Atmos is not the issue nearly as much as the care and artistry used in mastering and mixing the final recorded product.

So, if I haven’t heard a full-fledged Atmos system, why am I writing about Atmos?

Because Chris opened my eyes to a very compelling Atmos option which is almost never discussed: Two-channel Atmos. Now you’re probably thinking, “Two-channel Atmos? That makes as much sense as a two-dimensional hologram. What could be the benefit of two-channel Atmos?”

The answer is, most 2-channel Atmos recordings I’ve heard are more analog sounding and have a more appealing soundstage than their traditional stereo counterparts. Against my favorite non-Atmos albums, I keep gravitating to my 2-channel Atmos albums. 

Why would this be? For one, Atmos is, by design, to be played not only in 12 or even 16-channel versions but in 2-channels. The two-channel product is not an “edited” version of the traditional Atmos album (as when a multi-channel file is downmixed to two channels by JRiver or similar programs) but pre-determined to meet Atmos standards. The process of creating an Atmos album is detailed here: link.

Second, while Atmos files can be compressed, Apple is enforcing a set of audio quality standards, including requiring the use of uncompressed files, which Tidal and Amazon are likely to uphold. Where among these standards come the improved sound I’m hearing, I don’t know.

What are the downsides of two-channel Atmos?

There are several.

First, while there are sites which host Atmos files, the albums are often priced above that of the average album download and the selection is limited.

Second, you can find additional albums on Bluray discs but you have to carefully search for the Atmos versions, some being part of a deluxe box set which can be quite expensive. Depending on your requirements, the discs might require ripping. And here again, the selection is very limited.

Then there’s the required Dolby decoding software which costs $400.

If your eyes haven’t yet dimmed on the prospect of acquiring two-channel Atmos albums, even the downloaded files require conversion.

As with so many aspects of this wonderful hobby, getting the very best sound is often expensive and time consuming. But I love the journey. When I was a teen, the only way to improve my system was to buy another component. Today, we have so many more options to explore, many of them delivering almost instant gratification such as a new software program or even an adjusted software setting. I’m placing Atmos in that category.

Finally, you might be thinking, “Sure, I’ll just spend $400 on the Dolby decoder, purchase an Atmos album, and learn how to create a 2-channel album all so I can decide whether I like 2-channel Atmos. Nope. Not necessary. Here’s a one-minute clip of the first track of a truly outstanding album (A Shade of Blue by the Tsuyoshi Yamamoto Trio) (download link, please unzip). It’s a 24/48 file in flac uncompressed format. Please download the sample as soon as you can as I’m not sure how long it will be available. 

I chose this album for a number of reasons. First, the recording is excellent. Second, as it’s on both Qobuz and Tidal, subscribers will have an opportunity to compare the downloaded file to the streaming versions. Finally, if you like jazz, it doesn’t get much better than this. You will notice the bass is enhanced on the Atmos version. I believe that’s a mastering or mixing choice rather an inherent feature of Atmos. As I’ve mentioned, the aspects to listen for are the way in which the instruments are separated and distinct and even more, the natural sound of the album.

Please audition the uploaded sample and post your opinions, good, bad, or otherwise. I believe many who have criticized Atmos (as the title of this article not so subtly suggests) will change their opinion and will even find the time and expense of acquiring 2-channel Atmos albums to be well worth it.
 

    Audio: Listen to this article.

As we close out 2023 and gear up for 2024, I’m planning some upgrades to my immersive audio system. These upgrades aren’t needed, but not much in this wonderful hobby of ours is. Most of us could live with an AM radio playing our favorite music if we were limited strictly to needs, rather than wants. I’m completely satisfied with my current system and could likely enjoy it for decades without needing an upgrade. Fortunately, I’m in a position to take another step toward sonic bliss, with some newly announced upgrades that have been on my mind for about a year, even though I was unaware the upgrades were under development. It’s one of those situations where the audio stars aligned. 

The Wilson Audio Alida was introduced in August of 2014 (link). I installed eight Alidas in the summer of 2022, knowing very well that the loudspeaker’s drivers and cabinet materials had been surpassed by newer Wilson Audio designs. This fact didn’t bother me in the least because I was getting the best speaker available to suit my needs. I certainly thought about how nice it would be if the Alida had the same tweeter and similar damping and vibration control X / V materials as my Alexia V, but an Alida with these enhancements was a unicorn at the time. 

As I got deeper into the world of immersive audio and talked to more people taking the plunge, I frequently heard from those who’d tried a “hodgepodge” of loudspeakers to fill out their immersive systems. This often meant different brands with different tweeters. Not the end of the world, as different tweeters are better than no tweeters, but certainly less than ideal. Everyone I know who upgraded their immersive channels to speakers with matching or similar tweeters, was thrilled with the sound and their decision to upgrade. If anything, tweeters seem to be the single most important driver for immersive system matching. 

This left me wondering about my Alidas and their nearly ten year old tweeter design. I didn’t have FOMO and didn’t hear anything that made me think I was missing out on anything sonically. I was more curious and hopeful for a bright future for the Alida. Then I got the call from Wilson Audio that a new Alida design was complete, and would be announced very soon. The new Alida CSC would feature the exact same tweeter as my Alexia V (Alexx V and Sasha V as well). The stars were aligning. 

In addition to the CSC tweeter, the new Alida CSC design tackled something that I believe is even more critical with surface mounted loudspeakers than floor standing speakers, damping and vibration control. I have eight Alidas screwed solidly into the studs and tightly against the walls / ceiling of my listening room. Vibrations to and from the speakers are a real concern. My Alexia Vs each stand on four Wilson Audio Acoustic Diodes. The surface contact area between the diodes and my floor is only as large as the point of the spikes. The contact area between the Alidas and my walls and studs is massive compared to the Alexia Vs with Diodes. 

It should come as no surprise that I was thrilled to learn the new Alida CSC loudspeakers feature both X-Material and V-Material to address vibration control. X and V Materials are proprietary to Wilson Audio and are featured heavily throughout its product range, including the flagship Chronosonic XVX. This a big deal.

I’ve ordered eight new Alida CSC loudspeakers to replace my existing original Alidas. I’m getting the same WilsonGloss Ivory color, at least I think. I’ve been eyeing up the premium Glacier Frost Pearl color and imagining how great it would look on my walls. My Alexia Vs are Silver Ice Pearl, so I know the quality of the Pearl finishes is second to none. 

Center Yourself

Similar to the Alida, the Wilson Audio WATCH Center channel I installed in 2022 was no spring chicken. The design originated in 2011 and still delivers fantastic sound to this day. I had no worries about the design being “older” but I’d always wondered how much better the Wilson Audio Mezzo center channel would sound in my system. I have to be honest, I selected the WATCH Center channel initially because it’s what I could afford. The Mezzo was out of my price range at the time, partially because of the fact that I purchased ten loudspeakers at once! If I was starting over, I’d start with the WATCH Center again. It’s a great center channel loudspeaker. 

Now that Wilson has announced the new Mezzo CSC center channel, featuring an adjustable CSC tweeter, X and S Material, newly designed AudioCapX-WA copper capacitors, and the same 7” Alnico QuadraMag midrange as the Chronosonic XVX, it’s time to part ways with my WATCH Center and upgrade to the Mezzo CSC. I have the WilsonGloss Silver Ice Pearl color with the matching hourglass stand on order. 

Speaking of center channels and immersive audio, this is a good time to note how different the use of said channel is for music playback versus movies. All movies demand a great center channel. Period. Without it, dialog is unintelligible. Immersive music is a completely different animal. 

There are no rules for creating an immersive music mix. Engineers and artists do whatever suits the needs of the music. Some music features almost nothing in the center channel. Engineers mixing these releases often use a phantom center, exactly like they did with a stereo mix. It sounds like it’s coming from the center channel, but it isn’t. 

On the other hand, some engineers use the center channel as an absolutely critical piece of a mix. For example, the new Tsuyoshi Yamamoto Trio album A Shade of Blue features the piano on the left, drums on the right, and stand up bass smack in the center channel. Nothing has made me want a new center channel more than this album, which by the way gets my vote for album of the year in 2023. Sure, I can and do offload bass to the Lōkē subwoofer, but I’d like to play as much of that impeccably recorded bass in the center channel, where the bassist actually stood during the performance. The Mezzo CSC will enable me to get the most out of not only this recording, but any recording. 

The Mezzo CSC is a bit larger and heavier than the WATCH Center currently in my system. I’ve laid down some masking tape to put the speaker’s footprint in the space where it will be placed, and it’ll fit perfectly. The doors behind the speaker will still have plenty of room to open and close, and I’ll still have all the room I need to walk between the center and other front speakers. 

Dimensionally the Mezzo CSC isn’t THAT much larger than the WATCH Center, but it’s much heavier. I carried the roughly 50 lbs WATCH Center up the stairs myself. I will not be carrying the 200 lbs Mezzo CSC up the stairs on my own, or even with a partner. I’ll call my guys over at Manny’s Piano Movers, who’ve moved all my heavy speakers over the years. These guys are the best.

A Deep Question: One Sub or Two?

Now we get to the one deep question that keeps me up at night. I currently have a single Wilson Audio Lōkē subwoofer. After listening to some immersive tracks, it’s clear to me that I could use a second subwoofer on the opposite side of my room. My plan was to add the second sub at some point in 2024. 

The last Wilson Audio product introduction of 2023 threw a wrench into my dual subwoofer plan. Wilson introduced the Submerge powered subwoofer. This sub is perfect for me because it’s self powered and goes down to 5 Hz with 1600 watts of power. I like the other Wilson subs I’ve heard over the years, but a passive sub is a bridge too far for me. When I saw the Submerge, my eyes got the size of dinner plates. 

My first world problem revolves around the size of the Submerge. It won’t fit in the same position as my Lōkē because of its height. I’d have to trim another foot off my live edge wood desk, and that’s not going to happen. I still need a space to get some work done. I could fit the Submerge on the opposite side of the room as the Lōkē and have room to spare. But, I don’t think a dual sub setup with one Submerge and one Lōkē is ideal, though I could be wrong. It just doesn’t feel right. 

My deep question is what is better for my system, two Lōkēs or one Submerge? My answer depends on the day of the week. Right now I’m leaning toward a single Submerge, in WilsonGloss Glacier Frost Pearl. 

Wrap Up

The end of 2023 is in sight, Santa is warming up his sleigh, and the amateurs are planning a big night out on the 31st. I’m looking forward to spending time with my family over the next week, and I’m looking forward to the aforementioned system upgrades in early 2024. Life is good when we have things to look forward to, and I feel very blessed in this area. Family and music, it doesn’t get much better.