'Almost every mixer, without being told to, instinctively did the same thing': Dolby exec explains the subtle changes in movie soundtracks brought by the arrival of Dolby Atmos — and it really makes the case for proper surround setups over soundbars | Tech Radar

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'Almost every mixer, without being told to, instinctively did the same thing': Dolby exec explains the subtle changes in movie soundtracks brought by the arrival of Dolby Atmos — and it really makes the case for proper surround setups over soundbars

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Dolby exec says movie mixers independently made the same changes in Dolby Atmos mixes

They moved the music "into the room", away from the screen and the dialogue

Home theater fans often have very strong opinions about soundbars versus separates-based surround sound systems (as a comment on our recent article on the choices in the Fight Club 4K Blu-ray evidences), arguing that even the best soundbars simply can't deliver the same width, depth and immersion of a separates-based surround system.

And recent comments from Senior Vice President of Entertainment at Dolby Laboratories, John Couling, arguably backs them up: he describes a change in the way movie audio was mixed due to the transition to Dolby Atmos, and it struck us that it ties strongly into one part of why separates-based systems are likely to deliver a better experience with movie soundtracks.

What moviemakers are doing with their audio mixes

Posting on Linked In, Coulis described the early days of Dolby Atmos. "We would continuously ask questions and take notes as teams of film mixers started to explore the technology," he says, "and we noticed that almost every mixer, without being told to, instinctively did the same thing."

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He continued: "They took the film's music from the left and right speakers and pulled it just slightly into the room — down the side walls, away from the screen. The screen became more about action and dialogue, while the music became part of the atmosphere surrounding the audience."

The change was "immediately, obviously better," Coulis says. "The front stage had more clarity, and the music found its proper place."

That's great on a full set of surround-sound speakers where the music's moving out to left and right speakers that are fully past the left and right sides of your TV or projector screen. They're capable of delivering the kind of width necessary to get the full effect of what Coulis is talking about.

But, of course, standalone soundbars don't have speakers out to the sides, so with budget soundbars you're going to miss out on this intentional separation of the dialogue and music in the 3D Atmos space.

Bery expensive standalone soundbars with angled drivers, virtualization and clever digital processing will do a far better job of this, but they're ultimately compensating for what isn't physically there: there's no real substitute for having strong speakers out side.

That's not to say soundbars are bad; of course they're not. Some of the best ones are truly exceptional and even the budget ones are a big audio upgrade compared to your TV. They're a lot more convenient and often a lot less expensive too.

But Coulis' comments are a fresh reminder and a new perspective on the idea that if you're serious about soundtracks, separate speakers are likely to deliver the most realistic results.

➡️ Read our full guide to the best soundbars

1. Best overall: Samsung HW-Q800F
2. Best budget: Sony HT-S2000
3. Best premium all-in-one: Klipsch Flexus Core 300
4. Best Dolby Atmos surround system: Samsung HW-Q990F

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Writer, broadcaster, musician and kitchen gadget obsessive Carrie Marshall has been writing about tech since 1998, contributing sage advice and odd opinions to all kinds of magazines and websites as well as writing more than twenty books. Her latest, a love letter to music titled Small Town Joy, is on sale now. She is the singer in spectacularly obscure Glaswegian rock band Unquiet Mind.

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• Get full access to premium articles, exclusive features and a growing list of member rewards