Ill be honest, I dont have time right now to watch (Im UK so many hours ahead of you) but Im always hesitantly sceptical of people who think they know better than manufacturers of professional industry standards

Having read the Dolby Pro Cinema white paper spec for large scale commercial cinema installations and been in dolby atmos certified mixing studios I can tell you for a fact mixing engineering for atmos (both film and music varieties) are mixing in rooms built to the dolby spec and are mixed with an intention that the final listening environment also correctly scales up or down to match the dolby spec

I actually tend to disagree with many things some home theatre ‘experts’ tell people, the use of bass management being the biggest one as all main, surround and overhead speakers are supposed to be able to go down to 40z (optionally this can be 20hz for main screen channels) with the LFE speaker(s) adding additional low end as an sfx as low frequencies are only really non direction as pure sine waves (not to mention how much bass management screws the phase alignment of a full range sound in positioned in the rear through the crossover frequency range) any sort of sharp transient or complex waveform and even sfx in the 25hz-45hz range can be localised in a properly configured room but thats a whole rant for another thread haha

Josh Evans, Professional Live Sound Engineer, High End Commercial AV Install Technician

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