Comments Off on LG OLED55B6P 4K HDR OLED TV REVIEW

    The LG B6 OLED TV is the company’s most affordable OLED television, but it’s got the same stunning picture quality you should expect from any of LG’s other OLED models, right up to the super-premium Signature G6 OLED. So, if the B6’s picture quality is the same but the TV is less expensive, what must you give up? As it turns out, the answer is very little.

    For this review, we’ll go ahead and rehash some of the glowing things we said earlier this year about LG’s OLED TV picture quality, clarify some of its outstanding features, and go over the short list of things you don’t get with this model. Ultimately, though, here’s what we want you take away: The LG B6 OLED offers the best picture quality you can buy today, at the best price yet.

    Out of the Box

    No shortage of ink has been spilled over how incredibly thin OLED TVs are, and the B6’s panel itself is certainly impressive in that respect, measuring thinner than an iPhone 6. Keep in mind that all the hardware needed to light up that panel has to go somewhere, and in the case of the B6, that place is the lower half of TV’s back panel, where the unit’s total depth is extended to about 9 inches. Even so, the TV still looks incredible mounted on a wall.

    Without its table-top stand, the B6 weighs just 35.7 pounds, and with the stand just 43 pounds.

    Riding along with the TV is an accessories box which contains our favorite iteration of LG’s Magic Motion remote (more dedicated buttons!), along with batteries for said remote and some product literature.

    Features and User Experience

    LG distinguished itself from its competition this year by offering a healthy selection of TV models which support both HDR10 and Dolby Vision, two different High Dynamic Range (HDR) formats which have a noticeable impact on picture quality when watching HDR content, the bulk of which can be streamed from Netflix and Amazon or sourced from Ultra HD Blu-ray discs. Presently, Dolby Vision is only available on certain streaming programs, but it will soon be available on Ultra HD Blu-ray too, and when it is, it will offer yet another hike in picture quality for OLED owners since Dolby’s flavor of HDR can adjust to suit a TV’s contrast capabilities – a fact worth noting here since OLED currently offers better black levels than other displays on the market.

    The screen’s perfect black results in contrast that really must be seen to be understood.

    Add in four HDMI 2.0a ports with HDCP 2.2 support and you’ve got a 4K Ultra HD TV that is as well steeled against future developments as you could hope to have right now.

    WebOS 3.0 continues to serve as LG’s operating system and smart TV platform, and remains one of our favorite on the market (in a close tie with Samsung’s Tizen OS). If you don’t care for waving your remote around like a magic wand, you can always use the more conventional directional pad and enter key along with dedicated buttons for things like input selection and settings menu access. Still, I think users will find moving the cursor by aiming the remote a pretty big help when entering text for usernames and passwords.

    WebOS 3.0 also offers some convenience features like keeping apps open in the background for instant access and quick switching to and from other apps or TV channels; no need to reload Netflix every time you pop out to check on game scores – Netflix will automatically resume right where you left off, and making the switch is lightning quick.

    What you don’t get with the B6 model is a built-in premium sound system or a super-fancy “screen on glass” effect that come with some of LG’s higher-end models. I don’t miss the integrated sound bar found in the company’s flagship G6 Signature OLED much, to be honest – the B6’s sound quality is decent for such a thin TV, and better sound can be had with a third-party sound bar anyway, or, better yet, a full-on surround system.

    LG B6 OLED55B6P (2016) review

    Bill Roberson/Digital Trends

    Most TV manufacturers are dropping 3D entirely, but I recognize some still enjoy it. Keep in mind that if you choose the B6 OLED, you must give up on your dreams of in-home 3D. If it’s any consolation, I don’t think you’ll miss it much.

    As for design, this is a very handsome TV, and it’s flat, too! No more having to accept a curved screen to get that premium OLED picture quality.


    As I stated above, the B6 offers the best picture quality money can buy today, owed mostly to its perfect black levels, but also to increased brightness over prior years, and dazzling color capabilities.

    Clearly, a lot rides on that perfect black level component. The hard fact is that LED/LCD TVs simply can’t avoid certain pitfalls due to their LED backlighting systems – there will always be some degree of light leakage, blooming, and halo around bright objects. The OLED doesn’t suffer these issues because when a pixel is off, it is completely off and completely black. This results in contrast that really must be seen to be understood. Still, I’ll try to illustrate: Imagine a scene in a film showing a big, bright moon against a dark night sky. On an LED TV, you’d notice that the letterbox bars at the top and bottom of the TV aren’t perfectly black as they should be, the dark sky appears to have a subtle shade of dark blue to it, and you’ll note that the moon’s edges are somewhat soft, with a bit of glow extending past what should be the edges. By contrast, an OLED TV will have perfectly black letterbox bars, a perfectly black night sky, and the edges of the moon will be razor sharp, with no glow spilling out onto the screen. Plus, any stars in the night sky will be tiny pinpricks of light rather than splotchy dots.

    Clean lines and outstanding contrast set the stage for everything else the B6 OLED can do. Its color is deep and vibrant, with subtle shades rendered beautifully. When you watch HDR content on this TV, you will see colors in movies you know very well were never there before. For me, that moment came when I watched JJ Abrams’ Star Trek for the 43rd time. Crimson hues burst from the crew’s uniforms, the sky took on a new shade of blue, and Uhura’s sexy, green-skinned Alien roommate, Gaila, leapt off the screen in a shade I found completely unfamiliar. You may think you’ve seen your movies before, but until you’ve seen a 4K Ultra HD Blu-ray where a colorist has taken free reign in the mastering process, you have no idea what is possible.

    LG OLE

    Read more: http://www.digitaltrends.com/tv-reviews/lg-oled55b6p-review/#ixzz4fgPjqcuA
    Follow us: @digitaltrends on Twitter | DigitalTrends on Facebook

  2. Lookout Dolby Atmos, DTS just entered the next era of surround sound with DTS:X

    Comments Off on Lookout Dolby Atmos, DTS just entered the next era of surround sound with DTS:X
    Whether you enjoy heading out to your a local cineplex or prefer the comfort of your personal home theater, you expect two things when you sit down to lose yourself in a movie: awesome picture and thrilling sound. Progress in video technology makes tech headlines almost daily, but for whatever reason, audio advances don’t get as much love from the press. And that’s a shame, because what’s going on in surround sound right now is amazing. Enter two big players who have been duking it out to win over your ears since 1993: Dolby and DTS.

    Dolby Laboratories led the charge into this new era of surround sound awesome with Dolby Atmos, a system which improves on the surround sound of yore by liberating so-called “sound objects” from the confines of strictly prescribed channels, allowing them to zip around a room unfettered, moving from one speaker to the next seamlessly — and that includes an array of new speakers placed above listeners.

    Now DTS is introducing its take on the future of surround sound, and while it also embraces this new “object-based” surround sound approach, DTS’ system is very different. Introducing DTS:X, an open-architecture system that the company says is easy to integrate, more flexible than the competition, and freely available to any content creators who want to use it.

    We visited DTS headquarters in Calabasas, CA, for a first-hand encounter with DTS:X, and we walked away genuinely impressed. Here’s what you need to know about the next big thing in surround sound.

    DTS:X — the basics

    Like Dolby Atmos, DTS:X is a surround sound solution for both commercial theaters and home theaters. The system allows for individual sound objects — such as a helicopter, or a buzzing fly — to move freely throughout a hemispheric sonic space, constrained only by the imagination of the sound mixer. DTS is hoping to make its new system more accessible than Dolby’s Atmos, however, by making it easy to use with the hardware that’s already installed in theaters and homes, and by offering the tools to mix movies in DTS:X to movie studios for free. That’s right: it will cost movie studios nothing to make the move to this new format.

    “DTS:X is built on the foundation of providing an open, adaptable solution for content creators, cinemas and homes to fulfill our goal of bringing immersive audio to as many people around the world as possible,” said Jon Kirchner, chairman and CEO of DTS, Inc. That goal starts with MDA, DTS’ free software tool that allows audio engineers to navigate any chosen recorded sound throughout a 3-dimensional soundstage. The company is hoping to make MDA a standard mixing tool, and will work closely with theaters to license its new technology, along with industry insiders.

    DTS:X is set up for lossless streaming, with high fidelity sample rates of up to 96kHz for the “objects” that can be rendered throughout the surround soundstage, and the hardware is fully backwards compatible with DTS-HD Master Audio mixes in stereo and standard surround sound at up to 192kHz.

    In the theater

    For movie theaters, DTS:X’s ability to expand surround sound is virtually limitless — tied down primarily by the price of adding more speakers and amplifiers. And while retrofitting a standard theater can start to get costly, DTS claims the system can easily be retrofitted to work with any theater that’s already been upgraded to handle Atmos for around $5,000-$6,000. Shortly after launch, Carmike also announced the franchise will begin to install DTS:X into select theaters here in the U.S., starting with 7 flagships in the Southern U.S., California, Illinois, and Colorado.

    At home

    For the home, DTS:X will be scaled down a bit, just like Atmos. For now, the system will support up to 11 speakers and two subwoofers. However — and this is a big deal for home theater owners, DTS:X can accommodate up to 32 different speaker locations, meaning the system can maximize the surround experience, no matter where you have to put your speakers. The system will work with nearly any speakers you might already have, possibly even Dolby Atmos-enabled speakers, which reflect sound off of the ceiling by firing upward from the ground so users don’t have to install overhead speakers.

    As for receivers, DTS:X will initially land in Denon’s AVR-X7200, and Marantz’s AV8802 through firmware upgrades expected sometime this summer. The new system will also be implemented in upcoming receivers from the likes of Yamaha, Onkyo, Pioneer, and several others slated to land this year and next. While the system is designed to work for multiple mediums, including broadcast TV and streaming video, it will debut in the home on Blu-ray disc, just like Dolby Atmos — are you starting to see a pattern here? Unfortunately, we likely won’t get DTS:X and Dolby Atmos on the same disc — there’s just not enough room.

    The beauty of object-based surround sound

    So why is DTS:X’s object-based system so much better than traditional surround sound systems? The company outlines three major benefits: height, flexibility, and interactivity.

    DTS:X is brand new, and it will take some time before we will be able to enjoy it.

    Height is perhaps the number one reason to go big with object-based surround sound, because overhead speakers not only allow for more options, they also allow for incredible immersion in the sonic experience. In our demo, we were put in a room surrounded by dozens of individually controlled Viena Acoustics Waltz speakers, including multiple overhead mounts, and shot into space via a specially created 8-minute short film. Like similar experiences with Atmos, the dazzling spherical immersion was breathtaking, detaching the audience from all distractions as we were enveloped in the dimensional dome of earth shaking, encompassing sound.

    As for flexibility, sure, the 28 high-end Vienna Acoustics speakers powered by Ayre Acoustics amplifiers at use in the demo offered one of the most impressive cinematic sound experiences this writer has come across, but the benefit of such a mix is that it conforms to whatever configuration you happen to employ. The same mix that was created for our demo could be used in a room with double the speakers, or half that. DTS claims its “speaker remapping engine” can support nearly any speaker configuration “within a hemispherical layout,” optimizing your surround system, however you choose to create it. DTS Chief Marketing officer Kevin Doohan calls it “whatever.1.” In addition, the “objects” in the mix can be pulled out and altered at will, according to DTS. Anything mixed using the MDA tool is available to be moved through the mix autonomously later on.

    DTS:X Interface Screen

    Ryan Waniata/Digital Trends

    And then there’s the cool interactive features, which the system will expand upon over time. The first likely to roll out for DTS:X in the home will be dialog control, something DTS says listeners have been clamoring for. The idea is, you’ll be able to alter the dialog loudness independently instead of, say, the entire center speaker. That will allow for listeners who are hard of hearing, or those watching late at night, to carve out the bombastic effects and soundtrack of a movie or TV show mixed with DTS:X. Taking things further, DTS imagines you might be able to control things like which announcer you hear in a sports cast, or turn up or down the crowd — of course, such features will depend on the cooperation of the broadcasters and content creators, and may have copyright issues to deal with. But the potential benefits are obvious.

    Roll out

    DTS:X is brand new, and it will take some time before we will be able to enjoy it. Like the company’s Headphone:X virtual surround sound system, DTS:X will be adopted slowly as movie studios and manufacturers of speakers, receivers, and software rendering devices come on board. But that’s part of the plan. DTS wanted to get its new system in place, and in the hands of content creators before UHD Blu-ray hits later this year.

    However, while a large roll-out is still a ways off, the root of DTS:X, the MDA rendering software, has already made its way into Hollywood sound stages. As we were wrapping things up in Calabasa, we found out that the sound engineers behind the highly anticipated Marvel flick, Avengers: Age of Ultron, will use the new software tool to help render the surround sound mixes for the movie’s release in IMAX. And while that system won’t technically be DTS:X, it is a good sign that DTS has come up with a helpful tool that Hollywood has already taken to, which should be a boon to DTS:X as it rolls out.

    The future

    Looking ahead, DTS has big plans for its new system, including the adoption of DTS:X for streaming content from services like Netflix, and creating a new age of interactive sound for broadcast TV content. The system is expected to be compatible with future streaming devices as well.

    DTS:X must now catch up with Dolby Atmos, which is already available on many A/V receivers and embedded in several Blu-ray discs. And, in fact, the same day DTS:X was revealed AMC announced a new plan to expand Dolby Atmos into at least 100 theaters over the next 10 years. Still, for the consumer, all of this is good news. As two of the top companies in cinematic sound compete for our ears (and Hollywood’s favor) we get to experience a striking new revolution in object-based surround sound, both in theaters and at home. And that means, no matter where we watch, immersing ourselves even deeper in our favorite means of escapism will soon be that much easier.

    Read more: http://www.digitaltrends.com/home-theater/dts-dtsx-object-based-surround-sound-system-released/#ixzz4fgMrEVjY
    Follow us: @digitaltrends on Twitter | DigitalTrends on Facebook



    It was the summer of ’69. We’re not talking about the Bryan Adams song here; we’re actually referring to the first time surround sound became available in the home. At the time, it was called Quadraphonic sound, and it first came to home audio buffs by way of reel-to-reel tape. Unfortunately, quadraphonic sound was very short-lived. The technology, which provided discrete sound from four speakers placed in each corner of a room, was confusing — no thanks to electronics companies battling over formats (sound familiar?) — and it ultimately failed in the consumer market.
    The idea that one could immerse themselves in a three-dimensional sphere of audio bliss was not to be given up on, however. In 1982 Dolby Laboratories introduced Dolby Surround, a technology that piggy-backed a surround sound signal onto a stereo source through a process called matrix encoding. Not long after, Dolby brought us Pro-Logic surround and has since done its part to advance the state of surround sound in the home to the point where as many as eleven speakers can be used to put listeners right smack in the middle of the action, be it a concert or a battle in deep space.
    Unfortunately, surround sound, for many, remains a confusing technology. Though most understand the concept of using multiple speakers for theater-like sound, many don’t understand the difference between all the different formats. There’s 5.1, 6.1, 7.1, 9.2, Pro-Logic IIx, Pro Logic IIz, Dolby DSX and more. It’s a lot to wrap your head around.
    With this guide to surround-sound formats, we hope to provide a little clarity as to what separates these different surround-sound versions.
    For the purposes of this discussion, “matrix” has nothing to do with the popular film series featuring Keanu Reeves and Lawrence Fishburn (aside, perhaps, from the fact that the dated movies still make for a pretty effective surround sound demo). In this case, matrix refers to the encoding of separate sound signals within a stereo source. This approach was the basis for early surround-sound formats like Dolby Surround and Dolby Pro Logic, motivated in part by the fact that there wasn’t enough space for discrete information on early audio-video media, such as the VHS tape.
    The Speakers
    Surround sound, at its most basic, involves a set of stereo front speakers (left and right) and a set of surround speakers, which are usually placed just to the side and just behind a central listening position. The next step up involves the addition of a center channel: a speaker placed between the front left and right speakers and primarily responsible for reproducing dialogue in movies. Thus, we have five speakers involved. We’ll be adding more speakers later (lots more, actually) but for now we can use this basic five-speaker arrangement as a springboard for getting into all the different surround formats.
    Pro Logic
    Using the matrix process, Dolby’s Pro Logic surround encodes separate signals within the main left and right channels. Dolby was able to allow home audio devices to decode two extra channels of sound from media like VHS tapes, which fed the center channel and surround speakers with audio. Because of the limited space on VHS tapes, matrixed surround signals came with some limitations. The surround channels in basic Pro Logic were not in stereo and had a limited bandwidth. That means that each speaker played the same thing and the sound didn’t involve much bass or treble information.
    Dolby Digital 5.1 / AC-3: The benchmark
    Remember Laser Discs? Though the medium was first invented in 1978, it wasn’t until 1983 when Pioneer Electronics bought majority interest in the technology that it enjoyed any kind success in North America. One of the advantages of the Laser Disc (LD) is that it provided a lot more storage space than VHS tape. Dolby took advantage of this fact and created AC-3, now known better as Dolby Digital. This format improved on Pro-Logic in that it allowed for stereo surround speakers that could provide higher bandwidth sound. It also facilitated the addition of a low-frequency effects channel, adding the “.1” in 5.1, which is handled by a subwoofer. All of the information in Dolby Digital 5.1 is discrete –no matrixing necessary. With the release of Clear and Present Danger on LD, the first Dolby Digital surround sound began to hit home theaters. Even when DVDs came out in 1997, Dolby Digital was the default surround format. To this day, Dolby Digital 5.1 is considered by many to be the surround sound standard, and is included on most Blu-ray discs.
    5-1-dolby-setupImage courtesy of Dolby
    DTS: The rival
    What’s a technology market without a little competition? Up to a point, Dolby more or less dominated the surround-sound landscape. Then, in 1993, DTS came along. DTS, which stands for Digital Theater Systems, is another company providing digital surround sound mixing services for movie production. DTS surround sound was first heard in theaters with Jurassic Park. The technology eventually trickled down to LD and DVD, but was initially available on a very limited selection of discs. DTS utilizes a higher bitrate and, therefore, delivers more audio information. Think of it as similar to the difference between listening to a 256kbps and 320kbps MP3 file. The quality difference is noticeable, but according to some, negligible.
    6.1: Kicking it up a notch:
    In an effort to enhance surround sound by expanding the “sound stage,” the addition of a sixth speaker to the original 5.1 configuration brought about 6.1. This sixth speaker was to be placed in the center of the back of a room and was subsequently referred to as a back surround or rear surround. This is where a lot of confusion began to swirl around surround sound. People were already used to thinking of and referring to surround speakers (incorrectly) as “rears,” because they were so often seen placed behind a seating area. Recommended speaker placement, however, has always called for surround speakers to be placed to the side and just behind the listening position. The point of this speaker is to give the listener the impression that something is approaching from behind or disappearing to the rear. It pulls off with more success what the side surrounds attempted to do by working together to fool the ear. Calling the sixth speaker a “back surround” or “surround back” speaker, while technically an accurate description, ended up being just plain confusing.
    To make things even more confusing Dolby Digital/THX and DTS offered different 6.1 versions. Dolby Digital and THX collaborated to create a version that is referred to as “EX” or “surround EX.” Information for the speaker is matrix encoded into the left and right surround speakers. DTS, on the other hand, offered two different 6.1 versions. DTS-ES Discrete and DTS-ES Matrix performed as their names suggested. With ES Discrete, specific sound information has been programmed onto a DVD or Blu-ray disc, rather than simply extrapolating information from the surround channels.
    7.1: The spawn of Blu-ray
    As is often the case in the world of electronics, just when you decide to bite the bullet and buy a new piece of equipment, something new comes out that leaves your shiny new gear in the dust. Such was the case when 7.1 audio was introduced in conjunction with the HD-DVD and Blu-ray discs. Just when people started getting used to 6.1, 7.1 came along as the new must-have surround format.

    Like 6.1, there are several different versions of 7.1. All of them add in a second back surround speaker. Those surround effects that once went to just one rear surround speaker can now go to two speakers which happen to be in stereo, too. The information is discrete, which means that every speaker is getting its own specific information. We can thank the massive storage potential of Blu-ray for that.
    Dolby offers two different 7.1 surround versions. Dolby Digital Plus is the “lossy” version which, still involves data compression and takes up less space on a Blu-ray disc. Dolby TrueHD, on the other hand, is lossless. Since no compression is involved, Dolby TrueHD is intended to be identical to the studio master.
    7-1-dolby-setupImage courtesy of Dolby
    DTS also has two 7.1 versions, which differ in the same manner as Dolby’s versions. DTS-HD is a lossy, compressed 7.1 surround format, whereas DTS-Master HD is lossless and meant to be identical to the studio master.
    It is important to note here that 7.1-channel surround mixes are not always included on Blu-ray discs. Movie studios have to opt to mix for 7.1, and don’t always do so. There are other factors involved too. Storage space is chief amongst them. If a bunch of extras are placed on a disc, there may not be space for the additional surround information.
    In many cases, a 5.1 mix can be expanded to 7.1 by a matrix process in an A/V receiver. This way, those back surround speakers get used, even if they don’t get discrete information.
    9.1: Pro Logic makes a comeback
    If you’ve been shopping for a receiver, you may have noticed that many offer one or more different versions of Pro Logic processing. In the modern Pro Logic family, we now have Pro Logic II, Pro Logic IIx and Pro Logic IIz. Let’s take a look at what each of them does.
    Pro Logic II is most like its early Pro Logic predecessor in that it can make 5.1 surround sound out of a stereo source. The difference is Pro Logic II provides stereo surround information. This processing mode is commonly used when watching non-HD TV channels with a stereo audio mix.
    Pro Logic IIx is one of those processing modes we mentioned that can take a 5.1 surround mix and expand it to 6.1 or 7.1. Pro Logic IIx is subdivided into a movie, music and game mode.

    Pro Logic IIz allows the addition of two “front height” speakers that are placed above and between the main stereo speakers. This form of matrix processing aims to add more depth and space to a soundtrack by outputting sounds from a whole new location in the room. Since IIz processing can be engaged with a 7.1 soundtrack, the resulting format could be called 9.1.
    <object classid=”clsid:D27CDB6E-AE6D-11cf-96B8-444553540000″ id=”ooyalaPlayer_7yu4j_gqmrwbeb” width=”625″ height=”351″ codebase=”http://fpdownload.macromedia.com/get/flashplayer/current/swflash.cab”>;
    Audyssey DSX: A lesson in one-upmanship
    Audyssey, a company best known for its auto-calibration software found in many of today’s A/V receivers, has released Audyssey DSX, which also allows for additional speakers beyond the core 5.1 and 7.1 surround formats. With the addition of front width and front height channels on top of a 7.1 system, it is possible to achieve up to 11.1 channels of surround sound.
    AVR flavors of surround: The Malt-O-Meal of surround
    Some receiver manufacturers, rather than purchase the rights and processors for Dolby or Audyssey’s products, are making their own versions of surround-sound expansion. Since this is a developing segment, we’re not going to get into this topic much further than to say that those interested should check the manufacturer’s website to discover what that company’s approach involves.
    What about 7.2, 9.2 or 11.2?
    As we mentioned previously, the “.1” in 5.1, 7.1 and all the others refers to the LFE (low frequency effects) channel in a surround soundtrack, which is handled by a subwoofer. Adding “.2” simply means that a receiver has two subwoofer outputs. Both connections put out the same information since, as far as Dolby and DTS are concerned, there is only one subwoofer track. Since A/V receiver manufacturers want to easily market the additional subwoofer output, the notion of using “.2” was adopted.
    3D / object-based surround sound
    image courtesy Dolby Labs
    image courtesy Dolby Labs
    The latest and greatest in surround sound moves beyond the two dimensions that can be represented in traditional setups. By adding either ceiling-mounted or ceiling-facing speakers, height can now be represented as well, leading to an extra number used to represent channels. A 5.1.4 system, for example, would feature the traditional five surround speakers and a subwoofer, but would also feature four additional speakers adding height information to a signal.
    The name object-based comes because with this third dimension, the audio mixers working on a film can represent objects in 3D space rather than being limited by a standard channel setup.
    Dolby Atmos
    This shouldn’t come as a surprise after reading the rest of this article, but the current most-used object-based surround sound technology is Dolby Atmos. Atmos can process up to 128 distinct objects in a given scene (compared to, say, 8 channels for Dolby Digital 7.1), that can be routed to up to 64 speakers. In the past, if there was an explosion on the right of the screen, half of the theater would have the same sound. With Atmos, the sounds in a theater will come from different locations based on where they’re placed by movie studio audio mixers.
    Atmos premiered in theaters in 2012 with Pixar’s Brave and began to be available in home theater A/V receivers in 2015. Already, a fair number of movies in both digital format and on Blu-ray discs are available with Dolby Atmos.
    Just as with other type of surround sound, DTS has its own version with DTS:X, which was unveiled in 2015. While Dolby Atmos limits objects to 128 per scene, DTS:X imposes no such limits, though whether film mixers are finding themselves bumping up against Atmos’ limit isn’t known. DTS:X aims to be more flexible and accessible than Atmos, making use of pre-existing speaker layouts in theaters and supporting 32 different speaker locations at home.
    While DTS:X is beginning to be available out of the box with newer A/V receivers, firmware updates are available bringing the technology to many receivers that initially shipped with only Dolby Atmos support. Companies like Lionsgate and Paramount have promised support for DTS:X, but for the time being, it remains less popular than Atmos.
    It may not be as well known as Atmos or DTS:X, but Auro-3D has been around for much longer than either one of them. The technology was first announced in 2006 and has been used in theaters since, though it has only recently started to come to home theater systems with higher-end companies like Marantz and Denon offering it as a firmware upgrade — usually a paid upgrade.
    Auro-3D doesn’t use the term “object-based” as its competitors do, but it does work in a similar way and offer similar results, adding to the overall immersion factor when watching a film. Auro-3D’s recent foray into viewers’ living rooms isn’t likely to snatch away the 3D surround sound crown from Dolby, but considering it’s already 10 years into its run, chances are it will continue to hang in there.
    Update: This article was originally written on July 31, 2013 and has been updated to include the newest in surround sound technologies, like Dolby Atmos and DTS:X. Kris Wouk contributed to this article.

    Read more: http://www.digitaltrends.com/home-theater/ultimate-surround-sound-guide-different-formats-explained/#ixzz4fgI6pmUp
    Follow us: @digitaltrends on Twitter | DigitalTrends on Facebook