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Old 16th October 2020 | Show parent
  #61
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Originally Posted by Kodakell View Post
“Classical” music is where the problem lies with your statement right away. Kids and the new generation aren’t going to pay to see “classical” music.

Have you seen Beyoncé’s visual albums? Or any other visual albums? These are modern productions. Not classical.

If you want to try to promote classical music to modern consumers of course it’ll never work! Whether it’s in theatres or not!

But if it’s Drake, Taylor Swift, BTS, Arianna Grande? You know how many ticket sales will fly off the shelf? C’mon!

I think the problem here is there is a clear age gap between me and you all
we agree that classical music will not draw the masses to the cinemas equipped with immersive sound systems :-) on the rest, not so much...
Old 17th October 2020 | Show parent
  #62
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Originally Posted by deedeeyeah View Post
we agree that classical music will not draw the masses to the cinemas equipped with immersive sound systems :-) on the rest, not so much...
If you don’t like the way music sounds in atmos and find it pointless, fine. Let’s just give up on atmos music and call it day I guess.

To be honest, whether it’s atmos, surround, stereo,
I don’t care. The video is what most people are going to go for. People like music videos. People like special effects. People like modern futuristic ideas.

Take the hottest pop artist in the industry right now, make a big budget visual album, mix it in atmos, promote it to the masses, game over. End of story. I get ur all older, that’s fine, but are you honestly telling me this couldn’t be a giant revenue source for major labels?

Maybe I’m just in over my head?
Old 17th October 2020 | Show parent
  #63
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Quote:
Originally Posted by deedeeyeah View Post
i'm on the opposite side: i find any format beyond 5.1 for (classical) music absolutely pointless and do not want to hear the oboe fly above my head!

live sound lately has developped its own 'immersive' formats which aim at achieving different things though and which i find much more useful from a listeners perspective - same for venues (compared to most cinemas)...

...so if any immersive formats are going to pick up steam, i truly hope that it isn't atmos - more importantly though, not inside cinemas!
Deedee:

With all due respect, I'm finishing an album of a string quartet in Atmos right now. For my classical work, I have never moved a mic around the room. What Atmos does with the quartet is something subtle, but also gorgeous. It lifts the ceiling and moves the walls of your studio out to something wider. The sound stops coming from two narrow boxes in front of you and starts to feel like a real space. More like you're there. I think it's worth the effort when it's done tastefully. And a lot of the benefit is actually not the ceiling speakers, but the side fills in the 7.1 bed. I'll post again when this album is available.

I'm also mixing a funk album in Atmos, and I won't play that for you, because I fully intend to make the guitars fly. that album is for Kodakell.
Old 17th October 2020 | Show parent
  #64
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Quote:
Originally Posted by NReichman View Post
Deedee:

With all due respect, I'm finishing an album of a string quartet in Atmos right now. For my classical work, I have never moved a mic around the room. What Atmos does with the quartet is something subtle, but also gorgeous. It lifts the ceiling and moves the walls of your studio out to something wider. The sound stops coming from two narrow boxes in front of you and starts to feel like a real space. More like you're there. I think it's worth the effort when it's done tastefully. And a lot of the benefit is actually not the ceiling speakers, but the side fills in the 7.1 bed. I'll post again when this album is available.

I'm also mixing a funk album in Atmos, and I won't play that for you, because I fully intend to make the guitars fly. that album is for Kodakell.
of course one can chose to produce in that format and i have no doubt that one can successfully care after a very specific clientele with a specific format - i did so as well with dsd years ago - but i personally think immersive formats for anything outside the world of cinema (and specifically movies in 3d) ain't worth the pain, certainly not for 'static' music ('static' in the sense the musicians/instrument a well defined position within the soundfield).

been there, done that: i helped installing an insane surround system with 60+ speakers on rails for karlheinz stockhausen in 'his' studio in baden-baden in the 90's, i assisted jörg jecklin for 15 years and experimented with all sorts of ambisonics, i'm occasionally using a double ortf in addition to whatever main system to capture height channels, i'm actually sitting in one of my rooms with a 7.1.4 system etc. - but i digress...

[the worst aspect is that it doesn't translate to the outside world very well and cannot easily (if at all) move between the world of studio/cinema, living room at home, exhibitions or live shows]
Old 17th October 2020 | Show parent
  #65
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Quote:
Originally Posted by deedeeyeah View Post
been there, done that: i helped installing an insane surround system with 60+ speakers on rails for karlheinz stockhausen in 'his' studio in baden-baden in the 90's, i assisted jörg jecklin for 15 years and experimented with all sorts of ambisonics, i'm occasionally using a double ortf in addition to whatever main system to capture height channels, i'm actually sitting in one of my rooms with a 7.1.4 system etc. - but i digress...
You worked for Stockhausen?? Kodakell, ignore all of my comments in this thread and pay attention to deedee. I met him in Amsterdam once. His enormous body of work and enormous ego is still felt strongly in classical music these days. Absolute legend. Deedee, now that we know, tell us some stories!
Old 17th October 2020 | Show parent
  #66
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Originally Posted by NReichman View Post
You worked for Stockhausen?? Kodakell, ignore all of my comments in this thread and pay attention to deedee. I met him in Amsterdam once. His enormous body of work and enormous ego is still felt strongly in classical music these days. Absolute legend. Deedee, now that we know, tell us some stories!
you rightfully mentioned his enormous ego which - at least for me - makes it indeed a bit difficult to speak about him without prejustice; kinda strange/sad as it's been much easier and way more fun to work 'with' his sons than 'for' the maestro...!

(not sure this is the right place to tell some stories; maybe better p.m.)
Old 17th October 2020 | Show parent
  #67
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Quote:
Originally Posted by deedeeyeah View Post
of course one can chose to produce in that format and i have no doubt that one can successfully care after a very specific clientele with a specific format - i did so as well with dsd years ago - but i personally think immersive formats for anything outside the world of cinema (and specifically movies in 3d) ain't worth the pain, certainly not for 'static' music ('static' in the sense the musicians/instrument a well defined position within the soundfield).

been there, done that: i helped installing an insane surround system with 60+ speakers on rails for karlheinz stockhausen in 'his' studio in baden-baden in the 90's, i assisted jörg jecklin for 15 years and experimented with all sorts of ambisonics, i'm occasionally using a double ortf in addition to whatever main system to capture height channels, i'm actually sitting in one of my rooms with a 7.1.4 system etc. - but i digress...

[the worst aspect is that it doesn't translate to the outside world very well and cannot easily (if at all) move between the world of studio/cinema, living room at home, exhibitions or live shows]
I would think a lot of the reason for this would be the limited amount of tools we have to be creative within the system.

Like for example, if you want a vocal delay throw, let’s say you want a vocal delay to start from the front-middle speakers and pan left and right to the sides then all the way to the back and up, all while simultaneously having a reverb and delay following it on its tracks. Think of it as a “burst” of sound that travels through the sound field, like a shooting star, or rather, multiple shooting stars that each start at different points in time but coming from the same starting point and go in different directions. but in the form of sound. There’s not really many plugins that can really easily and musically help us achieve an effect like that. Would that be correct?

As for static instruments, who says the sound that we produce in such a production has to be static, or rather distract the listener? Of course we don’t want people constantly turning their heads. I guess I’m saying isn’t there ways from a production standpoint we can think outside the box to create very interesting compositions and effects in the Dolby atmos environment that we cannot achieve in the stereo or 5.1 environment?

I fully understand what you are saying. And I appreciate the knowledge. And I see where you’re coming from, but I still don’t quite see any reason why we can’t develop tools and techniques to make the system work for music, and make it work well.

I remember watching a documentary not too long away where one man mentioned nobody thought the stereo system would work. Look where we are now. That’s sort of where I’m sitting here with the atmos system. I think it can work, I just think we need better tools to make it work.

I think there’s just a really really big learning curve here that many in the business will have to hurdle over. Whether it be from a software/plugin development side, or the musician/producer side, or the mixing/mastering side. There’s not a lot of tools at the moment to create interesting music within the system. But I think there’s a POSSIBILITY we can create such tools and in return make something work.

We really just need to think differently about all of it and approach it from a completely different point of view. We can’t approach it from a typical “stereo soundstage” point of view or even a 5.1 point of view. This needs to be tackled in a completely different way.

Let’s be clear here, I’m in no way trying to create a “realistic” reproduction of how sound works in the real world through Dolby atmos. Far from that actually. I’m also not really that interested in using “real” instruments either.
Old 17th October 2020 | Show parent
  #68
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Quote:
Originally Posted by Kodakell View Post
“Classical” music is where the problem lies with your statement right away. Kids and the new generation aren’t going to pay to see “classical” music.

Have you seen Beyoncé’s visual albums? Or any other visual albums? These are modern productions. Not classical.

If you want to try to promote classical music to modern consumers of course it’ll never work! Whether it’s in theatres or not!

But if it’s Drake, Taylor Swift, BTS, Arianna Grande? You know how many ticket sales will fly off the shelf? C’mon!

I think the problem here is there is a clear age gap between me and you all
Just have to point out -- @ TheHanes is engineer & assistant to Serban Ghenea who regularly mixes all the artists you just mentioned.

If there's anyone who has an idea about commercial viability, it's probably him.
Old 17th October 2020 | Show parent
  #69
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Originally Posted by AnHonestMix View Post
Just have to point out -- @ TheHanes is engineer & assistant to Serban Ghenea who regularly mixes all the artists you just mentioned.

If there's anyone who has an idea about commercial viability, it's probably him.
I know that. That’s why I mentioned it.
Old 18th October 2020 | Show parent
  #70
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Quote:
Originally Posted by Kodakell View Post

I think the problem here is there is a clear age gap between me and you all
AKA... the experience gap
Old 18th October 2020 | Show parent
  #71
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---> I should say first that I actually think it'd be great if more theaters could run more short runs of more different types of content. Perhaps what you're talking about would fit, but surely as far as I can see to a small degree.

Quote:
Originally Posted by Kodakell View Post
Anyone who is a fan of music or movies would be interested in such a production.
I'm not particularly interested, and I have decades in both fields... a lot of it as either in higher education or professional work...

Quote:
Originally Posted by Kodakell View Post
Especially people who are fans of the artists will certainly pay to experience this. An artist with hundreds of million to billions of listens on streaming services is a pretty large demographic of people!
Quote:
Originally Posted by Kodakell View Post
The video is what most people are going to go for. People like music videos. People like special effects. People like modern futuristic ideas.

Take the hottest pop artist in the industry right now, make a big budget visual album, mix it in atmos, promote it to the masses, game over. End of story.
Ok, but have you considered how today's youth in general consumes content?

I know you think we're old, but consider this for perspective for a second:

- When I grew up we had one television. One. In my country we had two channels. Me and my parents would have to decide if we'd watch the one channel or the other. We had no remote control. Switching the channel meant standing up and going to the TV and turn a knob. It was like that for years of my life.

- When I grew up I had a vinyl record player. Same deal. I put the record on, sit down, and if I wanted to skip to a different song I'd have to get up and go over to the device and move the needle.

This along with the culture being what it was meant that I consumed a lot more stuff from beginning to end. And many albums were concept albums.

Now, you say that kids would be all over this, but how do youth today consume content? Streaming is fine, but how many have the patience to stream an entire album that likely wasn't even created as a "whole" to begin with? How many who watch YouTube videos go through an entire artists album visually? How many people even last through one song/video?

I've lost count over how many times people I'm around put something on, are super enthusiastic about that song/video, dig it for about a minute (literally), and then switch to the next thing...

And this is the crowd that would voluntarily get stuck in a movie theater to subject themselves to a full 'experience' for 60-90 minutes, and pay for it??? I'm unconvinced. I think perhaps you are hanging out with people that are more into arts - and into paying for the arts (?) - than what the general public is.

Here's yet one more thing to consider:

A well made movie delivers great visuals and great audio and hopefully a great story to boot which keeps the audience involved, and we have more movies created than ever, yet theaters have struggled with competition from the streaming market. Why would this be better received?

Quote:
Originally Posted by Kodakell View Post
If you only rich people with Dolby atoms systems in their houses are the only people who will be interested in such a thing is ridiculous to me on so many levels.
It depends on how you look at the cost and math though. If a decent Atmos home setup costs you about $1200 and a movie ticked is $15 then that's around 80 tickets for a home setup. But the thing is that with the home setup more than one person can enjoy it and with the subscriptions this demographic already have you can most likely stream more than 80 pieces of content in that first year alone, should you choose to. So it pays itself off in far less than a year really.

Quote:
Originally Posted by Kodakell View Post
How many kids you think are going to be able to experience this in their homes? Very little. I bet they will go out their way to pay for this experience in the theatre.
If they can't afford the home theater they can't afford that many movie tickets either. Their parents however can pay for stuff and it can be their movie tickets or a home theater system. The latter is enjoyment for the whole family, the former just for the kids.


Quote:
Originally Posted by Kodakell View Post
I would love to make it happen! But as struggling college student there’s not much I can do, lol.
No offense, but I think this explains your enthusiasm. Don't mistake the "lack of enthusiasm" from the older crowd for not caring or not wanting something like this to succeed - we surely all do - it's just that we've been there and done that and have great ideas etc only to see them not go anywhere... for decades...
Old 18th October 2020
  #72
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I think the most viable format for this idea... the new era of music videos... would be streaming. Sturgil Simpson's "Sound & Fury" release we direct to Netflix, and it's pretty amazing. https://www.youtube.com/watch?v=kfLrvaQJtrA

BTS for project.... https://youtu.be/1ENDLNa9DWY

But.... the rebirth of music video is an aside to the more central problem of the distribution bottleneck is multichannel audio. One central issue is the lack of standardization. Surround? 5.1 or 7.1? Atmos? Amibsonic? Etc. Adoption by the end-user is mixed, making the production of multichannel music deliverables difficult.

Last edited by spiderman; 18th October 2020 at 10:55 PM..
Old 19th October 2020 | Show parent
  #73
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Quote:
Originally Posted by mattiasnyc View Post
---> I should say first that I actually think it'd be great if more theaters could run more short runs of more different types of content. Perhaps what you're talking about would fit, but surely as far as I can see to a small degree.



I'm not particularly interested, and I have decades in both fields... a lot of it as either in higher education or professional work...



Ok, but have you considered how today's youth in general consumes content?

I know you think we're old, but consider this for perspective for a second:

- When I grew up we had one television. One. In my country we had two channels. Me and my parents would have to decide if we'd watch the one channel or the other. We had no remote control. Switching the channel meant standing up and going to the TV and turn a knob. It was like that for years of my life.

- When I grew up I had a vinyl record player. Same deal. I put the record on, sit down, and if I wanted to skip to a different song I'd have to get up and go over to the device and move the needle.

This along with the culture being what it was meant that I consumed a lot more stuff from beginning to end. And many albums were concept albums.

Now, you say that kids would be all over this, but how do youth today consume content? Streaming is fine, but how many have the patience to stream an entire album that likely wasn't even created as a "whole" to begin with? How many who watch YouTube videos go through an entire artists album visually? How many people even last through one song/video?

I've lost count over how many times people I'm around put something on, are super enthusiastic about that song/video, dig it for about a minute (literally), and then switch to the next thing...

And this is the crowd that would voluntarily get stuck in a movie theater to subject themselves to a full 'experience' for 60-90 minutes, and pay for it??? I'm unconvinced. I think perhaps you are hanging out with people that are more into arts - and into paying for the arts (?) - than what the general public is.

Here's yet one more thing to consider:

A well made movie delivers great visuals and great audio and hopefully a great story to boot which keeps the audience involved, and we have more movies created than ever, yet theaters have struggled with competition from the streaming market. Why would this be better received?



It depends on how you look at the cost and math though. If a decent Atmos home setup costs you about $1200 and a movie ticked is $15 then that's around 80 tickets for a home setup. But the thing is that with the home setup more than one person can enjoy it and with the subscriptions this demographic already have you can most likely stream more than 80 pieces of content in that first year alone, should you choose to. So it pays itself off in far less than a year really.



If they can't afford the home theater they can't afford that many movie tickets either. Their parents however can pay for stuff and it can be their movie tickets or a home theater system. The latter is enjoyment for the whole family, the former just for the kids.




No offense, but I think this explains your enthusiasm. Don't mistake the "lack of enthusiasm" from the older crowd for not caring or not wanting something like this to succeed - we surely all do - it's just that we've been there and done that and have great ideas etc only to see them not go anywhere... for decades...
I know many kids my age who will sit through an entire album by their favorite artists right at release. Actually, a very large amount of kids do this. Probably more than kids did in your era. You just don’t notice it because it doesn’t reflect in physical sales because everyone in streaming.

I must say though, this is only for specific “major” pop artists with a very large demographic of “super fans”. Many artists have incredible fan bases these days like never before who would go out their way to experience or buy anything they put out. Whether it be merch, or some type of content, they will buy it.

For example, look at Kanye’s success. He is worth 1.7 Billion dollars! And Travis Scott is someone who is also on that path and done a concert in fortnite, did a collaboration with McDonald’s, then recently had a music video premiere in IMAX theatres.

If you think kids these days aren’t consuming albums, that is true to an extent, because majority of artists it is true. But there is a small portion of major artists where that statement is totally untrue. If Drake dropped an album tomorrow, I bet hundreds of millions of people would listen to his album from front to back. On the other hand, if an artists who is a one hit wonder dropped an album, nobody would care.

But I see where you are coming from.

I just think you are underestimating how many kids actually enjoy listening to full length albums by their favorite artists. It is more accessible than ever before. By the time 12am hits on a Thursday night there’s hundreds of millions of kids who are right there to stream their favorite artists album. You just don’t see it reflected in the sales, because like I said, everyone is streaming. Just simply look at the streaming numbers for a major artists album release.

As for how many kids who buy tickets to a visual album in Dolby atmos theatres? We will never know because it’s never been done before and maybe never will. But I’m still willing to bet and stand by my words that if done right and by the right artist, it would have great success.

Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of that:

https://youtu.be/cPYA9Fsmo-0
Old 19th October 2020 | Show parent
  #74
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Quote:
Originally Posted by mattiasnyc View Post
--->
It depends on how you look at the cost and math though. If a decent Atmos home setup costs you about $1200 and a movie ticked is $15 then that's around 80 tickets for a home setup. But the thing is that with the home setup more than one person can enjoy it and with the subscriptions this demographic already have you can most likely stream more than 80 pieces of content in that first year alone, should you choose to. So it pays itself off in far less than a year really.



If they can't afford the home theater they can't afford that many movie tickets either. Their parents however can pay for stuff and it can be their movie tickets or a home theater system. The latter is enjoyment for the whole family, the former just for the kids.


..
This is ridiculous, and this reasoning makes absolutely no sense to me on so many levels.

Firstly, to have a full Dolby atmos system in your home, you first to need to own a home. On top of that you need a rather large extra room in your home, then on top of that have a budget leftover to invest in theatre with Dolby atmos.

That is a lot different than having a spare $15 you’re willing to spend on a ticket for a movie. There is already very large percentage of youth who are broke, in college, make minimum wage, but still willing to save up to spend around 200-400 dollars on an artists concert tickets, merch, etc. because that’s a reasonable amount of money for them to save up and spend.

$15 is nothing these days if you want to buy a ticket to a movie or something. And many kids would do that for their favorite artist. I 100% guarantee that. There’s many kids with parents who can’t afford Dolby atmos systems in their home who can afford to pay $15 for a ticket.

That’s very different than a kid being able to put a mortgage down on a house big enough for a home theatre, and then have extra money for a atmos theatre.

I’m not sure how this at all seemed logical when you typed it out.

Actually, if anything it’s way more logical for major labels to focus on getting atmos albums into theatres rather than peoples homes, because it’s more likely they will spend $15 on a ticket than spend thousands on a home theatre system.

I know it’s hard to believe, but most kids my age are broke or living in debt, if you think they are at all capable of saving up thousand for a Dolby system, or their parents even, then that’s insane. But I’m willing to bet they’ll spend $15 dollars on their favorite artists ticket the same way they spent $200 on their merch or concert ticket.

Example:

Kid: “Hey mom, Travis Scott just dropped a visual album in Dolby atmos, can you please spend thousands of dollars on a home theatre and Dolby atmos system so I can experience it?”

Mom: “Absolutely not”

Now let’s try this...

Kid: “hey mom, Travis Scott has a visual album playing in Dolby atmos theatres, can I have $15 please”?

Mom: “did you clean your room”?

Kid: “yes!”

Mom: “ok fine, but you better not be out with your friends doing drugs!”

Kids are already spending hundreds of their parents dollars in fortnite V-Bucks!!!! Why not give them $15 for a ticket????
Old 19th October 2020 | Show parent
  #75
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Quote:
Originally Posted by mattiasnyc View Post
---> I think perhaps you are hanging out with people that are more into arts - and into paying for the arts (?) - than what the general public is. ..
Hundreds of millions of youth are “super fans” of artists like Kanye West, Travis Scott, Drake, Post Malone, BTS, Ariana Grande, etc I can go on. MAJORITY of these kids are not “into the arts”, yet a LARGE PERCENTAGE of them will pay for their merch, and pay for their concert tickets.

Post Malone concert tickets costed around $200 per ticket, he performed 2 nights in a row in my city of Minneapolis on a venue with a capacity of over 20,000 sold out both nights. Not a single person over the age of 30 in sight. You don’t think those same kids will pay $15 for tickets to see their visual album in Dolby atmos?

I think you are just unfamiliar with youth culture. And really just how much of “super fans” kids are with major artists these days. Just because it doesn’t reflect in physical album sales doesn’t mean millions of kids aren’t listening to their albums. Look at streaming numbers.

Kanye isn’t worth 1.7 billion for no reason.

JUST BECAUSE FANS ARENT PAYING FOR PHSYICAL ALBUMS DOESNT MEAN THEYRE NOT PAYING IN OTHER WAYS.

How many major artists or bands from your generation are worth 1.7 billion at the age of 40?!!? I’ll wait.
Old 19th October 2020
  #76
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Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of that:

https://youtu.be/cPYA9Fsmo-0

I’m thinking a visual album in Dolby atmos wouldn’t be much different than the sound effects and such they did in this concerts. But better...
Old 19th October 2020 | Show parent
  #77
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Quote:
Originally Posted by Kodakell View Post
Post Malone concert tickets costed around $200 per ticket, he performed 2 nights in a row in my city of Minneapolis on a venue with a capacity of over 20,000 sold out both nights. Not a single person over the age of 30 in sight. You don’t think those same kids will pay $15 for tickets to see their visual album in Dolby atmos?
I don't think they necessarily will do that. You're basically implying that since they're willing to spend $200 the $15 would be no big deal. Well that's about what CDs used to cost when 'everyone' stopped buying them.. despite being cheaper than a bunch of other stuff.

Also, a music concert isn't a sit-down even in a movie theater.

Maybe you're right, I just happen to be skeptical about it.

You need to factor in what the theaters want to see happen as well though, don't forget that. If you want this stuff in movie theaters then the owners of them have to be convinced that it's a profitable enterprise. I think people in general are willing to pay for Marvel and other big films that are essentially sure bets so the problem becomes partially logistical: When and where do you release this stuff, and for how long? Even in a city like NYC it's not like every theater has Atmos, so I would imagine that in many cities and towns you may have one or two theaters with one or two screens with Atmos installed and they'll likely rather put Marvel in there than something like this.

Quote:
Originally Posted by Kodakell View Post
Kanye isn’t worth 1.7 billion for no reason.
I don't want to see a Star Wars musical on Broadway. And that's despite the franchise being worth at least twice as much as Kanye.

In other words: Just because a franchise or product (artist) is worth a lot of money doesn't mean it automatically translates into sales in a new medium.

(Kanye is a clown and an idiot btw)

Quote:
Originally Posted by Kodakell View Post
JUST BECAUSE FANS ARENT PAYING FOR PHSYICAL ALBUMS DOESNT MEAN THEYRE NOT PAYING IN OTHER WAYS.
Ok. The all-caps convinced me.

Quote:
Originally Posted by Kodakell View Post
How many major artists or bands from your generation are worth 1.7 billion at the age of 40?!!? I’ll wait.
Well Kanye successfully made Tidal super-lucrative for the artists on the roster so again I'm convinced.

Not sure what you mean by "your generation" btw. The non-all-caps generation? Do we old farts get to take inflation into account when we look at the wealthy artists of "our time"? And do we get to subtract sneaker contracts from Kanye's value to make the comparison apples-to-apples?
Old 19th October 2020 | Show parent
  #78
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Originally Posted by Kodakell View Post
Here’s a link of Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of that:

https://youtu.be/cPYA9Fsmo-0
Man, Milli Vanilli were just too ahead of technology. Imagine if they'd been around these days...
Old 19th October 2020 | Show parent
  #79
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Quote:
Originally Posted by Kodakell View Post
This is ridiculous, and this reasoning makes absolutely no sense to me on so many levels.
Quote:
Originally Posted by Kodakell View Post
I’m not sure how this at all seemed logical when you typed it out.
Well one of us isn't "getting it", so I guess we're at an impasse.

I know you don't have the time or means to get this going yourself, but best of luck with the campaign to get other people to get it going... I'm sure you'll do well convincing people.
Old 19th October 2020 | Show parent
  #80
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Originally Posted by mattiasnyc View Post
Well one of us isn't "getting it", so I guess we're at an impasse.

I know you don't have the time or means to get this going yourself, but best of luck with the campaign to get other people to get it going... I'm sure you'll do well convincing people.
Look, I’m in the same boat as everyone else here that I don’t think it’s ever going to happen... Like the other guy said earlier, there’s a lot of great things that never happen for economic reasons. I just think from strictly a business standpoint, I don’t see how if by a major artist, it wouldn’t be profitable.

I just firmly believe it would be profitable. But I understand why labels wouldn’t want to invest given the position they are in these days. But I don’t see why a big movie company wouldn’t invest in something like this. If a major video game company did something with Travis Scott then surely Universal could do something with him in theatres.

I’m pretty sure there’s been live concerts done in regular threatres before by major artists if I’m not mistaken, and done fairly successful? Who’s to say a visual album in Dolby atmos wouldn’t do even better than a Justin Bieber documentary?
Old 19th October 2020 | Show parent
  #81
Gear Addict
 

Quote:
Originally Posted by mattiasnyc View Post

(Kanye is a clown and an idiot btw
Yeah, maybe he is, but that clown and idiot is worth 1.7 billion and literally making huge changes in the world. It doesn’t really matter what you think honestly.

Pretty sure Kanye also released a visual album in IMAX theatres not too long ago.
Old 19th October 2020 | Show parent
  #82
Special Guest
 
TheHanes's Avatar
Quote:
Originally Posted by Kodakell View Post
Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of Travis Scott’s in game concert in fortnite. Another interest of mine is video game concerts, hopefully in the future virtual reality or augmented reality concerts. Here’s a link of that:

https://youtu.be/cPYA9Fsmo-0

I’m thinking a visual album in Dolby atmos wouldn’t be much different than the sound effects and such they did in this concerts. But better...
I think that the video game concerts is where this is going to happen.

I love your enthusiasm, but I think most of us "old guys" are just trying to share some of the wisdom we've picked up over the years about how the marketing, budgeting, and business elements of the business can overshadow some presentation opportunities.

I'd also say that from my perspective theaters are built and run as places where people go to sit and quietly watch a presentation. I don't think that theatre owners would be happy if the audience behaved as they do at a concert. Not saying that this is bad behavior, just that it isn't necessarily appreciated or safe in a theatre designed for seated audiences.
Old 19th October 2020 | Show parent
  #83
Gear Guru
 

Quote:
Originally Posted by TheHanes View Post
I think that the video game concerts is where this is going to happen.

I love your enthusiasm, but I think most of us "old guys" are just trying to share some of the wisdom we've picked up over the years about how the marketing, budgeting, and business elements of the business can overshadow some presentation opportunities.

I'd also say that from my perspective theaters are built and run as places where people go to sit and quietly watch a presentation. I don't think that theatre owners would be happy if the audience behaved as they do at a concert. Not saying that this is bad behavior, just that it isn't necessarily appreciated or safe in a theatre designed for seated audiences.
I agree with all of that.
Old 19th October 2020 | Show parent
  #84
Gear Addict
 

Quote:
Originally Posted by TheHanes View Post
I think that the video game concerts is where this is going to happen.

I love your enthusiasm, but I think most of us "old guys" are just trying to share some of the wisdom we've picked up over the years about how the marketing, budgeting, and business elements of the business can overshadow some presentation opportunities.

I'd also say that from my perspective theaters are built and run as places where people go to sit and quietly watch a presentation. I don't think that theatre owners would be happy if the audience behaved as they do at a concert. Not saying that this is bad behavior, just that it isn't necessarily appreciated or safe in a theatre designed for seated audiences.
100% understand everything you said and I agree.

HOWEVER

I think there should be some future in immersive sound systems like Dolby Atmos within music outside of just sound systems in peoples homes.

It doesn’t necessarily need to take place inside a movie theatre. I think companies could possibly make buildings dedicated to the music side. It could be standing theatres or a club type setting. With immersive sound systems and a big screen for video.

Whether it’s Dolby atmos or not, I think there should be a future in selling tickets for people to experience visual albums on large atmos sound systems.

In my opinion, it’s like the amount of money clubs or music venues make for DJ parties but it goes directly to the artist and the label. The artist wouldn’t need to be present, and can happen all over the world at the same time.

You could say it’s basically like a concert without the artist having to be present and cheaper for tickets.

I just think people would enjoy the experience of not just the visuals that could be implemented at these shows, but the immersive audio as well.

If all of this just sounds dumb sure, but I’m not really sold on atmos music outside of somehow implementing a live show type of setting in a large building with full atmos sound system.

Even if they made atmos systems cheaper, I can’t imagine the quality would be very great. Which in return would just minimize the experience and probably destroy the future of music in Dolby atmos. Which I think is disappointing because I think there should be a future for Dolby atmos music.
Old 19th October 2020 | Show parent
  #85
Lives for gear
 
NReichman's Avatar
 

When you get a chance, go to the Sky Church at the Museum of Pop Culture in Seattle:

https://my.matterport.com/show/?m=eHSjq8n6ot2

I went their with my kids (pre-covid) and had a terrific time. The Sky Church is exactly that, a huge high-end audio visual music experience. Its existence predates Atmos, but I'm sure they're upgrading now. Funded by the late Paul Allen.
Old 20th October 2020 | Show parent
  #86
Gear Addict
 

Quote:
Originally Posted by NReichman View Post
When you get a chance, go to the Sky Church at the Museum of Pop Culture in Seattle:

https://my.matterport.com/show/?m=eHSjq8n6ot2

I went their with my kids (pre-covid) and had a terrific time. The Sky Church is exactly that, a huge high-end audio visual music experience. Its existence predates Atmos, but I'm sure they're upgrading now. Funded by the late Paul Allen.
That looks great, I haven’t heard of it before. This is sort of what I am envisioning. I just think if made and marketed toward current pop culture it could do quite well.

Honestly, what I’m really getting at here, is trying to figure out a way labels can make money off their artists albums in somewhat the same way movies make their money in theaters. That doesn’t necessarily mean it needs to be within a theatre.

Honestly, would be cool if this could be done by owners of popular clubs and music venues. Could he hologram concerts lol.
Old 27th October 2020
  #87
Lives for gear
At the rate we're going right now, we might be lucky if theaters are still around in a few years! But here you go, rent your own private theater for $99, and profit!

https://nofilmschool.com/amc-theater-rental

I think the best we can hope for is an increased interest in spatial audio via AR / MR / XR with free, personalized HRTFs from cell phone scans of your torso and ears and higher quality binaural decoding for headphones. And this is coming from a guy who just spent two days recording and mixing a 7th Order Ambisonic music piece for a university art festival. I'll be lucky if more than a handful of people get to experience it on speakers.
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