The C-CAM cones in the Silvers are dimpled to further strengthen the cone and minimize air resistance during playback, a technique the company calls RST, or Rigid Surface Technology. Monitor Audio has long used a material they call C-CAM-a thin, light, and rigid alloy of aluminum and magnesium with a layer of ceramic coating for added rigidity. In terms of aesthetics, I chose gloss black to make the speakers “disappear” into the darkness when all the lights are turned off – they also come in walnut, rosenut or white. Remember, bigger is only better if the room acoustics allow it. However, considering the small size of my viewing room (10’ x 16’ x 7.5’), the Silver 6 was more than enough to create an ideal sonic balance without any bloat and/or excessive unwanted reflections. Ideally, one should go with the Silver 10 floorstanders as they will produce improved bass response and wider sound dispersion for a better overall sonic experience.
DOLBY ATMOS DEMONSTRATION DISC 2016 FOR SALE PLUS
With the guidance of Kevro International, Monitor Audio’s Canadian distributor, I combined this with the company’s Silver Series speakers.įor this review, then, I had a pair of Monitor Audio Silver 6 floorstanders, a Silver Centre, a pair of Silver 1 bookshelfs, and Silver W12 subwoofer to do the duties of the ear-level surround, plus four CT-265IDC in-ceiling speakers for the Atmos layer.
To borrow the As Seen On TV’s phrase: “There must be a better way.” And there is: you just need to find in-ceiling speakers with an exceptionally wide radiation pattern, with tweeters that can be angled towards the listeners.Īfter a lot of reading, testing, and measuring, I found the speakers that, at least on paper, can meet this criteria: the Monitor Audio CT-265IDC has a wide dispersion angle, a boundary compensation switch so the lower frequency sounds clear and not bloated, and can easily go down to 80 Hz as per THX criteria. However, this method also washes out the directional sound cues. The only way thus far to eliminate the in-your-face effect is by using Atmos-enabled speakers angled by approximately 30 degrees combined with special crossover within the speakers, and Digital Signal Processing in the processor to shoot the Atmos atmospheric sound to the ceiling and reflect it back to the listeners’ ears. the second speaker layer), sounds too jarring and gimmicky – at least based on my findings during the aforementioned trade event. The problem with Atmos for home is that by using direct radiating speakers above the listener, in too many cases, the atmospheric layer (i.e. By the time this article is in your hands, I will have 53 Dolby Atmos commercial theatres under my design belt. My involvement with Dolby Atmos is not new. At the 2014 CEDIA, I went to at least a half dozen Dolby Atmos demonstrations organized by companies like Yamaha, Denon, Lyngdorf, Pioneer and even one by Dolby Labs itself.
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