The only current prepro that could actually process 24+6.2 channels would be the Trinnov Altitude 32 http://www.bigpicturebigsound.com/Dolby-Atmos-Preamp-Processors-A-Buyer-s-Guide.shtml I don't have any experience with actual audio content that is encoded / mapped from a BluRay disk or any other source, though Dolby does supply info for folks to incorporate Atmos into existing surround based mixing workflows so I suppose you can deduce that the various x/y/z spacial info is in fact part of the digital stream and then it is up to the prepro to properly setup for accurate playback -- http://www.dolby.com/us/en/technologies/...ound-manual.pdf

Even assuming you had relatively high efficiency speakers in the ceiling, with nicely matched voicing and moderately narrow dispersion, it would be a challenge to get things sounding nice for all the listening positions. It is still going to be a struggle to get each seating area its own sweet spot. The conceptual way that Dolby markets Atmos for cinema, as an "object oriented" process that "frees sound designers from channels" translates to an ANALOG world still means a whole lot of amps, wire and measurements to get the levels and time delays working...

Recently I've read a lot of reviews on DIRAC which seems to be the best room correction software on the market to date. I know Emotiva has implemented the LE version and other's the full version including miniDSP. I'd like to see Outlaw go this direction too, but if not, perhaps the new processor would have Atmos and be similar to the 975 and drop the internal room correction to avoid licensing costs, but increase the number of channels.

There are a lot of Denon units with Atmos on the market but still the standard 5(7).2.2(4). Offering something with more would certainly be appealing to enthusiasts.

I would think at this point Outlaw is way beyond a design change of this magnitude.

After using Audyssey XT32(Platinum) on numerous installs, as well as being intimately familiar with Pioneer's room correction software and Yamaha's YPAO, I will say that I would not purchase a receiver/processor for personal use without room correction software.

We are currently installing a system with Yamaha's newest receiver (RX-A3050), which is an Atmos install, and their latest YPAO offering measures angles, reflections and of course is multipoint. We have also implemented MiniDSP's with DiracLive and was very happy with the options and tweaks available post measurement. Yamaha and Pioneer both allow some choices and adjustments post measurement which is something that Audyssey is lacking with the exception of choosing one of two EQ's and of course enabling Dynamic EQ and Volume.

Overall I would choose Audyssey Platinum if I had a choice. I have found that Audysey has provided the most pleasing corrections when compared to Yamaha's and Pioneer's software, I would give a slight edge to Dirac Live in listening test. The bullet points that support Audyssey in my opinion is that it is on board and not a separate component (a big deal on some installs), it's fast, excellent results and Dynamic EQ is very popular with customers. Dynamic Volume not so much.

It will be interesting to see the features and specs of the upcoming Outlaw unit, I would be overjoyed if it includes Audyssey Platinum. I will end with how I have seen a swing to receivers instead of separates. Maybe that will change again with Atmos, DTS:X and Auro-3D, which of course require more amplification.

I don't remember a room correction scheme being mentioned in the original announcement. It has been a while since the last update and I couldn't locate the announcement here. I still wonder how the various room correction schemes will interact with Atmos and/or DTS-X.

I don't recall a mention of room correction software either, but I believe that they were planning on implementing Audyssey MultEQ XT32 in their 978 if my memory is correct. I would hope they follow in that direction with the new unit.

As far as Atmos, DTS:X and Auro-3D, there may be concerns with regards to processing power, but with Yamaha and Denon, it does't appear to be an issue. Speaking with Onkyo, after they announced that they were dropping Audyssey and implementing their own AccuEQ, it appeared that processing power was the reason but I have my doubts. Of course they did not come out and state that directly, more of a round about answer. I wouldn't be surprised if licensing was the reason behind the drop.

Both Yamaha and Denon have released and are releasing receivers with Atmos configurations, Denon using Audyssey Platinum and Yamaha using YPAO R.S.C. 3D. Yamaha's software measures angles and reflections and with Atmos, that could be vital and of course would be dependent on room layout and measurements. Without taking some readings and observing the corrections, it is difficult to say how well it works. Some rooms will probably work well, other maybe not. Unfortunately, the interior designers on my projects have the final say with respect to room layout and furnishings with natural light, draperies and art work taking precedent over speaker layout.

Not to get off the topic, but I was underwhelmed with the Yamaha RX-A3050 yesterday. There is a noticeable delay in the receiver locking on to the audio decoder when switching inputs and viewing/listening to various media such as CD, Blu-Ray, etc. We even experienced this delay when switching tuners on the DVR. Reset the unit, reinstalled firmware, etc., no change, we reached out to Yamaha and are awaiting a response. Hopefully it can be corrected with a firmware update.

I decided Atmos is not in my future and I can still correct my room via Velodyne SMS-1 and thus ordered a 975 b-stock for $449!
I installed an inexpensive Harmon Kardan Receiver for a friend recently and its room correction really did work nice. Im not disputing the value.

Really, its all I need. With BLue tooth, Wifi, correction and Atmos the price point will likey exceed $1000.

Recently there were nice In ceiling M&K speakers used I could gotten for $200 each and there were nice. $400 for two, at this time a Marantz Atmos process b-Stock is $1500, and I'd need two Mono blocks at $650 for the pair. Im at $2500 with little Atmos content available for the near future and not assurance it will be the standard going forward. For the $2000 I have to start considering what upgrades for the money can make a bigger difference. Im running a pair of M&K subs for the last 10 years and very happy, but for that kind of scratch I can upgrade nicely to a more modern sub.

My CS series MK rears fire up at the ceiling as well as to the sides and do a great job for NOT being ATMOS. Creates a lot of space for a speaker 3 feet next to primary seating area and one hardly can place it.

Kudo's to Outlaw for waiting until a new format (ATMOS)is available and including it. Im sure it will be a great unit. I am very pleased they have the 975 and at a price point that is a no brainer!!!

Earlier today (October 23) my FB feed had a hint from Anthem that pricing for the AVM-60 would be start around $2999.

Considering the feature set, that compares quite well with the Marantz 8802a, that seems like a decent value -- http://www.amazon.com/Marantz-AV8802A-Pre-Amplifiers-Processor/dp/B00X95GQP6

http://www.facebook.com/anthemav

Backed up by Canada's HiFi site -- http://canadahifi.com/anthem-avm-60-preamplifier-processor-matching-mca-series-amplifiers/

The obvious question arises, where will Outlaw's new Atmos pre-pro hit on the price / performance curve?

Wow and it will be available in early 2016.

Anthem's new AVM-60 for $3k and ready early next year, you bet "wow!" If my sole option from Outlaw to replace my 990 was the 975 I'd be very, very tempted to put up the additional money for an AVM-60. I always thought the 990 was Outlaws equivalent to the AVM-20/30 and I hope Outlaw's new pre/pro will match up well (features, lower price and availability) with the AVM-60.