Before Dolby Atmos there was Kinopanorama's 9-channel magnetic film soundtrack system.

[Kinopanorama Widescreen]

Whilst researching Soviet-era documents about the Soviet Kinopanorama® widescreen format for our library, we came across an interesting article published in Russian about the research, developement and implimentation of their 9-channel magnetic [35mm full-coat film] system. The article [13 pages] was written by B G Belken and A A Krushchev, a relative of the then Soviet premier. The KZVT-5 sound reproducing equipment was developed by Kirill Bek-Nazarov, a research scientist at NIKFI. A short extract from the article follows: "... In this system the recording of soundtracks uses separate 35mm perforated magnetic film. During the manufacturing process the magnetic strips on the soundtrack are produced with a width of about 1,6 mm each [...]. Separate soundtracks 1,2,3,4,5,6,8 are located inside the film perforations 2mm from each other. The soundtracks 7 & 9 are outside on the edges of the perforation holes on the film [...]. Channels 1 - 5 reproduce on five groups of loudspeakers placed behind the screen [same configuration as Cinerama]. The loudspeakers of channels 6 - 9 are installed respectively on the left rear and right rear walls and on the ceiling [channel 9] of the cinema hall. The configuration at the Mir [trans. 'peace'] cinema in Moscow included the placement of 9 overhead speakers stretched over the length of the exhibition area.

Placement of Speakers in Mir.pdf

[stefan2]

Dolby Atmos, and today better said Immersive Audio formats for cinemas are something different, than the approach in MIR Kinopanorama screenings.

It has to said, that the human hearing is mainly based forward, under an angle of 90 to 100 degrees a perspective listening (and localisation) is possible. Outside, and specifically to the rear, the human hearing has a limited resolution. You hear, where you can see the source of the sound. Which makes it so difficult in theatres to get a working surround field, mainly, it's the closest speaker you here, the ones you see immediately.

And therefore Immersive audio is a bit tricky, and not really worth the efforts, as a sound field with 4 independent room groups, similar to the one in Kinopanorama achieves nearly identical results, if carefully designed and installed. 

This should include invisible speaker placement. One channel of "overhead" with limited frequency response (steep hf rolloff) makes a lot of sense for diffused height effects, like dropping something from above.

This Kinopanorama system ist based on theoretical research of human hearing elated functions, which was excessively done in the Soviet times cinema technology. Movie, being the most important art form, was perfected.

Also newer results on human hearing related transfer function showing the same approach for the best (and economical) sound system. The very important part ist the screen featuring 5 front channels. Which enables the vast majority of seats to hear the music in the conductor's perspective, or in other words pretty precise location of sounds is possible.

The surround field is same, 1990s research at MIT found the best possible way for a field. Just confirming, what Soviet research had shown 4 decades ago.

Atmos (and other immersives) is over the top, and in the first line expensive and complicated. It does not really more, if the mix in the 4+ 1 effects groups is done correctly. The benefit is limited, but it can, correctly applied, enhance the movie going experience vastly over 3.2.1 configurations found in most cinemas as a poor standard.  The benefit over a well designed 5.4.2 or 5.3.1.0 from the past is minimal.

[Kinopanorama Widescreen]

We at The Kinopanorama® Widescreen Preservation Association, Inc. applaud Mitglieder for his response, which sets out in logical detail the analysis of the respective multi-channel sound systems. For once, readers are able to judge the merits [or disadvantages] of each system. Bitte schoen!