Dare is the third studio album by the British synth-pop group The Human League, released in 1981. Produced by Martin Rushent, it marked a shift toward a more pop-oriented and accessible sound after the departure of two founding members. The album features several major hits, including Don t You Want Me, which became a classic of the 1980s. It reached number one on the UK charts and helped popularize synth-pop worldwide. Dare is now regarded as an iconic and influential album within the synth-pop movement.

For this review, you will find 5 versions tested:

• Ed 1: Bluray Dolby Atmos – 2025
• Ed 2: Bluray DTS HDMA 5.1 – 2025
• Ed 3: Bluray Original stereo mix – 2025
• Ed 4: Tidal – 2025
• Ed 5: SACD – 2001

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The synthesis of the review are available here.

The album is composed of 10 tracks:

1. The Things That Dreams Are Made Of
2. Open Your Heart
3. The Sound Of The Crowd
4. Darkness
5. Do Or Die
6. Get Carter
7. I Am The Law
8. Seconds
9. Love Action (I Believe In Love)
10. Don’t You Want Me

Summary, scoring and Samples

Ed 1: Bluray Dolby Atmos – 2025

Presentation

This is the Dolby Atmos track from the Blu-ray, presented in Dolby Digital Plus. It is a Blu-ray Audio exclusive (SDE) that includes the following audio tracks:

• Dolby Atmos Mix (48 kHz / 24-bit)
• 5.1 Surround Mix (48 kHz / 24-bit)
• Dolby Atmos Instrumental Mix (48 kHz / 24-bit)
• 5.1 Surround Instrumental Mix (48 kHz / 24-bit)
• Original 1981 Stereo Mix (48 kHz / 24-bit)
• Bonus tracks (in stereo) (48 kHz / 24-bit)

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR12

The waveform of the Bluray Dolby Atmos – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the Atmos in 7.1.4 version of blu-ray shows that the signal goes down to 24 kHz and that there is no signal above this frequency , due to the 48 kHz sampling frequency used with Dolby Digital TrueHD encoding (lossless). The green arrow shows the 120Hz filtering of the bass channel (LFE).

The graph below represents the spectrum of the Bluray Dolby Atmos – 2025.
The Dolby Atmos remix downmixed to 7.1 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (as indicated by the yellow arrow). The LFE channel is filtered down to 120 Hz (as indicated by the green arrow).

Synthesis and listening

The new Dolby Atmos mix, created by John Barrett at Abbey Road Studios, delivers a immersive musical experience. The Dolby Atmos mix fills the soundstage thanks to a sense of spaciousness created by reverb, as well as the precise placement of sounds throughout the space, which adds dynamism to the mix. It’s a pleasant listening experience, but in terms of movement and the sense of space, it doesn’t quite match tracks like “Frankie Goes To Hollywood – Welcome To The Pleasuredome.”

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization: ●●●●●●oooo (6.6)
• Restitution: ●●●oo (3.5)

Sample : Don’t You Want Me 7.1 Dolby Atmos (Downmixed in 7.1) :

The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.

Sample : Don’t You Want Me Dolby Atmos (Downmixed 2.0) :

Ed 2: Bluray DTS HDMA 5.1 – 2025

Presentation

This is the 5.1 track from the Blu-ray, presented in DTS HD Master Audio. It is a Blu-ray Audio exclusive (SDE) that includes the following audio tracks:

• Dolby Atmos Mix (48 kHz / 24-bit)
• 5.1 Surround Mix (48 kHz / 24-bit)
• Dolby Atmos Instrumental Mix (48 kHz / 24-bit)
• 5.1 Surround Instrumental Mix (48 kHz / 24-bit)
• Original 1981 Stereo Mix (48 kHz / 24-bit)
• Bonus tracks (in stereo) (48 kHz / 24-bit)

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR12

The waveform of the Bluray DTS HDMA 5.1 – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal rises to 24 kHz with no signal above this frequency due to the 48 kHz sampling frequency. The green arrow shows the 120Hz filtering of the bass channel (LFE).

The graph below represents the spectrum of the Bluray DTS HDMA 5.1 – 2025.
The 5.1 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (yellow arrow). The LFE channel is filtered down to 120 Hz (as indicated by the green arrow).

Synthesis and listening

This 5.1 version delivers a tonal balance similar to the Dolby Atmos version and will suit listeners equipped with a 5.1 system. However, it provides a much less enveloping experience than the Dolby Atmos mix.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization: ●●●oo (3.1)
• Restitution: ●●●oo (3.5)

Sample : Don’t You Want Me 5.1 24 bits 48 kHz:

The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.

Ed 3: Bluray Original stereo mix – 2025

Presentation

This is the stereo original track from the Blu-ray, presented in 24 bits 48 kHz. It is a Blu-ray Audio exclusive (SDE) that includes the following audio tracks:

• Dolby Atmos Mix (48 kHz / 24-bit)
• 5.1 Surround Mix (48 kHz / 24-bit)
• Dolby Atmos Instrumental Mix (48 kHz / 24-bit)
• 5.1 Surround Instrumental Mix (48 kHz / 24-bit)
• Original 1981 Stereo Mix (48 kHz / 24-bit)
• Bonus tracks (in stereo) (48 kHz / 24-bit)

Waveform and Spectrum: DR10

The waveform of the Bluray Original stereo mix – 2025 version shows a correct dynamic range confirmed with DR10.

The spectrogram shows that the signal rises to 24 kHz with no signal above this frequencydue to the 48 kHz sampling frequency.

The graph below compares the spectrum of the Bluray Original stereo mix – 2025 (white curve) with the spectrum of the Tidal – 2025 (blue curve).The curves of the two spectra overlap perfectly up to 20 kHz. Beyond that point, a slight difference in attenuation can be observed, resulting from the filtering technologies used for the CD in 1995 and for the Blu-ray.

Synthesis and listening

The sound rendering is very similar to the Tidal version, with the same tonal balance and comparable spatialization.

Rating:

• Dynamic: ●●●oo (3)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●oo (3.5)

Sample : Don’t You Want Me 24 bits 48 kHz:

Ed 4: Tidal – 2025

Presentation

This is the Tidal High presented in 16 bits 44.1 kHz (link)

Waveform and Spectrum: DR10

The waveform of the Tidal – 2025 version shows a correct dynamic range confirmed with DR10.

The spectrogram shows that the signal rises to 22 kHz with no signal above this frequency due to the 44.1 kHz sampling frequency.

The graph below compares the spectrum of the Tidal – 2025 (white curve) with the spectrum of the SACD – 2001 (blue curve).The two curves overlap almost perfectly between 500 Hz and 22 kHz. Below 500 Hz (green area), the SACD level is slightly higher, with a maximum difference of 3 dB around 70 Hz. The yellow arrow indicates the Tidal s 22 kHz limit, which is due to its sampling frequency.

Synthesis and listening

The sound rendering is very similar to the stereo Blu-ray version, with the same tonal balance and comparable spatialization.

Rating:

• Dynamic: ●●●oo (3)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●oo (3.5)

Sample : Don’t You Want Me 16 bits 44.1 kHz:

Ed 5: SACD – 2001

Presentation

This is the remastered SACD released in 2001 presented in DSD64 (ref : 724381126523)

Waveform and Spectrum: DR11

The waveform of the SACD – 2001 version shows a good dynamic range confirmed with DR11.

The spectrogram below represents the SACD. The yellow arrow shows that the signal rises well above 20 kHz. We also find the characteristic noise of DSD64 beyond 30 kHz (white arrow).

The graph below compares the spectrum of the SACD – 2001 (white curve) with the spectrum of the Bluray Original stereo mix – 2025 (blue curve).The two curves overlap almost perfectly between 500 Hz and 22 kHz. Below 500 Hz (green area), the SACD level is slightly higher, with a maximum difference of about 3 dB around 70 Hz. The yellow arrow indicates the Blu-ray limit at 22 kHz, related to its 48 kHz sampling frequency. The white arrow highlights the rise in high-frequency noise caused by the DSD64 process used for SACD.

Synthesis and listening

The SACD version slightly emphasizes the low end of the spectrum while maintaining an overall balance comparable to the CD and Blu-ray stereo versions. The high frequencies may sound somewhat softer, but this also depends on the processing applied by the DAC between a DSD64 signal and a PCM signal at 48 or 44.1 kHz.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●oo (3.5)

Sample : Don’t You Want Me 24 bits 88.2 kHz:

The Blu-ray edition offers an excellent opportunity to acquire the album,while also benefiting from high-quality multichannel formats. It features a DTS-HD Master Audio 5.1 mix as well as a Dolby Atmos TrueHD track that delivers an immersive remix, with expanded spatialization and a more effective use of the soundstage. The Blu-ray also includes 15 stereo bonus tracks, which significantly enhance the musical content.
For listeners looking for a remastered version, the SACD edition stands out with a high-resolution remaster that places greater emphasis on the low frequencies while maintaining strong dynamic range. This version provides a more modern and fuller listening experience, while still respecting the album overall musical balance.

Dynamic Range measurements are shown below.

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Measurements

Dynamic Range comparaisons

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 5 editions reviewed have obtained the following Dynamic Range (DR) :

	Bluray Dolby Atmos – 2025	Bluray DTS HDMA 5.1 – 2025	Bluray Original stereo mix – 2025	Tidal – 2025	SACD – 2001
Global	DR12	DR12	DR10	DR10	DR11
Min	DR9	DR10	DR8	DR7	DR8
Max	DR15	DR13	DR11	DR11	DR12
The Things That Dreams Are Made Of	DR12	DR12	DR10	DR10	DR11
Open Your Heart	DR11	DR11	DR8	DR8	DR10
The Sound Of The Crowd	DR15	DR13	DR11	DR11	DR12
Darkness	DR12	DR12	DR11	DR11	DR12
Do Or Die	DR12	DR12	DR9	DR9	DR11
Get Carter	DR9	DR10	DR8	DR7	DR8
I Am The Law	DR11	DR10	DR9	DR9	DR10
Seconds	DR13	DR12	DR11	DR11	DR11
Love Action (I Believe In Love)	DR14	DR12	DR11	DR11	DR12
Don’t You Want Me	DR13	DR13	DR10	DR10	DR11

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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