Mariusz Szypura takes us on a true musical journey with his album Chopin Residue, which consists of two parts, Deconstructions and Reworks, designed to be listened to simultaneously, and also merged into an immersive version created with Morten Lindberg and Jacek Gawlowski, Chopin Residue (Combined Version), which I invite you to discover here, along with explanations about the creation of this album by Mariusz Szypura, Jacek Gawłowski, and Morten Lindberg (Yule).

Mariusz Szypura (Artist, mixer, producer, immersive co-producer):
“Immersion was never an add-on to this album. I was thinking about it from the very beginning, because Chopin Residue was conceived as a project to be played from two discs at the same time.”

“The work is built in two halves, Deconstructions and Reworks, and on the 2LP, 2CD and 2MC editions these are two separate discs designed to run in parallel, so that the deconstructions and their reworks unfold as a single layered listening. That was already a kind of quasi-stereo experiment: two sources, two players, and the listener in between, doing the mixing in their own room, with their own timing.
The simultaneity is a physical act, and the listener’s immersion was intended from the start.
It also comes from where the project began: an installation built around nine gramophones and multichannel sound, with the listener standing inside the music rather than in front of it.
The Immersive Edition takes that idea to its full form. Rather than asking the listener to run two discs at once, both halves have been mixed and produced as one continuous immersive stream in three-dimensional space.
What was parallel becomes integral. The residue of Chopin, the harmonic and emotional matter left once the piano is removed, is placed around the listener rather than in front of them. And it is not a widened version of the album.
Elements that sit next to each other in stereo are separated, placed, and given room to decay independently, so the layered structure of the recordings becomes something you move through rather than something you follow.
The Pure Audio Blu-ray carries that spatial logic into a domestic listening room.”

Morten Lindberg (Immersive lead producer, Lindberg Lyd AS): “What I truly appreciate about Chopin Residue is how honestly the concept lives and breathes in the immersive space.”

Jacek Gawlowski (immersive mixer & co-producer, MixIn360):
“The album was conceived with immersive mixing in mind from the very beginning, with reverb returns, layered synths, drum ambiences, and other elements delivered as individual stereo tracks, giving me precise control over their placement and interaction within the Atmos environment, with some songs reaching up to 200 tracks.
The aim was to create a dense, powerful, and cohesive 3D soundscape by carefully distributing drums, bass, synths, and reverbs throughout the room, using the height channels to add air and dimension and the center channel selectively to maintain focus and impact.
The LFE was treated as an effects channel rather than an extension of the main low end, used selectively for moments such as explosive drums or sub-bass lines.
Extensive automation of object position and size, including circulating drums, moving synths and subtle spatial changes, added movement and variation, allowing the immersive field to remain dynamic and engaging throughout the album.”

For this review, you will find 5 versions tested:

• Ed 1: Tidal Dolby Atmos – 2026
• Ed 2: Bluray PCM stereo – 2026
• Ed 3: DTS HDMA Auro3D – 2026
• Ed 4: Bluray Dolby ATMOS TrueHD – 2026
• Ed 5: ADM 9.1.6 – 2026

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 9 tracks:

1. Prelude Op. 28 No. 22 (Combined Version)
2. Etude Op. 25 No. 12 (Combined Version)
3. Berceuse Op. 57 (Combined Version)
4. Prelude Op. 28 No. 20 (Combined Version)
5. Prelude Op. 28 No. 4 (Combined Version)
6. Prelude Op. 28 No. 2 (Combined Version)
7. Nocturne Op. 72 No. 1 (Combined Version)
8. Prelude Op. 28 No. 9 (Combined Version)
9. Prelude Op. 28 No. 15 (Combined Version)

Summary, scoring and Samples

Ed 1: Tidal Dolby Atmos – 2026

Presentation

This is the Tidal Dolby Atmos (link) presented in Dolby Digital Plus at 768 kbits/s. This is also available on Amazon Music an Apple Music.

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

Waveform and Spectrum: DR13

The waveform of the Tidal Dolby Atmos – 2026 shows a high dynamic range confirmed with DR13.

The spectrogram of the Tidal Dolby Atmos track in 9.1.6 is limited to 20kHz with no signal above . This limitation is due to Dolby Digital Plus encoding, which is a lossy encoder that limits bandwidth to optimize data size for a bit rate of 768 kbits/s. The LFE (bass channel) channel is filtered at 120Hz.

The graph below represents the spectrum of the Tidal Dolby Atmos – 2026.
The spectrum of Dolby Atmos version decoded in 7.1 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The white arrow indicates the high-frequency limit at 20 kHz due to Dolby Digital Plus encoding. The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

Compared to other Dolby Atmos and Auro3D versions, the streaming version, with its lossy Dolby Digital Plus encoding at 768 kbits/s, cannot compete with the TrueHD Atmos or Auro3D versions in terms of the subtlety and precision of spatialization, let alone with the Dolby Atmos ADM master.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●●o (8.6)
• Spatialization SK: ●●●●●●●ooo (7)
• Restitution: ●●●●o (3.5)

Ed 2: Bluray PCM stereo – 2026

Presentation

The stereo audio track is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 7.1 Auro3D and the stereo version in 24-bit/48 kHz PCM format (ref: BEQ128D).

Waveform and Spectrum: DR11

The waveform of the Bluray PCM stereo – 2026 version shows a good dynamic range confirmed with DR11.

The spectrogram shows that the signal rises to 24 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 48 kHz sampling frequency.

The graph below represents the spectrum of the Bluray PCM stereo – 2026.
The stereo version is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (yellow arrow).

Synthesis and listening

We appreciate the fact that a stereo version is offered that has not been dynamically compressed. This preserves the maximum fidelity of the original recording and mix, with all the precision of a PCM track. However, we lose the spatial quality for which this album was conceived and produced.

Rating:

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

Ed 3: DTS HDMA Auro3D – 2026

Presentation

The audio track encoded in Auro3D with coded DTS HD Master Audio is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 7.1 Auro3D and the stereo version in 24-bit/48 kHz PCM format (ref: BEQ128D).

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

Waveform and Spectrum: DR12

The waveform of the DTS HDMA Auro3D – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the Auro3D decoded in 7.1.4 version from the blu-ray shows that the signal goes down to 24 kHz and that there is no signal above this frequency , due to the 948Hz sampling frequency used with DTS HDMA encoding (lossless). The LFE channel is filtered at 120Hz.

The graph below represents the spectrum of the DTS HDMA Auro3D – 2026.
The spectrum of DTS HDMA Auro3D version decoded in 7.1.4 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

The Auro3D version is derived from the ADM master and features lossless DTS-HD Master Audio encoding. This version is very close to the sound of the ADM version, with beautiful, refined sound reproduction and excellent spatialization that, in many respects, matches the spatialization of the ADM version despite being limited to a 7.1.4 format. It even manages to be more precise in certain aspects of spatialization than the Dolby Atmos TrueHD version. This is the version to choose for a 7.1.4 system if you have an Auro3D decoder.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●oo (7.9)
• Spatialization SK: ●●●●●●●ooo (7)
• Restitution: ●●●●o (4.5)

Ed 4: Bluray Dolby ATMOS TrueHD – 2026

Presentation

The audio track encoded in the lossless Dolby Digital TrueHD Atmos format is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 7.1 Auro3D and the stereo version in 24-bit/48 kHz PCM format (ref: BEQ128D).

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

Waveform and Spectrum: DR12

The waveform of the Bluray Dolby ATMOS TrueHD – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the Atmos in 9.1.6 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 LFE channel is filtered at 120Hz.

The graph below represents the spectrum of the Bluray Dolby ATMOS TrueHD – 2026.
The spectrum of Dolby Atmos TrueHD version decoded in 7.1.4 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

The Dolby Atmos TrueHD version far surpasses the streaming version in Dolby Digital Plus Atmos. This version offers greater detail, more precise spatialization, and a more accurate extension of the extreme low frequencies. This version comes close to the sound of the ADM version, with beautiful finesse in reproduction and spatialization that closely matches that of the ADM version in 9.1.6 format in many respects. The paradox of this version is that it makes full use of all 9.1.6 channels, whereas the Auro3D version, which holds its own in terms of precision compared to the ADM master, does not. This version is the one to choose for systems with more than 7.1.4 channels.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●●o (8.6)
• Spatialization SK: ●●●●●●●ooo (7)
• Restitution: ●●●●o (4.5)

Ed 5: ADM 9.1.6 – 2026

Presentation

This is the Dolby Atmos Master ADM used to compare to the other Dolby Atmos and DTS HDMA Auro3D versions. The ADM is a very large format with a size of 57 Go with a average bitrate of 145 Mbits/s (in comparaison of the 6.5 Mbits/s of the Dolby Atmos TrueHD, or the 0.768 Mbits/s of the Dolby Atmos Streaming).

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

Waveform and Spectrum: DR12

The waveform of the ADM 9.1.6 – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the Atmos in 9.1.6 version of ADm Dolby Atmos Mster 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 LFE channel is filtered at 120Hz.

The graph below represents the spectrum of the ADM 9.1.6 – 2026.
The spectrum of ADM Master Dolby Atmos version in 9.1.6 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

It’s always a great pleasure to listen to the ADM Dolby Atmos master of an album. This is especially true for this album, which features a very rich spatial composition with than 117 3D audio objects, as shown in the image from the Dolby renderer below.

This master captures all the subtleties of immersive mixing, including all the nuances of spatialization. This version will serve as the reference for listening to Dolby TrueHD and Auro3D versions.

It’s a beautifully done immersive mix that completely immerses me in the music, a benchmark for this style of music.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●oo (8.4)
• Spatialization SK: ●●●●●●●ooo (7)
• Restitution: ●●●●● (5)

With the combined, immersive version of his album Chopin Residue, Mariusz Szypura takes us into a musical universe that fully immerses us in music designed for an immersive audio experience. The Blu-ray version is the preferred choice for its tracks in Dolby Atmos TrueHD or DTS-HD Auro3D, which provide lossless quality to the immersive version, delivering a sound experience as close as possible to the ADM master. This album is best enjoyed on a system with at least a 7.1.4 configuration. This is a benchmark immersive mix for this style of music. Dolby Atmos has come into its own and serves as a true artistic medium for this album, as well as for the mixes of U2’s Carnaval de Luz and The Beatles’ Rubber Soul.

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) :

	Tidal Dolby Atmos – 2026	Bluray PCM stereo – 2026	DTS HDMA Auro3D – 2026	Bluray Dolby ATMOS TrueHD – 2026	ADM 9.1.6 – 2026
Global	DR13	DR11	DR12	DR12	DR12
Min	DR10	DR8	DR9	DR10	DR9
Max	DR16	DR13	DR15	DR16	DR16
Prelude Op. 28 No. 22 (Combined Version)	DR12	DR09	DR11	DR12	DR12
Etude Op. 25 No. 12 (Combined Version)	DR15	DR11	DR14	DR15	DR14
Berceuse Op. 57 (Combined Version)	DR16	DR13	DR15	DR16	DR16
Prelude Op. 28 No. 20 (Combined Version)	DR11	DR10	DR10	DR10	DR10
Prelude Op. 28 No. 4 (Combined Version)	DR10	DR09	DR10	DR10	DR10
Prelude Op. 28 No. 2 (Combined Version)	DR13	DR12	DR12	DR13	DR13
Nocturne Op. 72 No. 1 (Combined Version)	DR14	DR12	DR12	DR13	DR12
Prelude Op. 28 No. 9 (Combined Version)	DR10	DR08	DR09	DR10	DR09
Prelude Op. 28 No. 15 (Combined Version)	DR13	DR11	DR12	DR13	DR12

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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