Dolby and MGM Resorts bring Dolby Atmos to live music: “the audience will feel like they are literally on stage with their favourite artist”

Dolby Live at Park MGM in Las Vegas
(Image credit: Dolby/MGM Resorts)

Unless you’ve been hiding under a rock for the past 18 months (which, given what’s being going on in the world, might not have been such a bad idea) you’ll have heard about Dolby Atmos Music, the immersive audio technology that’s rapidly being adopted across the industry.

Now Dolby and MGM Resorts are taking Atmos into the performance market with Dolby Live, part of a new installation at Park MGM in Las Vegas.

This promises to be “the preeminent location for live music in Dolby Atmos, which offers guests a transformative music experience they won’t be able to find anywhere else in the world.”

Dolby and MGM Resorts believe this to be one of the world’s most technologically advanced performance installations. It features a fully integrated Dolby Atmos playback system that’s been tuned by Dolby engineers to match the size and unique characteristics of the 5,200-seat theatre.

“Dolby Live is a new immersive live music experience where the audience will feel like they are literally on stage with their favourite artist,” said Todd Pendleton, Senior Vice President and Chief Marketing Officer, Dolby Laboratories.

Bill Hornbuckle, CEO and President of MGM Resorts International, added, “One of The Strip’s premier resort destinations, Park MGM is home to some of the biggest names in music. Collaborating with Dolby to revolutionize our live entertainment offerings takes the experience to entirely new levels. Dolby Live will be the most advanced performance venue on The Strip, reflecting our commitment to innovation and creativity in all we do.”

Find out more on the Dolby website.

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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.