A new battle over the future of sound is brewing, and this time, it’s not just about who has the best speakers. At CES this year, Google and Samsung have introduced Eclipsa Audio, an open-source format built to challenge the grip that Dolby Atmos and DTS:X have on spatial audio. With YouTube onboard and Samsung TVs and soundbars rolling out with Eclipsa built in, this fight is more than theoretical, it’s already underway.
But what is Eclipsa Audio really trying to solve? And what does it mean for existing formats like Dolby Atmos and DTS:X? The answer lies in who gets to control spatial audio—and how accessible it is for both creators and consumers. Let’s break it down.
Eclipsa Audio is a new spatial audio format that makes sound feel like it’s coming from all around you—not just from the front, like traditional stereo, but also from the sides, above, and behind. Imagine watching an action movie and hearing helicopters fly overhead, or playing a game where footsteps sneak up from behind. That’s the promise of immersive audio, and Eclipsa is aiming to make it widely accessible.
But Eclipsa isn’t starting from scratch. It’s built on an open standard called IAMF (Immersive Audio Model and Formats), which was created by the Alliance for Open Media (AOM)—the same group that brought us the AV1 video codec. That group includes heavyweights like Amazon, Netflix, Meta, Microsoft, Apple, and of course, Samsung and Google.
Unlike traditional surround sound formats, IAMF (and by extension, Eclipsa) allows audio to be rendered dynamically in 3D space, meaning sounds can move around the listener, adjust based on the playback setup, and scale from stereo all the way to multi-speaker arrays.
Where Eclipsa comes in is the packaging: it’s the branding and toolset layer designed to help manufacturers, developers, and creators adopt IAMF more easily, with a promise of cross-device support and certification.
Put simply, money and control are big motivators here.
For Samsung, one major reason is cost. Supporting formats like Dolby Atmos typically involves licensing fees tied to hardware implementations. Eclipsa, on the other hand, is designed to reduce those costs by relying on open standards. It’s similar to Samsung’s earlier push for HDR10+ as an alternative to Dolby Vision.
For Google, it’s more about platform scalability. YouTube is the world’s largest video platform, and while Dolby Atmos is widely supported on billions of consumer devices—including Android phones and TVs—adding immersive audio to user-generated content and open platforms like YouTube has been a challenge. Eclipsa gives Google a pathway to implement spatial audio without licensing dependencies or format constraints.
That said, it’s important to clarify that Dolby does not charge royalties to content creators or distributors for Dolby Atmos. Content producers can distribute Dolby Atmos content without paying fees, and Dolby’s creative tools are available at no additional cost in major software like Pro Tools, Logic Pro, Resolve, Nuendo, and Studio One. Independent creators are already producing music, films, and games in Dolby Atmos using these workflows.
Samsung and Google are also making tools available to support creators who want to work with spatial audio. This includes planned plugins for popular digital audio workstations, reference renderers, and a certification process to ensure playback consistency across devices.
Dolby points out that many of the same creative tools already support Dolby Atmos natively, and there is no additional cost for creators using these platforms. In fact, thousands of indie artists have already released music in Dolby Atmos, and support spans across film, games, music, podcasts, sports, and more, including emerging formats like VR and XR.
Still, by offering an open alternative, Eclipsa may appeal to developers and platforms that want to adopt immersive audio without integrating proprietary systems, especially in open-source and cross-platform environments.
Samsung and Google aren’t just pushing out the format and hoping it sticks. They’re also working with certification bodies, like Korea’s Telecommunications Technology Association, to make sure that devices carrying the Eclipsa brand meet quality standards. That means consumers will be able to recognize which gear works best with the format, similar to how “Dolby Atmos” or “IMAX Enhanced” labels function today.
In short, they’re building their own ecosystem—from content creation tools to certified hardware to major platform integration (YouTube). And they’re doing it with the backing of an open standards group with serious industry clout.
Here’s the cool part: Eclipsa Audio adapts based on the device you’re using.
If you’re watching on a high-end soundbar with upward-firing speakers, like the Samsung HW-QS700F, which we recently reviewed, you’ll get sound that feels like it’s bouncing off your ceiling. If you’re on a smartphone with stereo speakers, Eclipsa will use head-related transfer functions (HRTFs) and other techniques to simulate 3D sound through headphones or tiny drivers.
This flexibility is possible because Eclipsa includes metadata that tells the playback device where each sound is supposed to come from in 3D space. That means the renderer (software that turns data into audio) can adjust for your device’s specific speaker layout and capabilities.
You don’t need new content for every device. One mix, many listening experiences.
Dolby Atmos and DTS:X remain the most widely used spatial audio formats in both the professional and consumer spaces. From movie theaters and Blu-ray discs to gaming consoles and music streaming, Dolby has spent years building a vast ecosystem, and the tech is available on everything from $99 soundbars to high-end home theater systems.
Eclipsa Audio doesn’t replace those formats—at least not right away. Instead, it creates an alternative path for device manufacturers, app developers, and content platforms who want a royalty-free option for immersive sound.
For example, YouTube support for Eclipsa Audio is in development, and Samsung’s 2025 TVs and soundbars will ship with Eclipsa built in. These integrations signal that Eclipsa is being positioned as a practical alternative for more open and cost-sensitive environments.
Still, Dolby Atmos is currently supported on Android smartphones, tablets, TVs, and other devices, including Samsung’s latest lineup. Dolby also emphasizes that it does not charge royalties to creators or services producing or distributing Atmos content, and its formats are broadly published through international standards bodies like ETSI and the ITU to ensure interoperability across devices.
Where Eclipsa might gain traction is in the open web and user-generated content space, where licensing constraints and format limitations have made spatial audio harder to implement. If it’s easier for creators to integrate Eclipsa Audio into open platforms, we may start to see a more flexible future—one where immersive sound isn’t limited to big-budget productions or studio-backed distribution.
Whether that future includes Eclipsa, Atmos, or both depends on adoption, tooling, and support. But the introduction of Eclipsa is undeniably a signal that spatial audio is moving beyond the confines of premium content and hardware.
That depends on your role in the ecosystem.
If you’re a TV buyer, you might see more affordable sets offering spatial audio in the coming year, thanks to Eclipsa’s integration into Samsung’s lineup.
If you’re a creator, you now have more options. Eclipsa’s open-source tooling may offer flexibility, but Dolby Atmos creation is already accessible through major digital audio workstations and doesn’t require paid licensing.
If you’re just someone who watches YouTube, plays games, or listens to music on a phone or tablet, Eclipsa Audio could eventually improve your sound experience, especially if more content begins supporting it. But since Dolby Atmos is already widely supported across streaming platforms and devices, this shift may not be immediately noticeable to the average listener.
Eclipsa Audio is not a silver bullet, nor is it meant to replace existing formats entirely. What it does offer is a new path forward—an open alternative backed by two tech giants who want more control over how spatial audio fits into their ecosystems.
But Dolby and DTS aren’t standing still. With widespread support across platforms, content types, and price points, their position remains strong. If anything, Eclipsa may push the broader industry to become even more flexible and accessible—something that benefits creators, developers, and consumers alike.
And in the end, maybe that's the real win: more immersive audio for everyone, whether it comes from a billion-dollar studio or your favorite indie creator on YouTube.
