Netflix, Prime Video, Disney+: how to improve sound quality and dialogue clarity

Do you find it hard to understand dialogue, and do the music and sound effects seem way too loud? This is a common issue on Netflix, Disney+, Prime Video, Apple TV, and streaming platforms in general. The reason: soundtracks are often available in 5.1 or Dolby Atmos, which sometimes have to be played through just the two drivers of a TV or a stereo system. In this setup, selecting a stereo track or forcing a two-channel output can provide a much more balanced sound and make voices significantly clearer. However, you still need to choose the right setting for your specific setup.

Why is dialogue sometimes hard to hear when streaming?

Today’s movies and TV shows rely heavily on multichannel soundtracks. Depending on the program, device, and platform, they may be available in stereo, 5.1, or Dolby Atmos. Streaming services generally try to automatically select the best-performing format supported by the TV, media player, game console, or audio system.

However, this detection quickly reaches its limits. A TV may very well be capable of decoding a Dolby Digital Plus 5.1 or Dolby Atmos audio track even though it physically has only two sets of drivers. “5.1-compatible” therefore means that the device can process the signal, not that it has six actual audio channels capable of reproducing it exactly as it was mixed.

The TV must therefore adapt the audio track to its audio system. This conversion, known as a downmix, involves redistributing information from multiple channels to two outputs. The most powerful processors perform this operation very convincingly, while others may alter the balance of the mix more noticeably. The result also depends on the spatialization, bass boost, and soundstage widening effects applied by the TV.

In film, dialogue plays a very specific role

To understand why voices can lose their presence, we need to look at how a movie soundtrack is structured. In a 5.1 system, the front soundstage relies on three distinct channels: left, center, and right. The two surround speakers reproduce ambient sounds and rear effects, while the LFE channel powers the subwoofer. With Dolby Atmos, this architecture is enhanced with additional information that allows sounds to be positioned in space, particularly in the height channel.

Within this soundscape, the center channel plays a fundamental role. It carries a large portion of the dialogue and many sounds directly associated with the action visible on screen. Dolby notes that the center speaker is primarily intended for reproducing dialogue. The left and right channels can therfore handle the music, ambient sounds, and effects while contributing to the width of the soundstage.

This arrangement also follows cinematic principles. In a theater, the voice of a character positioned in the center of the frame must remain firmly anchored to the screen, regardless of the viewer’s position. A physical center speaker makes it much easier to achieve this stability than a “phantom” center created between two speakers.

What happens to the center channel with only two drivers?

In a stereo system, the physical center channel is eliminated. The processor must then integrate its content into the left and right channels to recreate a virtual center channel. The dialogue therefore remains present, but its relationship to the music and effects may change during this process. The processor must also integrate all or part of the information from the surround channels and, if necessary, manage the bass intended for the LFE channel. As a result, several elements that were initially distributed across five, seven, or more directions are concentrated into just two drivers.

The challenge becomes even greater with ultra-slim TVs. The limited space available for the drivers often restricts their ability to reproduce the low frequencies, dynamic range, and volume level of a movie soundtrack. Many also use downward or rear-firing transducers. The room, the TV stand, and the listening distance then come into play. As a result, explosions, music, and ambient sounds often come across as spectacular, while dialogue seems muted, forcing you to turn up the volume during conversations only to turn it back down as soon as an action scene begins.

Stereo, 5.1, or Atmos: the setting to test first

With a TV’s built-in drivers, a pair of hi-fi speakers, or any other system that truly operates on two channels, it can be interesting to compare the multichannel track with its stereo version when available. On Netflix, for example, a program may list a track labeled “English (5.1)” and another simply labeled “English”. The latter is usually the stereo version. Netflix itself recommends trying the stereo track when a 5.1 track sounds too quiet or muffled on a device connected directly to the TV.

The number of channels is only part of the equation. A stereo track properly prepared for playback on two speakers can provide a more cohesive listening experience than a 5.1 soundtrack converted on the fly by a TV. Its main advantage is that the distribution of the various elements is already designed for two channels. Dialogue, music, and sound effects are balanced in a way that a stereo system can use directly, without requiring any further reduction in the number of channels during playback.

Selecting a multichannel track on a stereo TV can still create the impression of a wider soundstage. Manufacturers now use processors capable of analyzing the signal and creating psychoacoustic effects designed to virtually expand the soundstage. A 5.1 or Atmos soundtrack provides more information to these algorithms. The TV can use this to virtually push certain effects to the sides, accentuate the sense of depth, or simulate sounds coming from an area wider than the screen. This spatialization can be appealing in an action scene, though it results in a less firmly focused center.

Night mode and dialogue enhancement: highly effective solutions

The number of channels alone does not explain the difficulties encountered with dialogue. Dynamic range is a second key factor. A movie soundtrack must be able to shift from a whisper to an explosion, from an intimate scene to an orchestral sequence or a spectacular sound effect. Listening at low volume significantly reduces the perception of the quietest parts. Conversations then seem too faint, while the loudest parts remain powerful enough to make you reach for the remote control. This phenomenon is more pronounced in the evening, in an apartment, or when the program is intentionally watched at a low volume. A soundtrack that is perfectly balanced as intended during mixing can therefore become much more difficult to understand when played back at a volume twenty or thirty decibels lower.

Many TVs, soundbars, and AV receivers now feature processing specifically designed for this scenario. A night mode typically applies dynamic range compression: the loudest parts are toned down, while the quieter elements become easier to hear. This makes it possible to hear a conversation without being startled a few seconds later by a much louder explosion.

The Voice, Dialogue, Clear Voice, Voice Enhancement functions—or their equivalents—primarily affect the frequencies and information associated with speech. Depending on the device, these features can boost the frequency range occupied by the voice, isolate the center channel, or utilize digital processing capable of making dialogue stand out from the rest of the mix. These modes may sometimes deviate slightly from the desired balance intended during mixing, but they are genuinely useful when listening at low volume or through a TV’s drivers.

A true center channel remains the best solution for movies

For anyone who regularly watches movies and TV shows, adding a true center channel is one of the most effective ways to improve dialogue clarity. In a traditional home theater system, this speaker is placed below or above the screen. It directly reproduces a large portion of the dialogue and ensures it is firmly anchored to the on-screen action. It also offers a significant advantage over a stereo pair: the level of the center channel can be adjusted separately. AV receivers allow you to slightly boost the center channel by a few decibels when clarity takes precedence over strictly adhering to the original mix. Some also feature dedicated dialogue functions that directly affect this channel.

A soundbar offers a more compact alternative for achieving this benefit without adding more speakers to the living room. Placed under the TV and typically connected via a single HDMI ARC or eARC cable, it significantly improves the power, range, and clarity of the sound compared to the built-in drivers found on many TVs. For movies and TV shows, it’s best to opt for at least a 3.0 or 3.1 model equipped with a true center channel. More advanced 5.1, 5.1.2, 7.1.4, or higher-end soundbars take it even further by adding surround channels—whether real or virtual—as well as dedicated drivers for Dolby Atmos vertical effects.

Which setting should you choose based on your setup?

Ultimately, the principle can be summed up quite simply. Whether you’re using the TV’s built-in drivers, a pair of hi-fi speakers, or a soundbar, testing the stereo track or a PCM 2.0 output is an excellent starting point. With a 3.0 or 3.1 soundbar capable of decoding multichannel audio, the 5.1 track allows you to take advantage of its center channel. With a 5.1, 7.1, or Dolby Atmos system, it’s best to stick with the multichannel version that matches the system and verify that it passes through the entire HDMI chain correctly.

In any case, taking a few minutes to compare settings is better than following a strict rule. A good test scene should include dialogue, music, and sound effects all at the same time. This will allow you to immediately determine whether the voices remain properly anchored and sufficiently present without sacrificing the richness of the soundtrack.

What about headphones?

The situation is different with headphones, since sound reproduction physically relies on two transducers. A stereo track is therefore a perfectly suited basis for traditional binaural listening. Modern headphones, however, can utilize virtual spatialization technologies capable of transforming a multichannel soundtrack or Dolby Atmos into a binaural experience. The processing relies on acoustic transfer functions designed to recreate the way sound from different directions would naturally reach the ears.

Apple offers Spatial Audio with certain AirPods models, while various TVs, game consoles, and systems have their own solutions. Netflix also offers spatial audio for certain content and on certain devices. In this case, the number of physical drivers matters less than the quality of the binaural processing. Good spatial imaging can recreate a surprisingly vast soundstage through headphones while keeping dialogue precisely centered.

Note from the expert: Dolby Atmos for Headphones
Dolby Atmos for Headphones lets you enjoy spatial audio through standard stereo headphones. The processing converts the information from a Dolby Atmos soundtrack into a binaural signal to simulate sounds coming from the front, sides, rear, and even above. With compatible content, this effect can significantly expand the soundstage and improve the positioning of sound effects without requiring headphones equipped with multiple drivers. The technology is available on Xbox and Windows PCs via the Dolby Access app. Some headphones come with Dolby Atmos support built-in, while others can use it after activating the service. It’s particularly popular for video games, as well as for movies and TV shows with immersive soundtracks.

Before you replace your TV, be sure to check the audio track

Muffled dialogue doesn’t necessarily mean your TV’s drivers are bad. It may simply be the result of an audio format that isn’t well-suited to your setup. On a stereo setup, selecting a two-channel track or forcing a stereo PCM output may be enough to restore a much more natural balance. On a true multichannel system, the opposite approach is necessary: stick with 5.1 or Dolby Atmos and make sure the center channel is properly reproduced and calibrated. The highest number of channels is therefore not always the best choice. The best soundtrack is, above all, the one that the system can actually reproduce in the conditions in which it was intended to be used.