Cinema immersive sound is upside down. Technology providers invest in intellectual property for immersive sound rendering engines, but they compete on the availability of content. Trading on content has been counterproductive to growth, contributing to a lackluster immersive sound installation count that is less than two percent of worldwide screens. Immersive sound has more moving parts to address than distribution, but the industry is fixated on a design from scratch, do-everything, distribution standard that’s two and a half years in the making and at least as many years from finding its way into cinemas. A deeper look shows that the key friction point of production for competing systems has been addressed. It’s time to put immersive sound right side up and grow the format.