Surround sound - Wikipedia. Surround sound is a technique for enriching the sound reproduction quality of an audio source with additional audio channels from speakers that surround the listener (surround channels), providing sound from a 3. The technique enhances the perception of sound spatialization by exploiting sound localization; a listener's ability to identify the location or origin of a detected sound in direction and distance. Typically this is achieved by using multiple discrete audio channels routed to an array of loudspeakers. Multichannel audio techniques may be used to reproduce contents as varied as music, speech, natural or synthetic sounds for cinema, television, broadcasting, or computers. In terms of music content for example, a live performance may use multichannel techniques in the context of an open- air concert, of a musical theatre or for broadcasting. This applies mainly to cinema narratives, for example the speech of the characters of a film. For example, an exhibition may be enhanced with topical ambient sound of water, birds, train or machine noise. Topical natural sounds may also be used in educational applications. Significant work has also been done using surround sound for enhanced situation awareness in military and public safety applications. Other commercial formats include the competing DVD- Audio (DVD- A) and Super Audio CD (SACD) formats, and MP3 Surround. Cinema 5. 1 surround formats include Dolby Digital and DTS. Sony Dynamic Digital Sound (SDDS) is an 8 channel cinema configuration which features 5 independent audio channels across the front with two independent surround channels, and a Low- frequency effects channel. Traditional 7. 1 surround speaker configuration introduces two additional rear speakers to the conventional 5. Surround sound technologies can also be used in music to enable new methods of artistic expression. After the failure of quadraphonic audio in the 1. SACD and DVD- Audio formats. How do I get my surround sound to play on regular tv? How do i get my surround sound to play whats heard on my tv while watching cable? Surround sound is a technique for enriching the sound reproduction quality of an audio source with additional audio channels from speakers that surround the listener. How to Hook Up Surround Sound to Television. Watching television in a home theater is only half the experience. To get the most out of audio-video equipment, hooking. Some AV receivers, stereophonic systems, and computer soundcards contain integral digital signal processors and/or digital audio processors to simulate surround sound from a stereophonic source (see fake stereo). In 1. 96. 7, the rock group Pink Floyd performed the first- ever surround sound concert at . Walt Disney was inspired by Nikolai Rimsky- Korsakov's operatic piece, Flight of the Bumblebee to have a bumblebee featured in his musical Fantasia and also sound as if it was flying in all parts of the theatre. The initial multichannel audio application was called 'Fantasound', comprising three audio channels and speakers. The sound was diffused throughout the cinema, controlled by an engineer using some 5. The surround sound was achieved using the sum and the difference of the phase of the sound. However, this experimental use of surround sound was excluded from the film in later showings. Edgar Varese's Poeme Electronique, created for the Iannis Xenakis designed Philips Pavilion at the 1. All you need to connect your DirecTV to your surround sound system is the right cable. However, only surround-compatible receivers deliver true surround. Best-in-Class 7.1 Virtual Surround Sound Razer Surround is an advanced 7.1 virtual surround sound engine that immerses you deeper into the game. Brussels World's Fair, also utilised spatial audio with 4. In 1. 95. 7, working with artist Jordan Belson, Henry Jacobs produced Vortex: Experiments in Sound and Light - a series of concerts featuring new music, including some of Jacobs' own, and that of Karlheinz Stockhausen, and many others - taking place in the Morrison Planetarium in Golden Gate Park, San Francisco. Sound designers commonly regard this as the origin of the (now standard) concept of . This led to the 7. The surround mix was produced by an Oscar- winning crew led by Walter Murch for American Zoetrope. The format was also deployed in 1. Blade Runner. The 5. French Cabaret Moulin Rouge. A French engineer, Dominique Bertrand used a mixing board specially designed in cooperation with Solid State Logic, based on 5. Respectively: A left, B right, C centre, D left rear, E right rear, F bass. The same engineer had already achieved a 3. International Summit of Francophone States in Dakar Senegal. Creating surround sound. The first and simplest method is using a surround sound recording technique. A second approach is processing the audio with psychoacousticsound localization methods to simulate a two- dimensional (2- D) sound field with headphones. A third approach, based on Huygens' principle, attempts reconstructing the recorded sound field wave fronts within the listening space; an . One form, wave field synthesis (WFS), produces a sound field with an even error field over the entire area. Commercial WFS systems, currently marketed by companies sonic emotion and Iosono, require many loudspeakers and significant computing power. The Ambisonics form, also based on Huygens' principle, gives an exact sound reconstruction at the central point; less accurate away from center point. There are many free and commercial software programs available for Ambisonics, which dominates most of the consumer market, especially musicians using electronic and computer music. Moreover, Ambisonics products are the standard in surround sound hardware sold by Meridian Audio In its simplest form, Ambisonics consumes few resources, however this is not true for recent developments, such as Near Field Compensated Higher Order Ambisonics. However, there are more ways to create surround sound out of stereo, for instance with the routines based on QS and SQ for encoding Quad sound, where instruments were divided over 4 speakers in the studio. This way of creating surround with software routines is normally referred to as . Matrix systems recover the number and content of the source channels and apply them to their respective loudspeakers. With discrete surround sound, the transmission medium allows for (at least) the same number of channels of source and destination; however, one- to- one, channel- to- speaker, mapping is not the only way of transmitting surround sound signals. The transmitted signal might encode the information (defining the original sound field) to a greater or lesser extent; the surround sound information is rendered for replay by a decoder generating the number and configuration of loudspeaker feeds for the number of speakers available for replay . The Ambisonics and WFS systems use audio rendering; the Meridian Lossless Packing contains elements of this capability. Standard configurations. The angles between the speakers have been standardized by the ITU (International Telecommunication Union) recommendation 7. AES (Audio Engineering Society) as follows: 6. L and R channels (allows for two- channel stereo compatibility) with the center speaker directly in front of the listener. The Surround channels are placed 1. The 3- 1 channel setup (consisting of one monophonic surround channel) is such a case, where both LS and RS are fed by the monophonic signal at an attenuated level of - 3 d. B. Motion Pictures tend to use the center channel for monophonic purposes with stereo being reserved purely for the left and right channels. Surround microphones techniques have however been developed that fully use the potential of three- channel stereo. In 5. 1 surround, phantom images between the front speakers are quite accurate, with images towards the back and especially to the sides being unstable. D sound, making the surround channels more appropriate for ambience or effects. CL) and center- right (CR) to the 5. Microphone techniques for LCR should, however, try to obtain greater channel separation to prevent conflicting phantom images between L/C and L/R for example. Surround microphone techniques largely depend on the setup used, therefore being biased towards the 5. Appropriate microphone techniques should therefore be used, if room impression is important. Although the reproduction of side images are very unstable in the 5. A distinguishing factor for the pickup of the front channels in surround is that less reverberation should be picked up, as the surround microphones will be responsible for the pickup of reverberation. To compensate for the lost low- end of directional (pressure gradient) microphones, additional omnidirectional (pressure microphones), exhibiting an extended low- end response, can be added. If echoes are notable, the front array can be delayed appropriately. Alternatively, backward facing cardioid microphones can be placed closer to the front array for a similar reverberation pickup. The array consists of 5 spaced cardioid microphones, 3 front microphones resembling a Decca Tree and two surround microphones. Two additional omnidirectional outriggers can be added to enlarge the perceived size of the orchestra and/or to better integrate the front and surround channels. Spacing between these microphones should be about 1. This square formation is responsible for the room impressions. The center channel is placed a meter in front of the L and R channels, producing a strong center image. The surround microphones are usually placed at the critical distance (where the direct and reverberant field is equal), with the full array usually situated several meters above and behind the conductor. Here a baffle is used for separation between the front left and right channels, which are 3. These compensate for the bass roll- off of the cardioid microphones and also add expansiveness. The surround microphones are backwards facing cardioid microphones, that are placed 4. L and R microphones. The L, R, LS and RS microphones pick up early reflections from both the sides and the back of an acoustic venue, therefore giving significant room impressions. These arrays are used in combination with suitable front arrays, or can be added to above mentioned surround techniques. Four figure- eight microphones are arranged in a square, ideally placed far away and high up in the hall. Spacing between the microphones should be between 1. Here, four cardioid microphones, 9. This technique therefore resembles back to back near- coincident stereo pairs. The microphones outputs are fed to the L, R and LS, RS channels. The disadvantage of this approach is that direct sound pickup is quite significant.
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