16.2 channel surround soundSurround sound is a technique for enriching the fidelity and depth of by using multiple from that surround the listener. Its first application was in. Prior to surround sound, theater sound systems commonly had three 'screen channels' of sound, from loudspeakers located in front of the audience at the left, center, and right. Surround sound adds one or more channels from loudspeakers behind the listener, able to create the sensation of sound coming from any horizontal direction 360° around the listener. Surround sound formats vary in reproduction and recording methods along with the number and positioning of additional channels. The most common surround sound specification, the 's, calls for 6 speakers: Center (C) in front of the listener, Left (L) and Right (R) at angles of 60° on either side of the center, and Left Surround (LS) and Right Surround (RS) at angles of 100–120°, plus a subwoofer whose position is not critical.Surround sound typically has a listener location or where the audio effects work best, and presents a fixed or forward perspective of the sound field to the listener at this location. The technique enhances the of sound spatialization by exploiting; a listener's ability to identify the location or origin of a detected sound in direction and distance.
This is achieved by using multiple discrete routed to an array of. Contents.Fields of application Though and represent the major uses of surround techniques, its scope of application is broader than that as surround sound permits creation of an audio-environment for all sorts of purposes. Multichannel audio techniques may be used to reproduce contents as varied as music, speech, natural or synthetic sounds for cinema, broadcasting, or computers. In terms of music content for example, a live performance may use multichannel techniques in the context of an open-air, of a or for; for a, specific techniques are adapted to or to home (e.g. The narrative space is also a content that can be enhanced through multichannel techniques. This applies mainly to cinema narratives, for example the of the of a, but may also be applied to for, to a conference, or to integrate voice-based comments in an archeological site or monument. For example, an may be enhanced with topical ambient sound of water, birds, train or machine noise.
Topical natural sounds may also be used in educational applications. Other fields of application include video game consoles, personal computers and other platforms. In such applications, the content would typically be synthetic noise produced by the computer device in interaction with its user. Significant work has also been done using surround sound for enhanced in military and public safety application. Types of media and technologies Commercial surround sound media include videocassettes, and broadcasts encoded as and, and such as and on and, which are identical to the studio master. Other commercial formats include the competing (DVD-A) and (SACD) formats,.
The lightning bolt icon, explicitly indicating a triggered effect Triggered effects are effects that activate in response to specific events. Triggered effects may belong to minions, weapons or spells (in the form of Secrets ), as well as some boss Hero Powers. Hello and welcome to the Sound Effects Wiki! This is the place to look up and discover all the sound effects and sound effect libraries used in movies, TV shows, commercials, video games, anime, etc. If you're having trouble on finding a certain sound effect in a scene you are posting in the.
Cinema surround formats include. Is an 8 channel cinema configuration which features 5 independent audio channels across the front with two independent surround channels, and a channel. Traditional surround speaker configuration introduces two additional rear speakers to the conventional 5.1 arrangement, for a total of four surround channels and three front channels, to create a more 360° sound field.Most surround sound recordings are created by film production companies or video game producers; however some consumer have such capability either built-in or available separately. Surround sound technologies can also be used in music to enable new methods of artistic expression. After the failure of audio in the 1970s, multichannel music has slowly been reintroduced since 1999 with the help of SACD and DVD-Audio formats.
Some, stereophonic systems, and computer contain integral and/or digital audio processors to simulate surround sound from a stereophonic source (see ).In 1967, the rock group performed the first-ever surround sound concert at 'Games for May', a lavish affair at ’s where the band debuted its custom-made speaker system. The control device they had made, the, is now displayed at London's, as part of their Theatre Collections gallery.
History The first documented use of surround sound was in 1940, for the Disney studio's animated film. Was inspired by 's operatic piece to have a 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 ', comprising three audio channels and speakers. The sound was diffused throughout the cinema, controlled by an engineer using some 54 loudspeakers. 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. In 1952, 'surround sound' successfully reappeared with the film 'This is Cinerama', using discrete seven-channel sound, and the race to develop other surround sound methods took off.In the 1950s, the German composer experimented with and produced ground-breaking electronic compositions such as and, the latter using fully discrete and rotating generated with industrial electronic equipment in 's studio at the (WDR). 's, created for the -designed at the 1958, also used spatial audio with 425 loudspeakers used to move sound throughout the pavilion.In 1957, working with artist, produced Vortex: Experiments in Sound and Light - a series of concerts featuring new music, including some of Jacobs' own, and that of, 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 'surround sound.'
The program was popular, and Jacobs and Belson were invited to reproduce it at the 1958 World Expo in Brussels.There are also many other composers that created ground-breaking surround sound works in the same time period.In 1978, a concept devised by Max Bell for called 'split surround' was tested with the movie. This led to the 70mm stereo surround release of, which became one of the first formal releases in cinemas with three channels in the front and two in the rear. There were typically five speakers behind the screens of 70mm-capable cinemas, but only the Left, Center and Right were used full-frequency, while Center-Left and Center-Right were only used for bass-frequencies (as it is currently common).
The Apocalypse Now encoder/decoder was designed by Michael Karagosian, also for. The surround mix was produced by an Oscar-winning crew led by for. The format was also deployed in 1982 with the stereo surround release of.The 5.1 version of surround sound originated in 1987 at the famous French Cabaret.
A French engineer, Dominique Bertrand used a mixing board specially designed in cooperation with, based on 5000 series and including six channels. Respectively: A left, B right, C centre, D left rear, E right rear, F bass. The same engineer had already achieved a 3.1 system in 1974, for the International Summit of Francophone States in, Senegal.Creating surround sound Surround sound is created in several ways. The first and simplest method is using a surround sound recording technique—capturing two distinct stereo images, one for the front and one for the back or by using a dedicated setup, e.g. An augmented —and/or mixing-in surround sound for playback on an audio system using speakers encircling the listener to play audio from different directions. A second approach is processing the audio with methods to simulate a two-dimensional (2-D) sound field with headphones. A third approach, based on, attempts reconstructing the recorded sound field wave fronts within the listening space; an 'audio hologram' form.
One form, (WFS), produces a sound field with an even error field over the entire area. Commercial WFS systems, currently marketed by companies sonic emotion and, require many loudspeakers and significant computing power.The 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. In its simplest form, Ambisonics consumes few resources, however this is not true for recent developments, such as Near Field Compensated Higher Order Ambisonics. Some years ago it was shown that, in the limit, WFS and Ambisonics converge.Finally, surround sound can also be achieved by mastering level, from stereophonic sources as with, which uses analysis of a stereo recording to parse out individual sounds to component panorama positions, then positions them, accordingly, into a five-channel field. However, there are more ways to create surround sound out of stereo, for instance with the routines based on and for encoding sound, where instruments were divided over 4 speakers in the studio. This way of creating surround with software routines is normally referred to as 'upmixing,', which was particularly successful on the QSD-series decoders that had a mode where it mapped the L ↔ R stereo onto an ∩ arc.Mapping channels to speakers. Main article:Surround replay systems may make use of bass management, the fundamental principle of which is that bass content in the incoming signal, irrespective of channel, should be directed only to loudspeakers capable of handling it, whether the latter are the main system loudspeakers or one or more special low-frequency speakers called.There is a notation difference before and after the bass management system.
Before the bass management system there is a Low Frequency Effects (LFE) channel. After the bass management system there is a subwoofer signal. A common misunderstanding is the belief that the LFE channel is the 'subwoofer channel'. The bass management system may direct bass to one or more subwoofers (if present) from any channel, not just from the LFE channel.
Also, if there is no subwoofer speaker present then the bass management system can direct the LFE channel to one or more of the main speakers.Low frequency effects (LFE) channel Because the channel requires only a fraction of the bandwidth of the other audio channels, it is referred to as the '.1' channel; for example '5.1' or '7.1'. The LFE channel is a source of some confusion in surround sound. It was originally developed to carry extremely low 'sub-bass' cinematic sound effects (with commercial subwoofers sometimes going down to 30, e.g., the loud rumble of thunder or explosions) on their own channel. This allowed theaters to control the volume of these effects to suit the particular cinema's acoustic environment and sound reproduction system.
Independent control of the sub-bass effects also reduced the problem of in analog movie sound reproduction. A 'sub-woofer' capable of playing back frequencies as low as 5 Hz was developed by a small speaker manufacturer in Florida.
It used a propellor design and required a large cabinet to move sub-sonic air mass.In the original movie theater implementation, the LFE was a separate channel fed to one or more subwoofers. Home replay systems, however, may not have a separate subwoofer, so modern home surround decoders and systems often include a bass management system that allows bass on any channel (main or LFE) to be fed only to the loudspeakers that can handle low-frequency signals. The salient point here is that the LFE channel is not the 'subwoofer channel'; there may be no subwoofer and, if there is, it may be handling a good deal more than effects.Some record labels such as and have argued that LFE channels are not needed in a modern digital multichannel entertainment system. They argue that all available channels have a full-frequency range and, as such, there is no need for an LFE in surround music production, because all the frequencies are available in all the main channels.
These labels sometimes use the LFE channel to carry a height channel, underlining its redundancy for its original purpose. The label BIS generally uses a 5.0 channel mix.Channel notation Channel notation indicates the number of discrete channels encoded in the audio signal, not necessarily the number of channels reproduced for playback. The number of playback channels can be increased by using.
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The number of playback channels may also differ from the number of speakers used to reproduce them if one or more channels drives a group of speakers. Notation represents the number of channels, not the number of speakers.The first digit in '5.1' is the number of full range channels. The '.1' reflects the limited frequency range of the LFE channel.For example, two speakers with no LFE channel = 2.05 full-range channels + 1 LFE channel = 5.1An alternative notation shows the number of full-range channels in front of the listener, separated by a slash from the number of full-range channels beside or behind the listener, with a decimal point marking the number of limited-range LFE channels.E.g.
3 front channels + 2 side channels + an LFE channel = 3/2.1The notation can be expanded to include. Dolby Digital EX, for example, has a sixth full-range channel incorporated into the two rear channels with a. This is expressed:3 front channels + 2 rear channels + 3 channels reproduced in the rear in total + 1 LFE channel = 3/2:3.1The term, although popularised in reference to two channel audio, historically also referred to surround sound, as it strictly means 'solid' (three-dimensional) sound. Main article:Ambisonics is a recording and playback technique using multichannel mixing that can be used live or in the studio and which recreates the soundfield as it existed in the space, in contrast to traditional surround systems, which can only create illusion of the soundfield if the listener is located in a very narrow sweetspot between speakers. Any number of speakers in any physical arrangement can be used to recreate a sound field. With 6 or more speakers arranged around a listener, a 3-dimensional ('periphonic', or full-sphere) sound field can be presented. Ambisonics was invented by.Binaural recording.
Main article:PanAmbio combines a stereo dipole and crosstalk cancellation in front and a second set behind the listener (total of four speakers) for 360° 2D surround reproduction. Four channel recordings, especially those containing binaural cues, create speaker-binaural surround sound.
5.1 channel recordings, including movie DVDs, are compatible by mixing C-channel content to the front speaker pair. 6.1 can be played by mixing SC to the back pair.Standard speaker channels Several speaker configurations are commonly used for consumer equipment. The order and identifiers are those specified for the channel mask in the standard uncompressed file format (which contains a raw multichannel stream) and are used according to the same specification for most PC connectible digital sound hardware and PC operating systems capable of handling multiple channels. While it is possible to build any speaker configuration, there is little commercial movie or music content for alternative speaker configurations. However, source channels can be remixed for the speaker channels using a matrix table specifying how much of each content channel is played through each speaker channel. For historical reasons, when using (1.0) mono sound, often in technical implementations the first (left) channel is used, instead of the center speaker channel, in many other cases when playing back multichannel content on a device with a mono speaker configuration all channels are downmixed into one channel.
The way standard mono and stereo plugs used for common audio devices are designed ensures this as well. Stereo (2.0) is still the most common format for music, as most computers, television sets and portable audio players only feature two speakers, and the red book Audio CD standard used for retail distribution of music only allows for two channels.
A 2.1 speaker set does generally not have a separate physical channel for the low-frequency effects, as the speaker set downmixes the low-frequency components of the two stereo channels into one channel for the subwoofer. ^ 2010-05-28 at the. This is the correct speaker placement for 5.0/6.0/7.0 channel sound reproduction for and. ^. (PDF).
Archived from (PDF) on 2012-03-07This plus an LFE is the correct speaker placement for 8-track.References.