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Dolby 7.1 Surround Sound Package Dolby 7.1 Surround Sound Package Software Free Download

System with loudspeakers that surroundings the listener

16.2 channel surround audio

Environs sound is a technique for enriching the fidelity and depth of sound reproduction past using multiple audio channels from speakers that surround the listener (surroundings channels). Its first application was in picture theaters. Prior to surround sound, theater sound systems commonly had three screen channels of audio that played from three loudspeakers (left, center, and correct) located in front of the audition. Surround audio adds 1 or more channels from loudspeakers to the side or behind the listener that are able to create the awareness of sound coming from any horizontal management (at ground level) around the listener.

The technique enhances the perception of sound spatialization by exploiting sound localization: a listener's power to identify the location or origin of a detected sound in direction and distance. This is achieved past using multiple discrete audio channels routed to an assortment of loudspeakers.^[1] Surround audio typically has a listener location (sweet spot) where the audio furnishings work best and presents a fixed or forward perspective of the sound field to the listener at this location.

Surround sound formats vary in reproduction and recording methods, along with the number and positioning of additional channels. The about common surround sound specification, the ITU's 5.one standard, calls for 6 speakers: Centre (C), in forepart of the listener; Left (50) and Right (R), at angles of threescore°; Left Environment (LS) and Correct Surround (RS) at angles of 100–120°; and a subwoofer, whose position is not critical.

Fields of awarding [edit]

Though cinema and soundtracks correspond the major uses of surround techniques, its scope of application is broader than that as surround sound permits cosmos of an audio-environment for all sorts of purposes. Multichannel audio techniques may be used to reproduce contents as varied as music, oral communication, natural or synthetic sounds for movie theater, television, dissemination, or computers. In terms of music content for example, a live performance may apply multichannel techniques in the context of an open-air concert, of a musical theatre performance or for broadcasting;^[two] for a flick, specific techniques are adapted to movie house or to home (e.g. home cinema systems).^{[3] [4]} The narrative space is also a content that can be enhanced through multichannel techniques. This applies mainly to cinema narratives, for example the speech of the characters of a motion-picture show,^{[5] [6] [7]} but may likewise be applied to plays performed in a theatre, to a conference, or to integrate voice-based comments in an archeological site or monument. For example, an exhibition may be enhanced with topical ambient sound of water, birds, railroad train or machine dissonance. Topical natural sounds may also be used in educational applications.^[8] Other fields of application include video game consoles, personal computers and other platforms.^{[ix] [x] [eleven] [12]} In such applications, the content would typically exist synthetic noise produced past the reckoner device in interaction with its user. Significant work has likewise been done using environs sound for enhanced situation awareness in military machine and public condom awarding.^[xiii]

Types of media and technologies [edit]

Commercial surround sound media include videocassettes, DVDs, and SDTV broadcasts encoded as compressed Dolby Digital and DTS, and lossless audio such as DTS HD Chief Audio and Dolby TrueHD on HDTV Blu-ray Disc and Hard disk drive DVD, which are identical to the studio chief. Other commercial formats include the competing DVD-Audio (DVD-A) and Super Sound CD (SACD) formats, and MP3 Environment. Cinema 5.one surround formats include Dolby Digital and DTS. Sony Dynamic Digital Audio (SDDS) is an viii channel cinema configuration which features 5 independent audio channels across the front with ii independent surround channels, and a Low-frequency effects aqueduct. Traditional 7.1 surround speaker configuration introduces ii additional rear speakers to the conventional 5.1 arrangement, for a total of four surround channels and three front channels, to create a more than 360° sound field.

Most surround audio recordings are created by film production companies or video game producers; however some consumer camcorders take such adequacy either built-in or available separately. Surround audio technologies can also be used in music to enable new methods of artistic expression. Later the failure of quadraphonic sound in the 1970s, multichannel music has slowly been reintroduced since 1999 with the help of SACD and DVD-Audio formats. Some AV receivers, stereophonic systems, and computer sound cards comprise integral digital betoken processors or digital sound processors to simulate surround audio from a stereophonic source (run into fake stereo).

In 1967, the stone group Pink Floyd performed the beginning-ever surround sound concert at "Games for May", a lavish matter at London's Queen Elizabeth Hall where the band debuted its custom-made quadraphonic speaker organisation.^[14] The command device they had made, the Azimuth Co-ordinator, is now displayed at London's Victoria and Albert Museum, every bit role of their Theatre Collections gallery.^[15]

History [edit]

The commencement documented use of surroundings audio was in 1940, for the Disney studio's animated film Fantasia. Walt Disney was inspired by Nikolai Rimsky-Korsakov'south operatic slice Flying of the Bumblebee to have a bumblebee featured in his musical Fantasia and also sound every bit if information technology 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 past an engineer using some 54 loudspeakers. The surround sound was achieved using the sum and the difference of the phase of the audio. All the same, this experimental use of environment sound was excluded from the film in subsequently showings. In 1952, "environment sound" successfully reappeared with the moving picture "This is Cinerama", using detached 7-channel sound, and the race to develop other environs audio methods took off.^{[16] [17]}

In the 1950s, the German language composer Karlheinz Stockhausen experimented with and produced ground-breaking electronic compositions such as Gesang der Jünglinge and Kontakte, the latter using fully discrete and rotating quadraphonic sounds generated with industrial electronic equipment in Herbert Eimert's studio at the Westdeutscher Rundfunk (WDR). Edgar Varese's Poème électronique, created for the Iannis Xenakis-designed Philips Pavilion at the 1958 Brussels Globe's Fair, likewise used spatial sound with 425 loudspeakers used to move sound throughout the pavilion.

In 1957, working with artist Jordan Belson, Henry Jacobs produced Vortex: Experiments in Audio and Light - a serial 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 ordinarily regard this as the origin of the (at present standard) concept of "surroundings sound." The program was popular, and Jacobs and Belson were invited to reproduce it at the 1958 World Expo in Brussels.^[xviii] In that location are likewise many other composers that created ground-breaking surroundings sound works in the same fourth dimension catamenia.

In 1978, a concept devised past Max Bell for Dolby Laboratories called "split surround" was tested with the pic Superman. This led to the 70mm stereo environs release of Apocalypse Now, which became ane of the first formal releases in cinemas with 3 channels in the front and two in the rear.^[nineteen] In that location were typically five speakers behind the screens of 70mm-capable cinemas, but only the Left, Center and Correct were used full-frequency, while Eye-Left and Center-Right were but used for bass-frequencies (as it is currently common). The Apocalypse Now encoder/decoder was designed by Michael Karagosian, likewise for Dolby Laboratories. The surroundings mix was produced by an Oscar-winning crew led past Walter Murch for American Zoetrope. The format was likewise deployed in 1982 with the stereo surround release of Blade Runner.

The 5.i version of surround audio originated in 1987 at the famous French Cabaret Moulin Rouge. A French engineer, Dominique Bertrand used a mixing board specially designed in cooperation with Solid Country Logic, based on 5000 series and including half dozen channels. Respectively: A left, B right, C centre, D left rear, Due east correct rear, F bass. The same engineer had already achieved a 3.1 system in 1974, for the International Summit of Francophone States in Dakar, Senegal.

Creating surround sound [edit]

Environs audio is created in several means. 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 dorsum or past using a dedicated setup, eastward.yard. an augmented Decca tree^[twenty]—or mixing-in environs sound for playback on an audio system using speakers encircling the listener to play audio from unlike directions. A second approach is processing the audio with psychoacoustic sound localization methods to simulate a two-dimensional (2-D) audio field with headphones. A 3rd approach, based on Huygens' principle, attempts reconstructing the recorded audio field wave fronts within the listening space; an "audio hologram" form. One form, wave field synthesis (WFS), produces a sound field with an even error field over the unabridged area. Commercial WFS systems, currently marketed by companies sonic emotion and Iosono, require many loudspeakers and significant computing power. The 4th approach is using three mics, 1 for front, one for side and i for rear, also called Double MS recording.

The Ambisonics form, also based on Huygens' principle, gives an exact sound reconstruction at the central point; however, information technology is less accurate abroad from the fundamental point. In that location are many costless and commercial software programs available for Ambisonics, which dominates nigh of the consumer market, peculiarly musicians using electronic and computer music. Moreover, Ambisonics products are the standard in environment sound hardware sold by Meridian Sound. In its simplest grade, Ambisonics consumes few resources, however this is not true for recent developments, such as About Field Compensated Higher Guild Ambisonics.^[21] Some years agone it was shown that, in the limit, WFS and Ambisonics converge.^[22]

Finally, surround audio can also be accomplished by mastering level, from stereophonic sources every bit with Penteo, which uses digital bespeak processing analysis of a stereo recording to parse out individual sounds to component panorama positions, and then positions them, appropriately, into a five-channel field. Nevertheless, there are more means to create surround sound out of stereo, for case with the routines based on QS and SQ for encoding Quad sound, where instruments were divided over iv speakers in the studio. This manner of creating surround with software routines is normally referred to as "upmixing",^[23] which was particularly successful on the Sansui QSD-series decoders that had a mode where information technology mapped the 50 ↔ R stereo onto an ∩ arc.^{[ citation needed ]}

Standard configurations [edit]

There are many culling setups available for a surroundings sound experience, with a 3-ii (3 front, 2 back speakers and a Low Frequency Effects channel) configuration (more commonly referred to equally five.i environs) being the standard for most surroundings audio applications, including cinema, television and consumer applications.^[24] This is a compromise between the ideal image creation of a room and that of practicality and compatibility with 2-channel stereo.^[25] Because almost surround sound mixes are produced for v.1 surround (6 channels), larger setups require matrixes or processors to feed the additional speakers.^[25]

The standard environment setup consists of three front speakers LCR (left, center and correct), ii surround speakers LS and RS (left and right surroundings respectively) and a subwoofer for the Depression Frequency Furnishings (LFE) channel, that is depression-pass filtered at 120 Hz. The angles between the speakers have been standardized by the ITU (International Telecommunications Wedlock) recommendation 775 and AES (Audio Engineering Society) every bit follows: 60 degrees betwixt the L and R channels (allows for two-channel stereo compatibility) with the middle speaker direct in front of the listener. The Surround channels are placed 100-120 degrees from the center channel, with the subwoofer's positioning non being critical due to the depression directional factor of frequencies below 120 Hz.^[26] The ITU standard also allows for additional surround speakers, that need to be distributed evenly between 60 and 150 degrees.^{[24] [26]}

Surround mixes of more than or fewer channels are adequate, if they are compatible, as described past the ITU-R BS. 775-i, with five.1 surround. The 3-one aqueduct setup (consisting of one monophonic surround aqueduct) is such a instance, where both LS and RS are fed by the monophonic signal at an attenuated level of -3 dB.^[25]

The function of the center channel is to ballast the point so that any central panned images practice non shift when a listener is moving or is sitting away from the sweetness spot.^[27] The middle channel as well prevents any timbral modifications from occurring, which is typical for two-aqueduct stereo, due to stage differences at the two ears of a listener.^[24] The centre aqueduct is especially used in films and tv set, with dialogue primarily feeding the center aqueduct.^[25] The function of the heart aqueduct can either exist of a monophonic nature (every bit with dialogue) or it tin be used in combination with the left and right channels for true 3-channel stereo. Motility Pictures tend to use the center channel for monophonic purposes with stereo being reserved purely for the left and right channels. Environment microphones techniques have even so been developed that fully apply the potential of three-aqueduct stereo.

In 5.i environs, phantom images betwixt the front speakers are quite accurate, with images towards the dorsum and especially to the sides beingness unstable.^{[24] [25]} The localisation of a virtual source, based on level differences betwixt two loudspeakers to the side of a listener, shows corking inconsistency beyond the standardised five.one setup, also being largely affected by motion abroad from the reference position. 5.ane surround is therefore limited in its power to convey 3D sound, making the environment channels more advisable for ambience or effects.^[24])

vii.1 channel surround is some other setup, most usually used in large cinemas, that is compatible with 5.1 environment, though it is not stated in the ITU-standards. seven.1 channel environment adds ii boosted channels, center-left (CL) and eye-right (CR) to the v.1 environment setup, with the speakers situated 15 degrees off centre from the listener.^[24] This convention is used to cover an increased angle between the forepart loudspeakers as a product of a larger screen.

Surround microphone techniques [edit]

About 2-aqueduct stereophonic microphone techniques are compatible with a 3-channel setup (LCR), as many of these techniques already incorporate a middle microphone or microphone pair. Microphone techniques for LCR should, even so, try to obtain greater channel separation to prevent conflicting phantom images betwixt 50/C and L/R for example.^{[25] [27] [28]} Specialised techniques take therefore been adult for 3-aqueduct stereo. Surround microphone techniques largely depend on the setup used, therefore beingness biased towards the 5.1 environs setup, as this is the standard.^[24]

Environs recording techniques can be differentiated into those that use single arrays of microphones placed in shut proximity, and those treating front and rear channels with split up arrays.^{[24] [26]} Close arrays present more accurate phantom images, whereas separate treatment of rear channels is unremarkably used for ambience.^[26] For accurate depiction of an acoustic surroundings, such as a halls, side reflections are essential. Appropriate microphone techniques should therefore be used, if room impression is of import. Although the reproduction of side images are very unstable in the 5.1 surround setup, room impressions can still be accurately presented.^[25]

Some microphone techniques used for coverage of three front channels, include double-stereo techniques, INA-3 (Platonic Cardioid Arrangement), the Decca Tree setup and the OCT (Optimum Cardioid Triangle).^{[25] [28]} Surroundings techniques are largely based on iii-channel techniques with boosted microphones used for the surround channels. A distinguishing cistron for the pickup of the front channels in surround is that less reverberation should be picked upwards, as the surround microphones will be responsible for the pickup of reverberation.^[24] Cardioid, hypercardioid, or supercardioid polar patterns will therefore ofttimes replace omnidirectional polar patterns for surround recordings. To compensate for the lost low-end of directional (force per unit area gradient) microphones, additional omnidirectional (pressure microphones), exhibiting an extended low-end response, can be added. The microphone'south output is usually low-pass filtered.^{[25] [28]} A simple surround microphone configuration involves the use of a front end array in combination with two backward-facing omnidirectional room microphones placed about 10–15 meters away from the front end assortment. If echoes are notable, the front end array can be delayed appropriately. Alternatively, backward facing cardioid microphones can be placed closer to the front array for a similar reverberation pickup.^[26]

The INA-5 (Platonic Cardioid Arrangement) is a surround microphone array that uses five cardioid microphones resembling the angles of the standardised surround loudspeaker configuration divers by the ITU Rec. 775.^[26] Dimensions between the front three microphone as well equally the polar patterns of the microphones can be changed for different pickup angles and ambience response.^[24] This technique therefore allows for great flexibility.

A well established microphone assortment is the Fukada Tree, which is a modified variant of the Decca Tree stereo technique. The array consists of v spaced cardioid microphones, three front end microphones resembling a Decca Tree and two surroundings microphones. 2 additional omnidirectional outriggers tin can be added to enlarge the perceived size of the orchestra or to ameliorate integrate the forepart and surround channels.^{[24] [25]} The 50, R, LS and RS microphones should exist placed in a square germination, with L/R and LS/RS angled at 45 degrees and 135 degrees from the eye microphone respectively. Spacing between these microphones should be about 1.8 meters. 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 heart image. The environs microphones are commonly placed at the critical distance (where the direct and reverberant field is equal), with the full array usually situated several meters in a higher place and behind the conductor.^{[24] [25]}

The NHK (Japanese broadcasting company) developed an alternative technique also involving five cardioid microphones. Here a baffle is used for separation betwixt the forepart left and correct channels, which are 30 cm apart.^[24] Outrigger omnidirectional microphones, low-pass filtered at 250 Hz, are spaced 3 meters apart in line with the L and R cardioids. These compensate for the bass roll-off of the cardioid microphones and also add together expansiveness.^[27] A iii-meter spaced microphone pair, situated ii–3 meters behind front array, is used for the surround channels.^[24] The heart channel is once again placed slightly frontward, with the 50/R and LS/RS again angled at 45 and 135 degrees respectively.

The OCT-Surround (Optimum Cardioid Triangle-Surround) microphone array is an augmented technique of the stereo Oct technique using the same front array with added surround microphones. The front array is designed for minimum crosstalk, with the forepart left and correct microphones having supercardioid polar patterns and angled at 90 degrees relative to the eye microphone.^{[24] [25]} Information technology is of import that high quality small diaphragm microphones are used for the Fifty and R channels to reduce off-axis coloration.^[26] Equalization can likewise exist used to flatten the response of the supercardioid microphones to signals coming in at up to almost 30 degrees from the front end of the array.^[24] The eye channel is placed slightly forward. The surround microphones are backwards facing cardioid microphones, that are placed xl cm back from the 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.^[25] Spacing between the L and R microphones can exist varied to obtain the required stereo width.^[25]

Specialized microphone arrays take been developed for recording purely the ambient of a infinite. These arrays are used in combination with suitable front arrays, or can be added to higher up mentioned surround techniques.^[26] The Hamasaki square (besides proposed past NHK) is a well established microphone array used for the pickup of hall ambience. 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 betwixt 1–3 meters.^[25] The microphones nulls (zero pickup point) are gear up to face the chief sound source with positive polarities outward facing, therefore very finer minimizing the direct sound pickup as well equally echoes from the dorsum of the hall^[26] The back 2 microphones are mixed to the surround channels, with the front two channels being mixed in combination with the front array into 50 and R.

Another ambient technique is the IRT (Institut für Rundfunktechnik) cantankerous. Here, iv cardioid microphones, 90 degrees relative to i another, are placed in square formation, separated by 21–25 cm.^{[26] [28]} The front two microphones should be positioned 45 degrees off axis from the sound source. This technique therefore resembles back to back near-ancillary stereo pairs. The microphones outputs are fed to the L, R and LS, RS channels. The disadvantage of this arroyo is that direct audio pickup is quite significant.

Many recordings practise not crave pickup of side reflections. For Live Pop music concerts a more appropriate array for the pickup of ambience is the cardioid trapezium.^[25] All iv cardioid microphones are astern facing and angled at 60 degrees from one some other, therefore similar to a semi-circle. This is effective for the pickup of audience and ambient.

All the higher up-mentioned microphone arrays accept up considerable space, making them quite ineffective for field recordings. In this respect, the double MS (Mid Side) technique is quite advantageous. This array uses back to back cardioid microphones, one facing frontward, the other backwards, combined with either 1 or two effigy-eight microphone. Dissimilar channels are obtained by sum and difference of the effigy-eight and cardioid patterns.^{[25] [26]} When using only 1 figure-viii microphone, the double MS technique is extremely meaty and therefore also perfectly uniform with monophonic playback. This technique also allows for postproduction changes of the pickup angle.

Bass management [edit]

Surround replay systems may brand use of bass management, the primal principle of which is that bass content in the incoming bespeak, irrespective of channel, should be directed merely to loudspeakers capable of handling it, whether the latter are the master system loudspeakers or 1 or more special low-frequency speakers called subwoofers.

There is a notation difference before and subsequently the bass management organization. Before the bass management organisation there is a Low Frequency Effects (LFE) aqueduct. After the bass management system there is a subwoofer bespeak. A common misunderstanding is the belief that the LFE channel is the "subwoofer aqueduct". The bass management organization may direct bass to one or more than subwoofers (if nowadays) from any channel, not merely from the LFE channel. Also, if there is no subwoofer speaker present then the bass direction system can directly the LFE aqueduct to ane or more than of the main speakers.

Low frequency effects channel [edit]

Because the depression-frequency effects (LFE) channel requires only a fraction of the bandwidth of the other sound channels, it is referred to as the .1 channel; for example 5.i or 7.ane.^{[ citation needed ]}

The LFE channel is a source of some confusion in surround sound. It was originally adult to behave extremely low sub-bass cinematic sound effects (e.g., the loud rumble of thunder or explosions) on their own channel. This allowed theaters to control the volume of these effects to accommodate the particular cinema's audio-visual environment and sound reproduction organisation. Independent control of the sub-bass furnishings as well reduced the problem of intermodulation baloney in analog movie sound reproduction.

In the original motion-picture show theater implementation, the LFE was a split up channel fed to ane or more subwoofers. Home replay systems, yet, may not have a split subwoofer, so mod dwelling surround decoders and systems often include a bass management system that allows bass on whatever channel (primary or LFE) to be fed but to the loudspeakers that can handle low-frequency signals. The salient point here is that the LFE aqueduct is not the subwoofer aqueduct; at that place may be no subwoofer and, if there is, it may be treatment a good deal more than than furnishings.^[29]

Some record labels such every bit Telarc and Chesky accept argued that LFE channels are not needed in a modern digital multichannel amusement organisation.^{[ citation needed ]} They fence that all available channels have a total-frequency range and, as such, there is no demand for an LFE in surround music production, considering all the frequencies are available in all the master channels. These labels sometimes use the LFE channel to deport a elevation channel.^{[ citation needed ]} The label BIS Records mostly uses a 5.0 aqueduct mix.

Channel notation [edit]

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 tin can be increased by using matrix decoding. The number of playback channels may also differ from the number of speakers used to reproduce them if 1 or more channels drives a group of speakers. Note represents the number of channels, non the number of speakers.

The commencement digit in "five.ane" is the number of full range channels. The ".1" reflects the limited frequency range of the LFE aqueduct.

For case, two stereo speakers with no LFE channel = ii.0
5 full-range channels + i LFE channel = 5.1

An alternative annotation shows the number of full-range channels in forepart 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.grand. 3 forepart channels + 2 side channels + an LFE channel = 3/ii.1

The notation can be expanded to include Matrix Decoders. Dolby Digital EX, for example, has a sixth full-range channel incorporated into the two rear channels with a matrix. This is expressed:

3 forepart channels + 2 rear channels + 3 channels reproduced in the rear in total + one LFE aqueduct = 3/2:3.1

The term stereo, although popularised in reference to 2 channel audio, historically likewise referred to surroundings sound, as it strictly ways "solid" (three-dimensional) audio. However this is no longer common usage and "stereo sound" nigh exclusively means two channels, left and right.

Aqueduct identification [edit]

In accordance with ANSI/CEA-863-A^[30]

ANSI/CEA-863-A identification for surround sound channels

Zero-based channel index			Channel name	Color-coding on commercial receiver and cabling
MP3/WAV/FLAC [31] [32] [33] [34]	DTS/AAC [35]	Vorbis/Opus [36] [37]
0	1	0	Front left		White
i	2	two	Front end right		Ruby-red
two	0	1	Center		Dark-green
3	5	7	Subwoofer		Purple
iv	3	3	Side left		Blueish
5	iv	4	Side correct		Grey
six	six	five	Rear left		Brown
seven	7	6	Rear right		Khaki

Diagram

Front Left	Middle	Front right
Side left	☺	Side right
Rear left		Rear correct
Subwoofer

Top channels^{[ commendation needed ]}

Alphabetize	Aqueduct proper noun	Color-coding on commercial receiver and cabling
eight	Left height 1		Yellow
9	Right peak 1		Orangish
x	Left elevation 2		Pink
11	Right superlative 2		Magenta

Sonic Whole Overhead Sound [edit]

In 2002, Dolby premiered a master of We Were Soldiers which featured a Sonic Whole Overhead Sound soundtrack. This mix included a new ceiling-mounted height aqueduct.

Ambisonics [edit]

Ambisonics is a recording and playback technique using multichannel mixing that can exist used live or in the studio and which recreates the soundfield every bit it existed in the space, in contrast to traditional surround systems, which can merely create illusion of the soundfield if the listener is located in a very narrow sweetspot betwixt speakers. Any number of speakers in any physical arrangement tin be used to recreate a sound field. With 6 or more speakers arranged around a listener, a three-dimensional ("periphonic", or total-sphere) sound field tin be presented. Ambisonics was invented by Michael Gerzon.

Binaural recording [edit]

Binaural recording is a method of recording sound that uses two microphones, arranged with the intent to create the 3-D stereo experience of being present in the room with the performers or instruments. The idea of a three dimensional or "internal" form of sound has adult into engineering for stethoscopes creating "in-caput" acoustics and IMAX movies creating a 3 dimensional acoustic experience.

Panor-Ambiophonic (PanAmbio) 4.0/4.1 [edit]

PanAmbio combines a stereo dipole and crosstalk cancellation in forepart and a 2d fix behind the listener (total of four speakers) for 360° second surround reproduction. Four channel recordings, especially those containing binaural cues, create speaker-binaural environs sound. 5.1 channel recordings, including movie DVDs, are uniform past mixing C-channel content to the front end speaker pair. half-dozen.1 can be played past mixing SC to the back pair.

Standard speaker channels [edit]

Several speaker configurations are ordinarily used for consumer equipment. The social club and identifiers are those specified for the aqueduct mask in the standard uncompressed WAV file format (which contains a raw multichannel PCM stream) and are used according to the aforementioned specification for most PC connectible digital sound hardware and PC operating systems capable of handling multiple channels.^{[38] [39]} While it is possible to build any speaker configuration, in that location is little commercial movie or music content for alternative speaker configurations. However, source channels can be remixed for the speaker channels using a matrix tabular array specifying how much of each content aqueduct is played through each speaker aqueduct.

Standard speaker channels

Channel name	ID	Identifier	Index	Flag
Front Left	FL	SPEAKER_FRONT_LEFT	0	0x00000001
Front Right	FR	SPEAKER_FRONT_RIGHT	1	0x00000002
Front Center	FC	SPEAKER_FRONT_CENTER	2	0x00000004
Low Frequency	LFE	SPEAKER_LOW_FREQUENCY	iii	0x00000008
Back Left	BL	SPEAKER_BACK_LEFT	4	0x00000010
Back Correct	BR	SPEAKER_BACK_RIGHT	5	0x00000020
Front Left of Heart	FLC	SPEAKER_FRONT_LEFT_OF_CENTER	6	0x00000040
Front end Right of Eye	FRC	SPEAKER_FRONT_RIGHT_OF_CENTER	7	0x00000080
Back Middle	BC	SPEAKER_BACK_CENTER	8	0x00000100
Side Left	SL	SPEAKER_SIDE_LEFT	ix	0x00000200
Side Correct	SR	SPEAKER_SIDE_RIGHT	10	0x00000400
Top Middle	TC	SPEAKER_TOP_CENTER	xi	0x00000800
Front Left Height	TFL	SPEAKER_TOP_FRONT_LEFT	12	0x00001000
Front Center Height	TFC	SPEAKER_TOP_FRONT_CENTER	13	0x00002000
Front end Right Top	TFR	SPEAKER_TOP_FRONT_RIGHT	14	0x00004000
Rear Left Height	TBL	SPEAKER_TOP_BACK_LEFT	fifteen	0x00008000
Rear Center Height	TBC	SPEAKER_TOP_BACK_CENTER	16	0x00010000
Rear Right Summit	TBR	SPEAKER_TOP_BACK_RIGHT	17	0x00020000

Most channel configuration may include a low frequency furnishings (LFE) channel (the channel played through the subwoofer.) This makes the configuration ".1" instead of ".0". Well-nigh modern multichannel mixes contain one LFE, some use two.

Standard speaker channel layouts

Icon	System	Channels	LFE	Front				Sides	Back
				FL+FR	FC	FLC+FRC	TFL+TFR	SL+SR	BL+BR	BC	TBL+TBR
	Mono[Notation ane]	ane.0	No	No	Aye	No	No	No	No	No	No
	Stereo[Note 2]	2.0	2.1	Yeah	No	No	No	No	No	No	No
	Stereo	3.0	iii.i	Aye	Yep	No	No	No	No	No	No
	Environs	3.0	No	Yes	No	No	No	No	No	Yeah	No
	Quad	4.0	No	Yes	No	No	No	No	Yes	No	No
	Side Quad	4.0	No	Yes	No	No	No	Yes	No	No	No
	Surround	4.0	4.one	Yes	Yep	No	No	No	No	Yes	No
	(Front)	5.0	5.one	Yes	Yeah	No	No	No	Yes	No	No
	Side[40]	5.0	5.1	Yeah	Yep	No	No	Yes	No	No	No
	Atmos[41]	five.ane.four	Yep	Yes	Aye	No	Yes	No	Yes	No	Yep
	Hexagonal (Dorsum)	vi.0	6.1	Yes	Yes	No	No	No	Yes	Yes	No
	Forepart	6.0	6.1	Yeah	Yes	Yes	No	No	No	Yes	No
	(Side)	6.0	6.1	Aye	Yes	No	No	Yeah	No	Yep	No
	Wide	7.1	Yes	Yes	Yes	Yes	No	No	Aye	No	No
	Side[twoscore]	7.0	7.1	Yeah	Aye	Yes	No	Yeah	No	No	No
	Environs[42]	7.0	7.1	Aye	Yeah	No	No	Yes	Yes	No	No
	Atmos[41]	7.1.four	Yes	Yep	Yes	No	Yes	Yes	Yes	No	Yes
	Octagonal	8.0	No	Yeah	Yes	No	No	Yeah	Aye	Yeah	No
	Surround	9.0	nine.1	Yes	Yes	No	Yes	Yes	Yes	No	No
	Surround	11.0	xi.i	Yeah	Yes	Yes	Yeah	Yes	Yes	No	No
	Atmos[41]	11.ane.4	Yep	Yes	Yes	Yep	No	Ii per side	Two per side	Yes	Aye

7.1 surround sound [edit]

7.1 surround audio is a popular format in theaters & Home cinema including Blu-rays with Dolby and DTS existence major players.^[43]

7.1.2/vii.i.4 immersive sound [edit]

7.1.2 and 7.1.iv immersive audio along with 5.one.2 and 5.1.iv format adds either 2 or four overhead speakers to enable sound objects and special effect sounds to be panned overhead for the listener. Introduced for theatrical moving picture releases in 2012 by Dolby Laboratories under the trademark name Dolby Atmos.^[44]

10.2 environment sound [edit]

10.ii is the surround sound format adult past THX creator Tomlinson Holman of TMH Labs and University of Southern California (schools of Cinema/Television and Engineering). Developed forth with Chris Kyriakakis of the USC Viterbi School of Engineering, x.two refers to the format's promotional slogan: "Twice as adept equally 5.1". Advocates of 10.two debate that information technology is the audio equivalent of IMAX.^{[ weasel words ]}

11.ane environs sound [edit]

xi.1 sound is supported by BARCO with installations in theaters worldwide.^[45]

22.ii surroundings audio [edit]

22.2 is the environment sound component of Ultra High Definition Boob tube, developed by NHK Scientific discipline & Technical Research Laboratories. As its name suggests, it uses 24 speakers. These are arranged in three layers: A center layer of ten speakers, an upper layer of nine speakers, and a lower layer of three speakers and two sub-woofers. The organization was demonstrated at Expo 2005, Aichi, Nihon, the NAB Shows 2006 and 2009, Las Vegas, and the IBC trade shows 2006 and 2008, Amsterdam, Netherlands.

Encounter also [edit]

• 3D audio issue
• Binaural recording
• Dolby Environs
• Duophonic
• Four-channel Compact Disc Digital Audio
• Holophonics
• MPEG Surroundings
• Precedence event
• Soundfield microphone
• Virtual surroundings

Notes [edit]

1. ^ For historical reasons, when using (1.0) mono sound, oft in technical implementations the outset (left) channel is used, instead of the eye speaker aqueduct, in many other cases when playing back multichannel content on a device with a mono speaker configuration all channels are downmixed into i aqueduct. The way standard mono and stereo plugs used for common audio devices are designed ensures this as well.
2. ^ Stereo (ii.0) is nonetheless the almost mutual format for music, equally nearly computers, television set sets and portable audio players but characteristic two speakers, and the red book Audio CD standard used for retail distribution of music only allows for two channels. A two.1 speaker set does mostly not accept a divide physical channel for the low-frequency furnishings, every bit the speaker set downmixes the low-frequency components of the ii stereo channels into one aqueduct for the subwoofer.

References [edit]

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3. ^
4. ^ Graham Healy, and Alan F. Smeaton (2009). Spatially augmented audio delivery: applications of spatial sound sensation in sensor-equipped indoor environments. In: ISA 2009: First International Workshop on Indoor Spatial Awareness, eighteen May 2009, Taipei, Taiwan. ISBN 978-1-4244-4153-2. Abstruse
5. ^ Christos Manolas, and Sandra Pauletto (2009). "Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative". The soundtrack, 2(1), Baronial 2009, pp. 39–55, doi:10.1386/st.two.1.39_1, Print ISSN 1751-4193, Electronic ISSN 1751-4207, Abstract
6. ^ Josephine Anstey, Dave Pape, Daniel J. Sandin (2000). Building a VR Narrative. Proc. SPIE, Vol. 3957, 370, doi:10.1117/12.384463. Abstract ^{[ permanent dead link ]}
7. ^ Marker Kerins (2006). "Narration in the Movie house of Digital Audio". University of Texas Press, The Velvet Light Trap, 58, Fall 2006, pp. 41–54. doi:x.1353/vlt.2006.0030. Abstract
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15. ^ "pinkish floyd". Retrieved 2009-08-14 .
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18. ^ Henry Jacobs
19. ^ Dienstfrey, Eric (2016). "The Myth of the Speakers: A Disquisitional Reexamination of Dolby History". Motion picture History. Film History: An International Periodical. 28 (1): 167–193. doi:ten.2979/filmhistory.28.one.06. JSTOR 10.2979/filmhistory.28.one.06. S2CID 192940527.
20. ^ Ron Steicher (2003): The DECCA Tree—it'south not only for stereo any more Archived 2011-07-19 at the Wayback Automobile
21. ^ Spatial Sound Encoding Including Virtually Field Event: Introducing Altitude Coding Filters and a Feasible, New Ambisonic Format
22. ^ "Further Investigations of Loftier Order Ambisonics and Wavefield Synthesis for Holophonic Sound Imaging". Archived from the original on xiv December 2001. Retrieved 24 Oct 2016.
23. ^ "DTSAC3". Archived from the original on 2010-02-27.
24. ^ ^{a b c d e f g h i j thou fifty 1000 n o p} Rumsey, Francis; McCormick, Tim (2009). Sound And Recording (Sixth ed.). Oxford: Focal Press.
25. ^ ^{a b c d e f g h i j k l 1000 n o p q} Wöhr, Martin; Dickreiter, Michael; Dittel, Volker; et al., eds. (2008). Handbuch der Tonstudiotechnik Band 1 (Seventh ed.). Munich: K.One thousand Saur.
26. ^ ^{a b c d due east f g h i j 1000} Holman, Tomlinson (2008). Surround Sound: Up and Running (Second ed.). Oxford: Focal Printing.
27. ^ ^{a b c} Bartlett, Bruce; Bartlett, Jenny (1999). On-Location Recording Techniques. Focal Press.
28. ^ ^{a b c d} Eargle, John (2005). The Microphone Volume (Second ed.). Oxford: Focal Press.
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32. ^ "Windows Media". windows.microsoft.com. Microsoft. Retrieved 28 October 2015.
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34. ^ Josh Coalson. "FLAC - format".
35. ^ Hydrogenaudio, 5.i Aqueduct Mappings
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37. ^ Terriberry, T.; Lee, R.; Giles, R. (2016). "Channel Mapping Family 1". Ogg Encapsulation for the Opus Audio Codec. p. 18. sec. 5.1.1.2. doi:10.17487/RFC7845. RFC 7845.
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39. ^ Header file for OpenSL, containing diverse identifier definitions
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42. ^ "Sony Print Primary Guidelines" (PDF). Archived from the original (PDF) on 2012-03-07This plus an LFE is the correct speaker placement for 8-runway Sony Dynamic Digital Sound. {{cite web}}: CS1 maint: postscript (link)
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External links [edit]

• Environment audio at Curlie

Dolby 7.1 Surround Sound Package Dolby 7.1 Surround Sound Package Software Free Download

DOWNLOAD HERE

Source: https://en.wikipedia.org/wiki/Surround_sound

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