Luis Rodriguez

Audio Production II

Chapter 18 Surround Sound

 On November 13, 1940 Fantasia opened up the soundfield to stereo.

 Four master optical tracks for playback using a special RCA System called “Fantasound”
 CinemaScope (four-track 35 mm)
 Todd-AO (six track 70 mm)

Stereo Comes to television

 VCR (video) and later hi-fi Stereo sound from a VCR.

Theaters Hit home

 1982, Dolby Labs introduced “Dolby Surround”

Monitoring in 5.1 Surround

 What are the commercial advantages to producing audio in surround?
 What is the budget for such a system?
 Can your existing speakers be integrated into the surround system?
 Can you console produce audio in surround sound?
 Can your DAW producer audio in surround sound?
 How do I plan to monitor in surround?
 In what types of surround mastering tools should I invest?

Active/Passive monitoring in surround

 If the system is a bass managed satellite system, the crossover should be installed per
the manufacturer’s instructions
 If the surround system is full range, you might consider not routing the signals through
the active sub’s crossover.
 Routing the front stereo pair through the sub.

Surround final mastering and delivery formats

 Dolby Digital (AC3)
o DTS Digital Surround
o DTS-ES
o DTS Neo:6
o DTSS 96/24
o DTS Interactive
o DTS Virtual
 DTS
 Dolby Pro Logic
 FLAC
  MP4
 WMA

Mixing In surround
 There are those who believe that the sound should be primarily placed in the front
(L/C/R).
 Others feel there are no rules
 Others will place monophonic sounds at pinpoint sotions
 Many not use the LFE (sub) channel at all.