Multichannel Audio Dramas: A Proposal Preprint 4428 (El)

Thomas Haines, Michael Hooker

University of Cincinnati
Cincinnati, Ohio, USA

Presented at ^ uD,
the 102nd Convention
1997 March 22-25
Munich,Germany
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[Multichannel Audio Dramas: A Proposal [
ABSTRACT

The development of the Multichannel Audio Drama (MAD) theater opens the door for
many areas of exploration of the rich radio drama past. This paper discusses the
advantages in aesthetic design, a brief history and production process of multichannel
recording and playback methods. The concepts of: Optimization of Spatial Acuity; Craft
Follows Technology; Educational Opportunities and Potential Delivery Systems are also
discussed. The conclusion offers a brief audience analysis which is followed by a look
into what the future holds for multichannel audio theaters.

INTRODUCTION

With continued research into this topic, it seemed that a dichotomy exists between sound
in a supporting role in cinema and sound as it exists in a primary mode in the consumer
market. In considering sound designs that are strictly associated with picture images,
certain aesthetic decisions are automatically made for the sound designer, limiting the
sonic outcome by the very visual medium they support. On the other hand, the cinema
surround sound standard is superior to the common two-channel stereo standard found
in the vast majority of audio only production aesthetic and playback systems. Why this
is so will lead to many conclusions and speculations. Our suggestion is to revolutionize
the surround sound arena by expanding market offerings geared toward discrete
multichannel sound systems.

In the proposed multichannel audio-only system, great advantages are realized in several
areas far surpassing the current consumer stereo format. Keep in mind that new
delivery mediums are emerging that may shape the next 50 years of sound reproduction
so the time to consider these issues is upon us. One has to wonder when the audio-only
sound designers and the media marketplace will be ready to take the next logical step -
multichannel audio-only formats and delivery systems.

The authors of this paper have a vested interest in the development of a multichannel
standard for various reasons. Last year, home theater sales grew tremendously. It is a
growth market that demands our attention. As educators, potential MAD systems are
limited to support mediums which severely limit opportunities for us and our students -
but by planting the original seed we hope to see this format proliferate. As professionals,
the proliferation of such a standard will open the floodgates of many new creative
designers in a "sky's the limit" atmosphere. We are also counting on multichannel
music playback to be part of this paradigm shift in the next millennium. Finally, as audio
enthusiasts, the sheer power and scope of multichannel delivery systems will become a
rising tide, possibly creating the next golden age of audio.

MULTICHANNEL AESTHETIC DESIGN ADVANTAGES

Optimizing Spatial Acuity

Our ears have the capacity to gather sonic information in an independent stereo field.
Spreading out the program material in a multichannel format will accentuate this spatial
acuity, thereby more closely accessing our ears natural abilities in a direct fashion.
There are four distinct sonic advantages in multichannel audio system presentations:

1) anchored center channel information

2) sense of spaciousness
3) immersion
4) expanded sweet-spot

It should be mentioned here that the multichannel speakers that we are suggesting
should support discrete, full bandwidth (non-phased) signals to each speaker component.
There are several suitable platforms being developed - we will explore this area in detail
at the end of the paper.

Anchored Center Channel

The simple addition of a center channel has several advantages. In a two speaker
playback environment, the listener's position greatly effects the apparent 'position' and
center information. By using a dedicated loudspeaker component, audio material
intended to be placed in the center position can be distributed to a discrete component
place in the center of the main LR sound field. This anchoring of the center position is
realized regardless of the listener's position in the room.
Sense of Spaciousness
The cinema surround sound standard of diffuse surround speakers may be augmented by
direct radiating rear and side speaker placement. In the proposed format, we are not held
to the cinema staging aesthetic. When coupled with the typical diffuse di-pole speaker
use, these side and rear direct radiating components can be used for any number of effects
designed to create a sense of spatial environment with hard effects placement.
The ability to create authentic environments is heightened when we place sonic events
at a measurable and distinct auditory distance, given that there are no limitations on
number of speakers, speaker placement and workable acoustics.

Immersion
The concept of creating 'virtual reality' has been thought of primarily as visual
experience. In the proposed MAD format, the distribution of sound will engulf the
listener, immersing them in the middle of the experience, not on the outside looking in.
Due to the ears ability to hear multi-dimensionally, immersion into a virtual
environment is almost guaranteed once we remove visual stimulus and surround
ourselves with appropriate auditory cues.

Equally important, MAD lets audiences create their own imagery through imagination.
This is possibly the strongest and least exercised ability that we, as human beings, possess.
To stimulate this valuable asset is every educator's responsibility and with this vehicle
the sky is truly the limit. The ability to create real and surreal acoustic environments is
the foundation on which MAD is laid.

Expanded sweet spot

In a standard stereo sound field, position is everything. In any setting, the listener's
position is optimized only in a narrow area known as the 'sweet spot'. An expanded sweet
spot has always been needed since the inception of stereophony. Multichannel systems
offer this from the standpoint of a discreet center channel speaker system and direct
radiating-surround speakers expand the sweet spot many times over. In multichannel
music applications, these discreet channels offer not only an expanded sweet spot but a
higher level of speaker component predictability due to spreading out the program
elements throughout the 5.1 speaker system much the same way a discrete 3 or 4 way
speaker design is superior to a single full bandwidth driver in mono.
 A BRIEF HISTORY OF MULTICHANNEL SOUND DESIGN

Multichannel sound design has its origins in the theater. Starting as early as 1933, Bell
Telephone Laboratories introduced a three channel orchestral reproduction system
installed in a theater.* One of the first multichannel playback systems for themed
entertainment can be found at Disneyland (Anaheim, CA. U.S.A.) in the 'Its A Small
World' attraction in which multiple congruous musical themes are played back in
synchronization using a Disney proprietary multitrack bin-loop reproducer.

Modern sound design for live dramatic production (although by no means standardized)
typically takes on a very aggressive approach to multichannel spatialization. Basically, a
playback system is designed and installed specific to the needs of the particular
production - in which it is not uncommon to have both a music delivery component as
well as effect speakers. Common practice is to install a speaker where the sound
localization is desired. This trend is beginning to reveal a more liberal use of "staging
speakers". The attempt to create an experience of immersion for the audience in their
surreal environment is of the highest calling.

Most sound designers are prudent about the 'surround' aspect as it is very important to
control the audience perspective in relation to the stage action. For example, when
designing a show in the traditional proscenium house (fixed staging and audience
separated by the proscenium arch) placing sounds behind the audience would be
disconcerting unless for intentional effect. Typically, the sound designer wants to pull
'focus' towards the stage at all times.

In musical theater, the LCR (left-center-right) reinforcement system has become

increasingly popular for many reasons - particularly to eliminate the problems of losing
the 'phantom center' in LR systems. Separating the voice into the center channel and
leaving the music in LR has become the de-facto standard in much the same way as LCR
cinema systems.

MULTICHANNEL PRODUCTION TECHNIQUES USED FOR

MULTICHANNEL AUDIO DRAMAS

Traditionally, surround sound channels follow a certain aesthetic - that of enveloping

the listener in a sound field in a prescribed cinema aesthetic fashion. In MAD, the film
production aesthetic need not necessarily be followed. "Voices" can be placed much in
the same way as theater players are blocked on a stage, but with an added depth
dimension of side and rear of audience placement.

Multichannel production techniques have been developing for the past 30 years.
Blumlein, Middle-Sides and Soundfield microphone techniques are the staple of most
multidimensional recording attempts. Discrete multichannel playback systems allow the
listener to hear the full effect of the production possibilities of quadrant microphone
techniques. The purity of the recorded aesthetic are at best experienced in a discrete/
multichannel, full-bandwidth playback system.

CRAFT FOLLOWS TECHNOLOGY

The concept of Craft Follows Technology is key to the future of the Multi-channel Audio
Drama format. The technology that has driven the film industry has done well in
modernizing the total production effort, elevating the film experience to new heights.
History shows us that breakthrough technologies often create a ripple effect in related
and non-related industries. Until recently, the technology needed to capitalize on the
multichannel sound experience was found only in cinemas. This technology is being
adapted for consumer audio-only systems.

It is the proliferation of modern, digital and lower-cost audio equipment that will
ultimately facilitate the MAD format. For example, today's digital workstations offer
precision and processing power within a single computer that easily rivals the largest and
most complex automated consoles of just several years past. These workstations allow
the MAD designer to approach the work in a non-linear fashion - working in pieces and
in different parts of the script at different times. The linear approach of manual assembly
to analog multitrack tape does not facilitate the kind of creative expression and ease of
change that the computer allows. The cost factor is key in MAD development. The
increases in workstation functionality, RAM and hard disk storage size typically arrive at
equal or lesser cost than their predecessors.
 EDUCATIONAL RAMIFICATIONS (NO ASSISTING MEDIUM
NECESSARY)

In the collegiate educational arena, we strongly believe that the MAD will find
widespread acceptance from a design and production perspective. The equipment
needed will likely be commonplace in training programs of the near future - leaving
little or no capital investment to start such production. As educators, the co-creative
atmosphere, in which schools of differing disciplines collaborate, is key to the future of
the arts and the MAD - mainly because our main tool, the computer, crosses boundaries
and provides an accessible platform for all. Whether it be the Historic Literature class
adapting The Odyssey or the Dramatic Structures class performing Shakespeare in the
recording studio, the source material will not be in short supply.

From a theatrical perspective, it is the power of the script that should be of equal
importance. All of the technology and 'spectacle' possible in MAD is of no use unless it
has solid artistic integrity. This is why the collegiate environment will be of profound
importance in MAD development - as the modern university inherently has the needed
resources, both literary and technological.

AUDIENCE ANALYSIS

The potential audience for the proposed MAD marketplace seems unlimited. For
simplicity's sake, we have split our audience analysis into three common groups
according to general traits:

1) 55 and older
2) 15 to 30
3) 30 to 55

This convergence of technology and audio drama modalities gives rise to a large split,
due in part to an understanding of the delivery system technology and the aesthetic
tradition on which it is built.

There are some tell-tale signs of the times when analyzing the marketplace now and in
the near future. First of all, radio dramas were one of the pillars included in the
dominance of the golden age of radio some fifty years ago. This audience represents the
55 and older segment. This segment is largely unaware of the surround technology
presently used and are likely not to have invested in it. However, they usually have
fond memories of radio dramas and their aesthetic, often times from their earliest
childhood memories.

Secondly, the opposite end of the population, has an acute awareness of this expanding
technology but little or no experience in audio-only dramas. This segment represents a
paradigm shift in many ways. This generation has grown up with computer technology
and many have experienced extended realities through the video game market. Also,
they tend to have an inherent technological make up opening them up to new
experiences, particularly new modalities of experience.

Finally, the middle segment of the population is fragmented in many ways. They are
generally investing in technology and have developed some insight into it's advantages.
However, they are generally non-technical to the extent of apprehension. This group
understands the power of technology but are intimidated by it to the extent of having to
depend on their children to bring them insights into the technological possibilities.

POTENTIAL DELIVERY SYSTEMS AND THE FUTURE

Many multichannel systems are currently on the market or being developed for related
industries - primarily cinema. It is our desire to 'piggyback' our application onto a
commercially viable and affordable system.

Some possible contenders:

High Definition Sound (HDS) - a discrete and multichannel program is encoded with
DTS Coherent Acoustics, a perceptual coder/data compression algorithm. This system
can be employed on standard CD formats and on the new super CD's -- the new DVD
format. HDS offers multiple formats on each title. These formats include 4, 5 or 6
channel (5.1) mixes from the original recording. In conjunction with the new DVD it
will be possible to encode playback settings and allow for interactive and user-definable
choices.
Internet - The internet currently offers some potential but most home users do not have
the robust bandwidth needed for high quality and stereo digital audio. But with expected
future advances it may be possible to set up a fee-based downloading system for limited
consumer use of MAD programs in the home.

Psychoacoustics - The possibility of using psychoacoustic processing to deliver accurate

and realistic spatial cues from only several discreet speakers is close to becoming useful
for the MAD - especially if the current advances in playback mediums other than the
standard CD prove to be prohibitive.

Modular Digital Multitrack (MDM) Formats - This format adapted to MAD programs is
ready now. In a few short years, it has become a standard format in the professional
recording realm. For this application, it offers a high level of dependability and is
considered standard equipment due to its reasonable cost. Also these units are linkable
which can expand the number of discreet speaker channels in the multichannel playback
system ( up to 128 total tracks in all!)

Computer Platforms - For computer playback the only needed hardware will be multiple
currently available PC 'sound cards'. The advent of fast and removable hard disk media
could support a full program of discreet MAD information.

CONCLUSION

The concept of virtual reality has been in the mainstream for decades. Flight simulators
are the best example of these. But in the entertainment world, only the lmax Theaters
have dedicated themselves to attempting to provide the elusive 'other world'
experiences. In the proposed MAD format, great advantages are realized in several areas
surpassing the current stereo format which is obvious even to the casual listener. The
technology itself is the thing that will affect the way audio program material is written,
produced, recorded and ultimately perceived be the listener. The purposed MAD format
coupled with discrete, multichannel audio has the capability to produce realistic and
surrealistic worlds that are but a sweet spot away from our everyday experiences.

The 5.1 playback is the minimum number of channels needed to provide cinema
surround sound (see figure 1). In audio only playback systems a 5.1 system can only offer
a very coarse spatial representation of an auditory environment. The science of
psychoacoustics suggests that more speakers are needed to complete the spatial location
cues needed to create a realistic 360 ° sound field, possibly ten or more speakers. This
might include height (overhead and below) as well as literally surrounding the listener
with both direct and dipole speakers.

The 5.1 sonic integrity is one of the most powerful advantages in a multichannel sound
design aesthetic. It is likely that as this 5.1 system proliferates, more speakers will be
added with a variety of results. How many speakers are enough? Some possible
expansions on this idea are shown in figures 2 and 3. What are the realistic limitations
of home vs. theater environments? Clearly the promised super CD through DVD
technology must be made flexible enough to incorporate as many format selections as
possible.

Sound Design has historically been the slowest maturing design area in the theater. The
reason for this stunted growth is that it tends to rely heavily on technology - especially
technology that has only been pioneered in the last half of this century. The future
success of the MAD format will most likely not have this stumbling block - mainly due
to the rapid expansion of technologies that it needs to work. Modern theater production
values have added sound effects to heighten the audience sense of reality with much
success. More speakers are continuing to be added, often times for only one effect played
only once during the production. The placement of sound sources from a direct radiating
speaker can be a distinct advantage.

The MAD can easily and profoundly accomplish what every theater practitioner desires -
that is, taking the audience member out of their world and putting them in another time
or another place for just a while - just enough to experience someone else's plight and
emotions - to experience 'the human condition' and be able to relate it to our own
human condition. Technology is like a new toy to a child; the spectacle and delight
quickly wears off, but is that one special quality toy that always gets played with again and
again.., the MAD won't be an exception.

* Burris-Meyer, Harold, Mallory, Vincent, and Goodfriend, Lewis, Sound in the Theatre,
rev. ed., Theatre Arts Books, New York, 1979