Dec 23, 2005 - I hadn't really heard of surround-sound music albums, so I. Created in 5.1 surround sound--on the other side, so both standard CD and DVD. Regarding music, the main goal of 5.1 surround sound is a proper localization and equability of all acoustic sources for a centered positioned audience. Original Album In 5.1 Surround Sound. Ganool. Here are more details for 77 CD-12 Love → Building On Fire. Also, currently I have 5 other rare Talking Heads 5.1 surround sound releases for sale.
5.1 Surround Sound Music Cd MusicSurround sound processing for stereo music has been around since the early ‘70s and it even survived the quadraphonic era. With surround sound decoding technologies like and today's 3D sound technologies are, putting it mildly, spectacular! If you have recently upgraded your system, this might be a good time for you to try some of your stereo recordings in surround sound Recently I was reading a white paper on surround sound, because, let’s face it, I have no life. While marveling at the author’s considerable expertise on the subject, I started to notice a few areas where he and I disagreed. For one, the article dealt almost entirely with motion picture surround technologies, and it barely mentioned surround sound for music. Next I noticed that the piece only seemed to authenticate surround sound that is encoded and then decoded. The author derisively referred to multi-channel surround sound gleaned from a 2-channel stereo source as “fake stereo.” Actually, “fake stereo” was a real thing, and it had nothing to do with surround sound. “Duophonic” was a process used in the ‘60s and ‘70s where a monaural recording was split in half, and one channel was delayed, bass was reduced in one channel, and treble was reduced in the other. 5.1 Surround Sound Music Cd DownloadThe result was always hideous, but at least, technically, there were now two different channels. True surround sound processed from a stereo source, however can be quite nice. I fully realize that many of you who consider yourselves purists would never listen to stereo music in surround. I totally get that. Sony 5 1 Surround SoundI don’t listen in surround the majority of the time, but there are times when it really works well. A little surround sound historymusic preceded movies in the home surround market I was fortunate enough to have worked with some heavyweights in the area of analog surround from the 1980’s and on. The surround sound units themselves were called “processors” because they took a stereo signal and generated (processed) a three, four, or five channel surround field from those two channels. In those early days of what would become surround sound, the source material we played was stereo music from records or (later) CDs. Cassettes often had phase issues that messed up the surround matrix. It was only after the advent of the stereo VCR that movies at home could be enjoyed in surround sound, as primitive as it was. The caveat was you needed two channels to create surround. 5.1 Surround Sound MusicAround 1984, VCRs were not only stereo, but also hi-fi, and a very satisfying surround field could be generated from a stereo VCR tape. This was essentially the beginning of home theater. In 1982, Dolby Surround was introduced. It was a primitive matrix that had three front channels and a single surround channel, often split into two rear surround speakers. Separation between front and rear channels was about 3 dB; not very much. Previous to this same period, I was selling and installing systems that used active matrix processors with actual steering logic, and full-range, stereo rear channels. The imaging was dramatic, but not seamless and not without annoying audible artifacts. It worked fairly well on music and stereo movie soundtracks. While Dolby Surround was simply “better than nothing,” having an active matrix and full-range, stereo surround channels was far superior for listening to music in surround sound. In 1986, Dolby Pro Logic was launched. It derived a center channel to go with the left and right channels, and it still had a bandwidth-limited single rear channel. The attack and release times of the steering logic were slowed down to make it smooth during movie pans. The image was center-heavy, and while it worked okay on movies, nailing the dialog to the center of the screen, it was not especially suitable for music. The original Pro Logic was very conservative in its implementation, and not very exciting. Despite their artifacts when playing movies, I found Jim Fosgate’s Tate 101A and Charlie Wood’s Audionics Space & Image Composer far superior to Pro Logic on stereo music sources, as well as on most movies.
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