Multichannel Audio Technologies. More on Surround Sound Microphone Techniques:

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1 Multichannel Audio Technologies More on Surround Sound Microphone Techniques: In the last lecture we focused on recording for accurate stereophonic imaging using the LCR channels. Today, we look at the use of 4 and 5 channel microphones in combination with 3-channel main microphones for obtaining accurate imaging, envelopment, and ambience. We will begin by first looking at the ability of 5.1 systems to create accurate lateral phantom sources using the L-LS and R-RS speaker pairs. Perception of lateral phantom sound sources due to level panning The plots below show the perceived location of a phantom source panned from centre to left and then to the left surround from the perspective of three different seating positions. We see that the perceived directions of phantom sources in the frontal loudspeaker basis C-L are much more resistant against deviations of the seat location from the sweet spot. In contrast, the stability of lateral phantom sound sources (loudspeaker basis L-LS) is rather poor even when the listener is within the so called sweet area (It is assumed that the normal home sweet area is around 1.5m squared. Inside this area the stereophonic quality of the surround sound recording should be sufficiently stable). One principle requirement of good mixes is that sufficient stereophonic quality inside the sweet area is ensured. The plots tell us that this is difficult to achieve if the mix contains direct sound elements to be localized on the basis of lateral phantom sound sources.

2 Fortunately, in terms of apparent source width, spatial impression, and envelopment, indirect lateral sources are surprisingly resistant against deviations of the seat location from the sweet spot. This phenomenon has yet to be investigated fully and seems to depend on the characteristics of the reproduced indirect sound. For example, if two loudspeakers are producing two decorrelated reverberation signals, the signals will fuse together, but will not contain any spatial information, only a sense of envelopment and spaciousness. The situation does not change, of course, if four speakers L, LS, RS, R are used instead of two to reproduce decorrelated reverberation. Thus 100% interchannel incoherence of front reverb signals and rear reverb signals implies that the lateral stereophonic areas will not contain any phantom sources. The problem is that this rarely occurs in reality! When we listen to real world sounds we know that lateral reflections contribute with a certain portion of coherent sound. Thus, it is clear that the lateral indirect stereophonic signals must contain spatial information. Indeed, reproduction of natural reflection patterns in the lateral imaging areas L-LS and R-RS is just as important as in the frontal or rear areas. Thus, it is better for us to record and reproduce direct sound sources for the front LCR channels and to accurately record indirect reflections/ ambience for the lateral/rear channels. We will now look at techniques to accomplish this.

3 5 Channel Main Microphones We now know that there are more than two parameters to be considered in the optimization process: frontal direct sound, early lateral reflections, reverberation, and possibly the audience in the hall. How can we control the level balance of lateral reflections and reverberation without affecting the direct sound? How can we control the direct to reverberant-ratio in the front channels on the one hand and in the surround channels LS and RS on the other hand? Assuming that suitable recording conditions are given and the correct microphone location is found to ensure the adequate directional image as well as the adequate balance of direct and indirect sound, we can state: - The five channel main microphone should reproduce direct sound as well as the indirect sound not only with respect to the original level and time balance but also with respect to the directions of direct sound and early reflections. - Consequently the surround microphones LS and RS have to suppress the direct sound as much as possible, and the microphone pairs L-LS, LS-RS, RS-R must pickup early reflections and - ideally - provide a stereophonic representation for the lateral and back areas. INA-5 (Ideale Nieren-Anordnung = Ideal Cardioid Arrangement) The first arrangement we consider is INA-5. In this arrangement, the L-C-R triangle arrangement of INA-3 is supplemented by the surround microphones LS and RS. The distances are calculated again according to the Williams Curves. There is an extra three recording sectors, and these are divided into 60 o portions, giving a full 360 o recording (when placed alongside the front 180 o ). Thus we have: Sub-area L-C C-R R-RS L-LS RS-LS Recording -90 o to 0 o 0 o to +90 o +90 o to +150 o -90 o -150 o +150 o -150 o sector

4 Practically however, there is a problem with this configuration. Due to the broad front recording angle INA 5 must be located very close at the orchestra, maybe above the conductor s head, in order to ensure the adequate distribution of instruments across L-C- R. Obviously this location is unsuitable for the surround microphones LS and RS, they will pick up too much direct sound from the instruments at the side of the orchestra (resulting in undesirable lateral direct sound phantom images). On the other hand, if INA 5 is located optimally with respect to the surrounds, the orchestra will be perceived more or less concentrated around the center loudspeaker ( center effect ). Obviously a flexible and independent control of the recording angle at the one hand and direct / indirect sound level balance on the other is desirable. This is not possible with fixed 3/2 stereo main microphone configurations. Natural music recording should aim to create a convincing spatial perspective and therefore requires careful design of the Direct to reverberant-ratio, as well as the corresponding layout of the direct sound. Fukada-Tree An interesting 3/2-stereo main microphone approach is the Fukada-Tree. The soundstage imaging triangle L-C-R is a modified version of the Decca Tree, where the omnis are replaced by cardioids to reduce the energy of indirect sound in the front channels.

5 According to Fukada, supplementing omni-directional flanking microphones on the sides (LL, RR) are used to present a sense of the orchestra width and to smooth the sound connection between the front and the rear. Spatial imaging is realized by means of the 1.8 m spaced square L, R, RS, LS. Fukada also states: The configuration of the tree can vary depending on the hall s acoustic characteristics, while the microphone intervals may be changed conforming to the orchestras size and formation. Remember though, like the Decca Tree, the Fukada tree will not give accurate frontal imaging due to the wide spacing of the microphones. Instead it will give a wide spacious sound at the front and the LL and LR signals can be mixed into the lateral L-LS and R- RS pairs for added ambience.

6 OCT Surround: INA-5, like Williams MMA has the problem of channel crosstalk. The OCT layout minimizes channel crosstalk by setting the L and R cardioids at right angles to the centre cardioid. The OCT L-C-R microphone is supplemented by a pair of surround cardioid capsules facing exactly backwards. This has the effect that the direct sound from frontal directions will be suppressed according to the directional characteristics of the cardioids. The resulting level balances are plotted below: The table below demonstrates satisfying separation of stereophonic imaging areas with respect to any sound source direction. In particular, suppression of direct sound (Orchestra, Ω = 0 45 ) in LS and RS is in the range < - 25 db - 13 db. In contrast, early reflections from any direction are reproduced with adequate level in the corresponding stereophonic pair of channels. This will result in a balanced image of the actual Direct to Reverberant-ratio and of the directional characteristics of early reflections.

7 Note that the distance between front and surround microphones is not intended to introduce sufficient delay of direct sound in the surround channels. Rather, the direct sound is sufficiently suppressed. For optimum effect the centre of the OCT surround array should be placed at the sourceroom critical distance (More later). Important Note: If we are using a single five-channel microphone (such as OCT surround) we should not touch the front/back level balance in order to keep the stereophonic representation of lateral sound.

8 Four Channel Room Microphone configurations: Quite often the three channel main microphone is supplemented by another four channel microphone dedicated to the room ambience or room spatial imaging. Two such microphones are the IRT cross and the Hamasaki square: IRT-Cross for atmospheric recording A square arrangement of cardioids (d = cm) is known as Atmo-cross and offers stereophonic imaging of ambient sound such as applause. However, this configuration can have disadvantages in room microphone applications if the Reverberant to Directratio level picked with LB and RB is not large enough (i.e. if the distance from the L-C-R main microphone is too short). Hamasaki Square:

9 This square arrangement uses four figure of eight microphones (spacing d = 1 m). The null point of the directional characteristic of each microphone is facing the stage in order to reduce the energy of direct sound as much as possible. The array is usually placed at a very high position in the concert hall where the sound is very diffused and energy from direct sound is diminished. The microphones LB and RB are routed to channels L and R or panned between L-LS and R-RS, the microphones LS and RS are routed to channels LS and RS. Separation of main and room microphone We stated previously that for a five-channel microphone (such as OCT surround) we should not touch the front/back level balance in order to keep the stereophonic representation of lateral sound. However, we can achieve maximum flexibility if we separate the tasks for frontal imaging and ambient/spatial recording into two main microphones. For example, we may use an OCT array for recording direct sound and a Hamasaki Square for the room. In normal situations the main microphone is located near the critical distance. This is the distance at which the direct to reverberant ratio = 1. where V is the volume of the room (Length x Width x Height) and T is the reverb time.

10 Suppression of direct sound in the surround channels should be at least 10 db. More suppression is necessary if the level of lateral sound in the hall is low. Separation of main and room microphone is beneficial with respect to Reverberant to Direct optimization, because it does not restrict the margin for the location of the L-C-R part of the main microphone. Below is a list of some critical distances in music halls: Spatial Design Using Delay Spot microphones are reproduced earlier than the corresponding main-microphone signal. Thus the ear interprets the spot-microphone signal as the direct sound. Due to the precedence effect the localisation of an auditory event is in principle determined by the sound arriving first at the ear. Accordingly the panned direction and the close character of the added spot microphone signal is dominant and favorable characteristics of the time information of the indirect sound are lost. Such recordings sound unnatural, without spatial depth and spatial impression. It is not possible to moderate this space-disturbing effect by compensating the delay of the main microphone signal. This is because a pure delay compensation leads to "notching" effects, which are particularly disturbing when the musicians move about near the spot microphone. In order to avoid this negative effect, and to preserve the perception of depth, apparent source width and spatial impression, the spot-microphone signal should be converted to a number of reflections. This reflection pattern is delayed much more than necessary for the compensation, so as to fall within the region of the early reflections. This technique is known as RRB (Room Related Balancing).

11 Since the spot microphone signal is converted to a series of delayed reflections, it will not impact the directional information (direction of phantom sound source) produced by the main microphone. Consequently this technique is not applicable if the main microphone does not produce a satisfying directional image. For example, if a Decca Tree or widely spaced microphones are used, the result would be unsatisfying because delayed spot microphones do not provide desirable directional stable images. Sound engineers who give preference to widely spaced main microphone configurations obviously reject from spot microphone delay techniques. The two principal concepts are illustrated in the following table: Time-balancing: Careful layout of delays has an extremely high importance in multichannel recording. It is therefore suggested to prepare a detailed delay plan for each recording, including each of the microphones involved in the mix. An example for an orchestra with main microphones and spot microphones is shown below. The delay values are referred to the time base t = 0 ms as shown.

12

13 The arrival-time gap values plotted in column 5 of the table are displayed here graphically in order to illustrate the intended mixing result (the time scale [ms] defines the arrival time of sound for the listener). The time pattern of the indirect sound is designed in order to create the desired spatial impression. It is proposed to allocate the indirect sound derived from the spot and room microphones into the surrounding channels L, LS, RS, R. It is advantageous to generate at least four reflections (the more the better, e.g ) from each spot microphone signal and to use a four-channel room microphone. Reflections in the center channel (median plane of the listener) are unfavourable. Checklist for natural recording:

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