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Contents Foreword .. .. .... ......... .. .. .. .... ......... .... .. .... ......... . ix Introduction.................................................... xi Surround History 101 ..................................... Numeric Roots 8 Matrix or Discrete 1 1 The AC-3 Thang 13 DTS Coherent Acoustics Audio 1 5 Delivering Surround 16

1

Recording Surround ........................................ Recording Chain 18 A Little About Mics 18 Pick-Up Patterns 20 Boosting and Recording the Signal 2 4

17

Mono and Stereo Microphone Techniques 25 Localization vs. Space 28 Surround Micing Techniques 2 9 Up and Running .............................................. Computer Hardware and Software 3 4 Control Devices 3 6 Soundcard Options 37 Audio Monitors 38 Basic Audio Studio Setup 40 Precise Speaker Placement 43 Calibration Cear 46 Calibrating Speakers 49 TV and Film Calibration Notes 5 1

33

M

Contents

Software Tools ................................................... Multitracking 54 Soundcard Properties 56 Project Properties 5 7 Generic Functions 58 Automation 65 Bass Management, Center Channel, and Downmix .................................................... LFE and Subwoofer 70 Bass Management 71 LFE and Content 73 Center Caveats 75 Phantom Ghosts 78 Exit Sign Effect 81 Downmix Nixes 82 Surround Downmix Issues 8 4 Separate 5.1 and Stereo Is Best 85 Music Surround Mixing Tips ............................... The Rules 88 The Case Against Surround Upmixing 89 Correlated vs. Decorrelated 90 Using Surround Recordings 92 Before You Mix 92

53

69

87

Bass 100 Rhythm Instruments 100 Lead Instruments 101 Ear Candy 102 Dynamic Panning 102 Multitrack Music Mixing in Action 104 Audio Post Surround Mixing Techniques ......... Crafting the Killer Soundtrack 1 1 6 Soundtrack Elements Include: 11 7 Sound Resources 11 7 Sound Effects Libraries: 1 1 7 Production Music Libraries: 1 1 7 Voice Rules! 118 Sound Effects and Foley 120 Backgrounds 122 World-izing 12 5 Music 126 DMBE 130 Final Sweetening 130 Audio Post Mixing 13 1 Making 5.1 Music with ACID 148

115

Export and Encode Options ............................. Export to Multiple Files 154

153

Surround-izing 94 In Their Face 96 Vocals 97

DMBE Considerations 156 Dolby Digital AC-3 Metadata 157 AC-3 Audio Service Configuration 158

Drums 98

Bitstream Information 160

Contents

Extended Bitstream 162 Preprocessing 163 Dialog Normalization 167 Dynamic Range Compression 169 DTS 175 Windows Media 9 177 Testing the Encode 178 Conclusion .... ......... .. .. .... .. ......... .. .. .... .. ........... .. . 179 Glossary .. .... .. ... ... ... .. .. . ... .. ... ... ... .. .. .... .. ... ... .... . .. . 181

P

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IX

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XIII

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#HAPTER

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#HAPTER

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 #HAPTER

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 #HAPTER

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 #HAPTER

89POSITIONSAMATCHEDPAIROFCAR DIOIDSCLOSETOGETHERBUTPOINTEDIN OPPOSITEDIRECTIONS DEGREESAWAY FROMCENTER /24& POSITIONSTWOMATCHEDCARDI OIDS POINTEDINA6PATTERNCMAND DEGREESAPART

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 #HAPTER

4HE$ECCA4REEISYETANOTHERSTEREO MICROPHONETECHNIQUETHATUSESTHREE OMNI DIRECTIONALMICROPHONESLEFT RIGHT ANDCENTER!LLTHREEMICSFACE FORWARDANDFORMANEQUILATERALTRI ANGLEWITHTHECENTERMICATTHEAPEX !LTERNATELY CARDIOIDSCANBESUBSTI TUTED

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 #HAPTER

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4HEREAREALSODEDICATEDSURROUND MICROPHONES SUCHASTHE(OLOPHONE (0ROWWWHOLOPHONECOM THAT ALLOWFOREASIERPOSITIONINGANDUSE WHILEMAINTAININGTHEUNIQUEAMBI ENCEOFMULTICHANNELRECORDING4HIS MICISPRACTICALLYASURROUNDVARIATION ONTHEBINAURALPRINCIPAL 4HESEAPPROACHESALLNEGLECTTHE,&% CHANNEL THOUGHASIXTHMICROPHONE SPECIlCALLYANOMNI COULDBEEM PLOYEDTOCAPTURETHISCHANNEL 3OME(OLLYWOODSOUNDTRACKSUSE THESETECHNIQUESTOCAPTUREORCHES TRALSCORES)NCREASINGLY LIVERECORD INGSOFMUSICALACTSAREUSINGTO CAPTURETHEAUDIENCEPERSPECTIVE (OWEVER MOSTENGINEERSSUPPLEMENT THESEhAMBIENCEvRECORDINGSWITHSPOT MICSDEDICATEDTOINDIVIDUALPERFOR MANCES&OREXAMPLE THEREMAYBE DEDICATEDMICSONEACHMAININSTRU MENTANDSINGERROUTEDTOSEPARATE RECORDINGTRACKS4HESEJOINTHE RECORDING PROVIDINGMOREMIXINGCON TROLDURINGPOST PRODUCTION

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#HAPTER

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 #HAPTER

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 #HAPTER

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 #HAPTER

!UDIO-ONITORS -IXINGANDMONITORINGSURROUND SOUNDREQUIRESSIXDEDICATEDSPEAKERS ONEOFTHEMASUBWOOFERCAPABLEOF REPRODUCINGEXTREMELOWFREQUENCIES 4HEREARETWOCHOICES 0ASSIVESPEAKERSGETTHEIRPOWERFROM ASEPARATEAMPLIlER!SSUCH YOU WOULDNEEDMULTIPLEAMPLIlERSORAN AMPLIlERSPECIlCALLYDESIGNEDTOWORK WITHDISCRETESURROUND4HISAMPLIlER MUSTHAVETHENECESSARYSIXINPUTS ANDSIXSPEAKERCONNECTIONS !LTERNATELY POWEREDSPEAKERS OFTEN CALLEDACTIVEMONITORS HAVEBUILT IN AMPLIlERS4HEYCONNECTDIRECTLYTO THESOUNDCARDOUTPUTS 4HEREAREALSOHYBRIDSYSTEMS SUCHAS THE- !UDIO,8  WHICHHOUSESITSSIX AMPLIlERSINTHESUBWOOFERSENDING DISCRETESIGNALSTOTHEREMAININGlVE PASSIVESPEAKERS

5PAND2UNNING



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 #HAPTER

-OSTCONSUMERSYSTEMSUSESMALLER LIMITEDBANDWIDTHSATELLITESPEAK ERSANDROUTEALLTHEBASSCONTENTTO ASUBWOOFER4HISAPPROACHISCALLED BASSMANAGEMENT!NDWHILEITISSUF lCIENTFORHOMETHEATERPLAYBACK ITIS NOTTHEPREFERREDMETHODFORE«ECTIVE SURROUNDSOUNDAUTHORING4HISISALSO APOINTOFSOMUCHCONFUSION)NCON SUMERSYSTEMS THESUBWOOFERDOES DOUBLEDUTY PROVIDINGBOTHTHEDEEP BASSCONTENTMISSINGFROMTHESATEL LITESANDTHE,&%SOUNDS"ASSMANAGE MENTWILLBEEXPLOREDINGREATERDETAIL LATER

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5PAND2UNNING

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 #HAPTER

!LSO UNLIKEMOSTSTEREOMIXING ENVIRONMENTS SURROUNDMONITOR INGISBESTCARRIEDOUTINAROOMTHAT ISMOREhDEADvORNEUTRALSOUNDING 4REATTHEROOMACOUSTICSTOREDUCE REVERBERATIONTIMEANDDAMPENTHE EARLYREmECTIONSE«ECTIVELY&IRST REmECTIONSAREPARTICULARLYTROUBLE SOME!SSOUNDLEAVESTHESPEAKERSIT STRIKESTHEMANYSURFACESOFTHEROOM 4HESESURFACESREmECTSOUNDBACKTO THEMIXINGPOSITION3OMETIMESTHESE SOUNDSAREIN OROUT OF PHASEWITHTHE ORIGINALSOUND CAUSINGCONSTRUCTIVE ANDDESTRUCTIVEINTERFERENCE)NSHORT THElRSTREmECTIONSCANA«ECTWHATYOU HEARINADVERSEWAYS #AREFULPLACEMENTOFBROADBAND SOUND ABSORBINGMATERIALAROUNDAND BEHINDTHESPEAKERSCOUPLEDTOSUF lCIENTDI«USIONOUTSIDETHESURROUND SWEETSPOTRESULTSINAMOREACCURATE MIX0RODUCTSSUCHASACOUSTICFOAM BASSTRAPS ANDDI«USERSPROVIDESOLU TIONSTOCOMMONCONTROLROOMACOUSTI CALPROBLEMS

5PAND2UNNING



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 #HAPTER

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 #HAPTER

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 #HAPTER

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#HAPTER

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 #HAPTER

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 #HAPTER

!DJUSTTHELEVELOFTHECENTERCHANNEL INRELATIONTOTHEOTHERSPEAKERS 4OKEEPASTEREOSOURCEINITSORIGINAL STEREOFORMAT INCLUDINGITSPHANTOM CENTER POSITIONITATTHEFRONTAND EITHERTURNO«THECENTERORREDUCEITS VOLUME

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 #HAPTER

!SSIGNATRACKTOTHE,&%ONLY 4HE3URROUND-ASTER"USPROVIDES INDEPENDENTLEVELCONTROLSFORALLSIX CHANNELS-ETERSSHOWTHELEVELS TOO !DDAlLETOATRACKANDUSETHAT TRACKSSURROUNDPANNERTOMOVETHE lLEAROUNDASITPLAYS7ATCHTHEMAS TERBUSTOSEEHOWTHELEVELCHANGES ASTHESOUNDMOVESFROMSPEAKERTO SPEAKER

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 #HAPTER

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 #HAPTER

v 2ECORDINGMODEˆUSETHEMOUSETO MANIPULATEFADERS SLIDERS KNOBS ANDBUTTONSINREALTIMEASTHElLE PLAYS4HESOFTWARERECORDSTHE MOVESANDPLAYSTHEMBACK4HE RECORDEDENVELOPESCANUSUALLYBE EDITED TOO v %XTERNALHARDWAREˆUSESADEVICE THATEMULATESAHARDWAREMIXERIN BOTHMANUALANDRECORDINGMODES

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#HAPTER

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 #HAPTER

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 #HAPTER

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 #HAPTER

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 #HAPTER

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 #HAPTER

6OCAL%1SETTINGSDEPENDONTOOMANY FACTORS'ENERALLY ADDSOMEWARMTH WITHBOOSTSINTHE(ZAREAFOR MALESAND(ZFORFEMALES4AKETHE MUDOUTWITHCUTSINTHEn(Z RANGE$ICTIONIMPROVESASDOES SPEECHINTELLIGIBILITY INWITHBOOSTSAT  (ZOR (Z7ATCHOUTFOREX CESSIVE3 SOUNDSORSIBILANCETHOUGH !IRISINTHE (ZRANGE#OM PRESSIONONTHEVOCALCANHELPITCUT THROUGHABUSYMIX TOO4RYBETWEEN TOWITHAFASTATTACKANDSLOW RELEASE 0LACETHEVOCALINTHEFRONTSTEREO,2 ANDTHECENTER!NYE«ECTSSHOULDBE THERE TOO!NICELUSHREVERBORASLAP DELAYAREGOODCHOICES)OFTENUSEA DELAYEDREVERBBYEITHERTWEAKINGITS PRE DELAYSETTINGORPLACINGADELAY E«ECTBEFORETHEREVERB4HISKEEPS THEVOCALMOSTLYDRYANDUPFRONTIN THEMIXWITHJUSTTHEHINTOFREVERB LATERˆGREATFORBALLADS


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#HAPTER

!UDIO0OST3URROUND -IXING4ECHNIQUES 4HESOUNDTRACKTOANYVISUALPRESENTATIONISWELLOVERHALFTHEEXPERIENCE$ONTBELIEVEME0UTIN YOURFAVORITE(OLLYWOODMOVIEANDWATCHITWITHOUTTHESOUND7HILETHEVISUALASPECTSMAYSTILLBE STUNNING ITISTHESOUNDTRACKTHATMAKESITALLCOMEALIVE"UILDINGASURROUNDSOUNDMIXTOACCOM PANYYOURVIDEOSOPENSUPAWHOLENEWWORLDOFCREATIVEEXPRESSION"YFARTHEEASIESTANDCHEAP EST
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 #HAPTER

#RAFTINGTHE+ILLER3OUNDTRACK -OSTPEOPLEMISTAKENLYBELIEVETHATTHEPRIMARY FUNCTIONOFASOUNDTRACKISTOSUPPORTTHEVISUAL !UDIENCESPUTUP WITHhBADvVIDEO BUTNEVERPOOR SOUND

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 #HAPTER

6OICE2ULES
4HEDIALOGTRACKISTHEMOSTIMPOR TANTPARTTOVIRTUALLYEVERYVISUAL !LWAYSCAPTURE ROOMTONEAND PRESENCEATEVERY LOCATION2OOM TONEANDPRESENCE SMOOTHESAND HIDESEDITS MAKINGTHE lNISHEDTRACK SOUNDBETTER

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$EPENDINGONWHATYOUWANTTOCON VEY GROUPWALLACANWORKINSTEREO THESURROUNDS ORBOTH,EAVINGTHEM -ANYOFTHEIDEAS DISCUSSEDINTHE MUSICSURROUND MIXINGCHAPTER APPLYTOAUDIO POSTPROJECTS TOO

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 #HAPTER

#REATELARGER THAN LIFEBACKGROUNDSBY ADDINGAMONOORSTEREOBACKGROUND RECORDINGINTOTHESOFTWARE$UPLICATE 3OUNDSTHAT OCCURBEFOREA VISUALORCONTINUE FROMAPREVIOUS SCENEOFTENWORK WELLSTARTING ORlNISHINGIN THESURROUNDS RESPECTIVELY

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 #HAPTER

3ONYS!COUSTIC-IRRORPLUG IN WHICH SHIPSWITH3OUND&ORGE ISANOTHER WAYTOADDREALISTICAMBIENCESTOYOUR TRACKS4HEPROGRAMUSESSPECIALLY PREPAREDlLESTHATESSENTIALLYCAPTURE ONLYTHECHARACTERISTICSOFASPACE 4HESECHARACTERISTICSCANTHENBEAP PLIEDTOlLESMAKINGTHEMSOUNDASIF THEYWERERECORDEDINTHATSPACE

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 #HAPTER

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 #HAPTER

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 #HAPTER

9OUALREADYKNOWTHATTHECENTERCHAN NELANCHORSYOURDIALOGTOTHESCREEN SOPLACINGTHEDIALOGISFAIRLYSTRAIGHT FORWARD,EAVEALITTLEINTHEFRONT,2 TOO )FYOUHAVEMULTIPLETRACKSOFDIALOG CONSIDERINSERTINGAMIXERBUSAND HAVETHISONEFADERCONTROLTHELEVELOF ALLDIALOG2OUTEEACHDIALOGTRACKTO THISBUS"ALANCEASNEEDED

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 #HAPTER

'OODBACKGROUNDSMUSTWORKWELL WITHTHEDIALOG AUGMENTINGORSUP PLANTINGTHEROOMTONEANDPRESENCE 4HEEASIESTAND CHEAPESTWAY TOMAKEYOUR VISUALPROJECTS LOOKBETTERISTO IMPROVETHEIR SOUND


USEDTOSMOOTHDIALOGEDITS!WELL RECORDEDANDWELL PLACEDBACKGROUND CANWORKWITHDIALOGTOCREATEAVERY CONVINCINGSOUNDTRACK(ARDE«ECTS ANDMUSICSERVEONLYTOSWEETENAN ALREADYSOLIDPRESENTATION "EAWAREOFTOOMANYSOUNDSBUILD INGUPINTHECENTERCHANNEL3URROUND SOLVESTHISISSUEBYGIVINGYOUALTERNA TIVEPLACEMENTOPPORTUNITIESFORYOUR ENVIRONMENTAL BACKGROUNDSOUNDS +EEPINGBACKGROUNDSOUTOFTHECENTER ANDUSINGTHEFRONT,2ANDSURROUND ,2SPEAKERSINSTEADLEAVESANICE HOLEFORTHEDIALOGTOSIT"ACKGROUNDS RECORDEDINTRUESTEREOORTRUESUR ROUNDFORTHATMATTER MAKEFORANICE EXPERIENCEFORTHEAUDIENCE

!UDIO0OST3URROUND-IXING4ECHNIQUES

)NTHEABSENCEOFTRUESTEREO TRYTHIS TRICK$UPLICATEABACKGROUNDTRACK /«SETTHECOPYBYABOUTHALFITSTOTAL LENGTH(ARD PANTHETWOTRACKSTO OPPOSITEPOSITIONS EITHERFRONT,2 ORREAR,24HISCREATESAPLEASING PSEUDO STEREOE«ECTANDAMOREOPEN BACKGROUND $ONTFORGETABOUTLAYERS TOO4HINK FOREGROUND MIDDLEGROUND ANDFAR THERAWAYSOUNDSANDBUILDAMORE REALISTICOVERALLENVIRONMENT5SETHE FREQUENCYSPECTRUM TOO WITHSOLID LOWS CRISPHIGHS ANDINBETWEEN



 #HAPTER

5SECARETOKEEPSOUNDSTHATINTERFERE WITHTHEVOICEOUTOFTHEBACKGROUND MIX THOUGH$IPPINGTHE%1BETWEEN  n (ZONBACKGROUNDTRACKS CANOPENUPFREQUENCYROOMFOR CONSONANTS WHICHISWHATMAKESOUR SPEECHMOREINTELLIGIBLE !FTERBACKGROUNDS TURNTOHARDE«ECTS ANDUSE%1 VOLUME ANDSURROUND PLACEMENTTOlTTHESEELEMENTSINTO THEENVIRONMENT$YNAMICPANNING CANWORKFORCERTAINSOUNDS SUCHAS AHELICOPTERmY OVERORFORCERTAINCAR BYS

!UDIO0OST3URROUND-IXING4ECHNIQUES

5SINGDELAYS REVERB ORBOTHINTHE SURROUNDSCANMAKEFOREGROUNDSOUND E«ECTSAPPEARLARGERTHANLIFE4HE DELAYORREVERBTAILSEEMSTOSAILRIGHT OVERTHEAUDIENCEPUTTINGTHEMINTHE SOUNDITSELF4HISISATERRIlCE«ECT FORHORROR lLM LIKEhJUMPSvˆSUDDEN SOUNDSTHATMAKETHEAUDIENCEJUMP INTHEIRSEATS 7ITHAWELL BUILTSOUNDTRACK MUSIC BECOMESANOTHERLAYERˆTHEEMOTIONAL ICINGONTHECAKE SOTOSPEAK7ITH STEREOMUSICTRACKS SURROUNDSOUND POSITIONINGCANGIVETHEMMOREDEPTH



 #HAPTER

!LTERNATELY ADDALARGEREVERBTHAT PLAYSSOLELYINTHESURROUNDS2OUTE SOMEOFTHEMUSICTOTHISREVERB KEEP INGTHEORIGINALMUSICINCONVENTIONAL STEREO4HEMUSICNOWENVELOPESTHE AUDIENCENICELY 7ITHONLYASTEREOMUSICTRACK THESUR ROUNDOPTIONSARESOMEWHATLIMITED 'RANTED YOUCANENHANCETHEAMBI ENCEOFTHEMUSIC BUTYOUCANTTRULY A«ECTTHEORIGINALBALANCEORFEATURE INDIVIDUALELEMENTSEASILY)FYOUHAD ACCESSTOTHEORIGINALCOMPONENTSTHAT COMPRISETHECOMPLETEDMUSICALPIECE YOUDHAVEMOREOPTIONS &OREXAMPLE SURROUND IZINGTHELAY ERS ORSTACKS FROM$IGITAL*UICES 3TACK4RAXXMUSICLIBRARYO«ERSMANY CREATIVEALTERNATIVES)NSTEADOFJUSTA STEREOMUSICTRACK 3TACK4RAXXO«ERS UPTOSEVENINDIVIDUALELEMENTSFOR EXAMPLE DRUMS GUITAR BASS KEY BOARDS ANDMORE ASSEPARATETRACKS

!UDIO0OST3URROUND-IXING4ECHNIQUES

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 #HAPTER

4HEBASSPARTLAYERCOMESASASTEREO lLE3ELECTJUSTTHELEFTCHANNELOFTHE BASSPARTANDPOSITIONITSIMILARLYTO THEDRUMSFRONTSTEREO,2ANDWITH ITSCENTERANDSURROUNDSO« TOO-AKE ACOPYOFTHEBASSTRACK4HISTIME CHOOSEONLYTHERIGHTCHANNEL!DDAG GRESSIVE%1TOREMOVEALLTHEFREQUEN CIESABOVE(Z!SSIGNTHISTOTHE ,&%TOADDSOMEEXTRALOW ENDTHUMP TOTHEMUSICTRACK 4HISTRACKFEATURESANINTERESTING PERCUSSIONTRACK4OEMPHASIZEITA LITTLEMORE ANDTOAVOIDMASKINGTHE MAINDRUMPART TURNO«THESTEREO ,2SPEAKERSANDINSTEADBALANCE THEPARTMIDWAYBETWEENTHECENTER SPEAKERANDSURROUND,2"ALANCETHE LEVELSTOPLACETHISTRACKRIGHTINYOUR LISTENERSFACE

!UDIO0OST3URROUND-IXING4ECHNIQUES

4HELEADGUITARPARTANDPIANOALTER NATEASFOREGROUNDTRACKS0OSITION THEGUITARABOUTHALFWAYBETWEENTHE FRONTANDREARSPEAKERSWITHABOUT TOPERCENTPRIMARILYTOTHELEFT 4URNTHECENTERO«0LACETHEPIANO INTHECOMPLEMENTARYSPACEHALFWAY BETWEENFRONTANDREARANDTO PERCENTTOTHERIGHT 0LACETHERHYTHMGUITARTRACKDEAD CENTERUSINGTHEFRONTANDREAR,2 BUTTURNTHECENTERCHANNELO«4HIS SUPPLEMENTSTHEPERCUSSIONTRACKWELL ONCEYOUBALANCETHEIRRESPECTIVEVOL UMELEVELS



 #HAPTER

4HESYNTHPADPARTISJUSTASWEETENER SODIRECTITONLYTOTHE,2SURROUNDS .EXT ADDANINSERT&8WITHREVERB #HOOSEAREVERBSETTINGWITHALONG PRE DELAY4HISISTHEAMOUNTOFTIME BETWEENTHEORIGINALDRYSOUNDAND THESTARTOFTHEREVERBTAIL,ONGPRE DELAYSUSUALLYINDICATELARGERROOMS 5SETHESURROUNDPANNERTOPOSITION THEREVERBOUTPUTTOTHEREAR,2 SURROUNDSONLY!LSO MAKETHERE VERBPERCENTWETNODRYSOUND  "ALANCETHEWET DRYMIXUSINGTHE&8 SENDSAVAILABLEONYOURTRACKSORCHAN NELS 3ENDSOMEOFTHEDRUMPARTTOTHIS REVERB!DJUSTTOTASTE4HISE«ECTIVELY MAKESTHEDRUMSSOUNDBIGGERBE CAUSETHEIRREVERBTAILPLAYSBEHINDTHE AUDIENCE4HEPRE DELAYKEEPSEVERY THINGFROMGETTINGMUDDYANDALSO ADDSSOMEMOVEMENTTOTHEDRUMS WHICHAPPEARTOGENTLYmYOVERTHE AUDIENCE!DJUSTFORSUBTLETYHERE AS YOUDONTWANTPEOPLETURNINGAROUND ASTHEYLISTEN

!UDIO0OST3URROUND-IXING4ECHNIQUES

!DDANOTHER)NSERT&8THISTIMEUSINGA SHORTDELAY!SSIGNTHISOUTPUTTOTHE2 SURROUNDONLY3ENDALITTLEOFTHELEAD GUITARPARTTOTHISDELAYTOMAKEITCUT THROUGHTHEMIXALITTLEBETTER &INALLY CONSIDERADDINGSOMEDYNAMIC PANNINGTOTHEPARTS ESPECIALLYTHE PIANOANDLEADGUITAR$ONTGOOVER BOARD&EATURETHEPARTWHENITMAKES MUSICALSENSEBYMOVINGTHEMMORE TOWARDTHEFRONTANDCENTER



 #HAPTER

-AKING-USICWITH!#)$ 3ONYS!#)$0ROISANOTHERWAYTO COMPOSEANDDELIVERORIGINALMUSIC FORYOURVIDEOPRODUCTIONS!#)$USES PRE RECORDEDLOOPSOFMUSICALPARTS THATYOUARRANGEONATIMELINETOCRAFT MUSICSCORES,OOPSARESIMPLYSNIP PETSOFPERFORMANCESTHATPLAYSEAM LESSLY7HATMAKESTHISWORKISTHAT !#)$AUTOMATICALLYADJUSTSTHEMUSI CALKEYANDTEMPOOFLOOPSTOASINGLE PROJECTTEMPOANDKEYREGARDLESSOF THELOOPSORIGINALSETTINGS 4OUSETHEPROGRAM YOUPREVIEW LOOPS PICKTHEONESYOUWANT PAINT THEMINTHE4IMELINE ANDPLAY4HE SOFTWARESHIPSWITHHUNDREDSOFLOOPS TOGETYOUSTARTED ANDTHEREISMAS SIVESUPPORTFORADDITIONALLOOPSFROM AVARIETYOFSOURCES-OSTIMPORTANTLY LOOPSCOMEINMANYMUSICALGENRES FROMORCHESTRALTOROCKANDVIRTUALLY EVERYTHINGINBETWEEN#HECKOUT )NSTANT!#)$FORMOREINFORMATIONON USINGTHISAMAZINGSOFTWARE

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 #HAPTER

3ELECTTHE7AVE-ICROSOFT  WAV FOR MATFROMTHEh3AVEASTYPEvMENULIST #HOOSETHE (Z  BIT -ONO 0#-TEMPLATEFROMTHE4EMPLATE LIST.OTICETHECHECKBOXh3AVEEACH CHANNELASASEPARATElLEvISSELECTED BUTGRAYEDOUT 4HISEXPORTSTHESIX CHANNELSOFYOURSURROUNDMIXINTOSIX SEPARATEMONOlLES .AMETHElLEANDCHOOSEASAVELOCA TION!#)$0ROUSESTHISROOTNAME WHENRENDERINGANDEXPORTINGTHE INDIVIDUALCHANNELS4HESOFTWAREAP PENDSTHEAPPROPRIATESURROUNDCHAN NELNAMETOTHISROOTNAME#LICK/+

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4HEREARENOWSIXCHANNELS APPROPRI ATELYNAMED CARRYINGYOURSURROUND MIX 3WITCHTOYOURVIDEO.,%ANDADD THESESIXTRACKSTOSEPARATECHANNELS 5SEEACHTRACKSSURROUNDPANNERTO POSITIONEACHTRACKANDRECREATETHE !#)$0ROMUSICMIXINYOUR.,% !LTERNATELY YOUCOULDEXPORTEACH INDIVIDUAL!#)$0ROTRACK IMPORTTHEM TOTHE.,% ANDTHENUSEITSSURROUND TOOLSTOMIXTHEMUSICINSTEAD4HE CHOICEDEPENDSONYOURTASTESANDTHE COMPLEXITYOFTHEPROJECT



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#HAPTER

%XPORTAND%NCODE /PTIONS /NCEYOUVElNISHEDYOURSURROUNDSOUNDMIX TURNYOURATTENTIONTODELIVERINGYOURSONICMASTER PIECETOTHEWORLD4HISCHAPTEREXAMINESEXPORTINGTHElLESFORENCODINGWITHSEPARATE STANDALONE SOFTWAREANDENCODEOPTIONSTHATMAYBEBUILTINTOYOURAUTHORINGSOFTWARE

 #HAPTER

%XPORTTO-ULTIPLE&ILES %NCODINGSOFTWAREUSUALLYACCEPTSTHE INDIVIDUALSIXCHANNELSTHATCOMPRISE YOURSURROUNDSOUNDMIX)NTHISSITU ATION YOUNEEDTOEXPORTEACHCHANNEL ASASTANDALONEMONAURALlLE9OUREN CODERWILLINDICATETHEDESIREDFORMAT USUALLYEITHERWAVORAI« !LSO CHECKYOURENCODERSINSTRUC TIONSFORDETAILSABOUTHANDLINGTHE ,&%3PECIlCALLY LOOKFORWHETHERTO APPLYTHELOW PASSlLTERORNOTANDFOR SPECIlCCUTO«FREQUENCYANDROLL O« SETTINGS 4HEUSUALWORKmOWISTOEXPORTTHE INDIVIDUALBUSESOFTHESURROUNDMIX RENDERINGTHEMTOTHEAPPROPRIATElLE FORMATANDSAVINGTHEMINAFOLDER 9OUMAYNEEDTONAMEEACHlLEUSING SPECIlCCONVENTIONS ORTHESOFTWARE MAYDOTHISAUTOMATICALLY )N3ONY6EGAS FOREXAMPLE CHOOSE &ILE2ENDER!STODISPLAYTHEDIALOG BOX3ELECTASTORAGELOCATIONFORTHE lNALRENDER NAMETHElLE CHOOSETHE WAVlLEFORMAT ANDCHANGETHE4EM PLATETOEITHER (ZOR (Z  BIT -ONO 0#-

%XPORTAND%NCODE/PTIONS

6EGASSAVESALLSIXlLESUSINGTHEBASE NAMEWITHTHESPECIlCCHANNELNAME APPENDEDTOIT 3WITCHTOYOURENCODEROFCHOICE IMPORTTHESIXCHANNELS ANDCREATETHE lNALENCODESUITABLEFOR$6$ $6$ ! 3!#$ ANDEVENWEBDELIVERY



 #HAPTER

$-%#ONSIDERATIONS %XPORTINGA$-%MIXTOITSSEPA RATESTEMSREQUIRESTHREESEPARATE RENDERS&OREXAMPLE TORENDERTHE DIALOGSTEM MUTEALLMUSICANDE«ECTS TRACKSANDBUSES2ENDERTHESIXCHAN NELSOFTHEDIALOGUSINGh0ROJECT .AME $IALOGvASTHEBASElLENAME-UTETHE DIALOGTRACKSANDBUSES UNMUTETHE MUSIC ANDRENDERTHEMUSICASh0ROJ ECT .AME-USICv$OTHESAMEFORTHE E«ECTSMUTINGDIALOGANDMUSICFOR THERENDER 7HENlNISHEDTHEREWILL BESEPARATEMONOlLESREADYFORTHE NEXTSTEP&OREXAMPLE ANALTERNATE LANGUAGEDIALOGTRACKCOULDBERECORD EDANDJOINTHE-%TRACKSFORANEW MIXSUITABLEFORINTERNATIONALDELIVERY +EEPINGTHESTEMSGIVESTHEMIXERCON TROLOVERTHElNALBALANCEOFTHENEW DIALOGAGAINSTTHEMUSICANDE«ECTS

%XPORTAND%NCODE/PTIONS

$OLBY$IGITAL!# -ETADATA 7HETHERYOUAREUSINGASTANDALONE ENCODERORANENCODERTHATISBUILTIN TOYOURSURROUNDAUTHORINGSOFTWARE YOUNEEDTOUNDERSTANDTHE$OLBY!# OPTIONS4HEMETADATATHATCANBE INCLUDEDWITHTHE!# DATASTREAMIS WHATENSURESTHATYOURENCODESOUNDS ITSBEST 4HE$OLBY!# FORMATSUPPORTSBOTH STEREOANDMIXES7HENCHOOSING THESTEREO ONLYOPTION THEREAREFEWER SETTINGSAVAILABLEBECAUSEMOSTOFTHE METADATASETTINGSRELATETODOWNMIX OPTIONS4HEREARESOMESETTINGSTHAT APPLY THOUGH3ETTHESEACCORDINGLY 4HEREMAININGMETADATASETTINGSARE USEDBYTHEDECODERWHENITCONVERTSA SURROUNDMIXTOSTEREO )VEALREADYRECOMMENDEDTHATYOU CREATEYOUROWNSTEREOMIXFROMYOUR ORIGINALSOURCEMATERIAL4HISWAYYOU ARENOTATTHEMERCYOFTHEDECODER FORYOURSTEREODOWNMIX4HATSAID BECAUSEYOUCANTALWAYSCONTROLWHAT ALISTENERORVIEWERDOES YOUSHOULD USETHE!# METADATASETTINGSTOCRAFT THEBESTENCODE ANDTHEMOSTFAITHFUL DOWNMIX OFYOURSURROUNDMIX



 #HAPTER

!# !UDIO3ERVICE #ONlGURATION 4HEREARESEVERALSETTINGSTHATA«ECT THEQUALITYANDLOUDNESSOFTHElNAL ENCODE "ITSTREAMMODEˆINDICATESTHEPRIMARY FUNCTIONOFTHEENCODE#HOOSEFROM AVAILABLEOPTIONS !UDIOCODINGMODEˆSELECTSTHE ENCODEFORMAT4HEDESIGNATION ISTHEOFTHESTANDARDSURROUND SOUNDOPTION %NABLE,&%ˆTHE,&%CANBETURNEDON ORO«WITHTHISSETTING

%XPORTAND%NCODE/PTIONS

3AMPLERATEˆSETSTHESAMPLERATE FORTHEENCODE4HEREAREONLYTHREE CHOICESK(Z K(Z ANDK(Z 'ENERALLY THEHIGHERTHESETTING THE BETTERTHEENCODE(OWEVER HIGHERSET TINGSGENERATELARGERlLESIZES TOO $ATARATEˆINDICATESTHEAVERAGEDATA RATEOFTHEENCODEDlLE,OWERRATES WILLREDUCEQUALITYSIGNIlCANTLYBUT CANSAVESPACE4HEMINIMUMFOR SHOULDBEKBPS BUTKBPS ISABETTERCHOICE(IGHERRATESCAN IMPROVEQUALITY BUTTHEREISRISK&OR EXAMPLE A$6$PLAYERMAYNOTBEABLE TOKEEPUPWITHTHEDATASTREAM AND GLITCHINGMAYRESULT $IALOGNORMALIZATIONˆSETSTHEAVER AGELEVELFORDIALOG4HISSETTINGISSO IMPORTANTTHATITSDISCUSSEDINGREATER DETAILBELOW4HISISSOMETIMESABBRE VIATEDDIALNORM TOO



 #HAPTER

"ITSTREAM)NFORMATION 4HEMOSTSIGNIlCANTPARTOFTHESESET TINGSHAVETODOWITHDOWNMIXINFOR MATION #ENTERMIXLEVELˆSETSTHELEVELREDUC TIONTHEDECODERSHOULDAPPLYWHEN DOWNMIXINGTOSTEREO4HESTANDARDIS nD"$URINGTHEDOWNMIX THECENTER CHANNELGETSADDEDTOBOTHTHE,2 FRONT2EDUCINGTHEVOLUMERECREATES THEORIGINALBALANCE 3URROUNDMIXLEVELˆSETSTHELEVELFOR THESURROUNDCHANNELSWHENADDEDTO THE,2FRONTDURINGASTEREODOWNMIX !GAIN nD"ISSTANDARD BUTYOUMAY PREFERHIGHERSETTINGSDEPENDINGON WHATSOUNDINFORMATIONYOURSURROUND CHANNELSARECARRYING9OUCANEVEN SELECTNONE IFTHEBALANCEISACCEPT ABLE 3ETCOPYRIGHTBITˆSELECTTHISTOADD COPYRIGHTPROTECTIONANDDISCOURAGE UNAUTHORIZEDCOPYING -ARKASORIGINALBITSTREAMˆCHECKTHIS ONLYIFTHISISTHEORIGINALENCODE

%XPORTAND%NCODE/PTIONS

)NCLUDEAUDIOPRODUCTIONINFORMA TIONˆTHESEOPTIONALlELDSLETYOU INCLUDEINFORMATIONABOUTTHEROOM TYPE SPEAKERSUSED ANDMIXINGLEVEL .OTETHATTHEMIXLEVELUSESTHEMONI TORINGVOLUMEIN30,ANDTHEREFERENCE LEVELUSED&OREXAMPLE IFTHEMONITOR CALIBRATIONWASnD"&3PINKNOISETO SETD"30, THEVALUEISD" D"30,



 #HAPTER

%XTENDED"ITSTREAM 4HISOPTIONALMETADATACANBEINCLUD EDINTHE!# ENCODE4HISINFORMA TIONALLOWSlNE TUNINGOFTHEDOWNMIX OPTIONS $OLBY3URROUND%8MODEˆINDICATES WHETHERYOURMIXIS%8ORNOT$OLBY 3URROUND%8ADDSANON DISCRETECEN TERSURROUNDCHANNELITISMATRIXED WITHTHE,S2SCHANNELS !$CONVERTERTYPESˆCHOOSESTHEANA LOG TO DIGITALCONVERTERUSED3TANDARD ISlNE 3TEREODOWNMIXPREFERENCEˆDIRECTS THEWAYANENCODERHANDLESTHEDOWN MIX v ,O2Oˆ!DDSTHECENTERCHANNELTO THEFRONT,2ANDTHESURROUNDSTO THEIRRESPECTIVEFRONTCHANNELS v ,T2Tˆ!DDSTHECENTERCHANNELTO THEFRONT,23UMSTHESURROUND CHANNELSTOMONO ADDSTHEMTO BOTHFRONT,2CHANNELS THERIGHT DEGREESOUTOFPHASE v ,O2OAND,T2TCENTERSURROUND MIXLEVELˆADJUSTSTHEPLAYBACK VOLUMEOFTHESECHANNELSINTHEIR RESPECTIVEDOWNMIXSCENARIOS

%XPORTAND%NCODE/PTIONS

0REPROCESSING $IGITALDE EMPHASISˆAPPLIESAlLTER WHENANEMPHASISlLTERWASUSEDON THEAUDIOBEFORETHEENCODE $#HIGH PASSlLTERˆREMOVESANY$# O«SETTHATMAYBEPRESENTINTHEAUDIO lLES4HEDIGITIZINGPROCESSSOMETIMES ADDSDIRECTCURRENT$# TOTHERECORD INGS4HISCANMISALIGNORO«SETTHE ZEROCROSSINGWHEREASOUNDWAVE CROSSESTHECENTERLINE 



 #HAPTER

"ANDWIDTHLOW PASSlLTERˆPREVENTS FREQUENCIESABOVETHECHOSEN!UDIO "ANDWIDTHFROMREACHINGTHEENCODER 4HISISESSENTIALLYANANTI ALIASING lLTER ,&%LOW PASSlLTERˆENABLESTHE,&% lLTERTOKEEPFREQUENCIESABOVETHE CUTO«POINTOUTOFTHE,&%CHANNEL

%XPORTAND%NCODE/PTIONS

 DEGREEPHASESHIFTˆAPPLIESTHE DEGREEPHASESHIFTTOTHERIGHTCHAN NELTHATISUSEDBYTHEDECODERWHEN DOWNMIXINGFROMAMIXTOASTEREO ,T2TDOWNMIX D"ATTENUATIONˆREDUCESTHELEVELOF THESURROUNDSBEFOREENCODING4HIS ISNOTADOWNMIXOPTION4HISSETTING COMPENSATESFORlLMSURROUNDSTHAT AREOFTEND"LOUDER4ELEVISIONMIXES OFTENEMPLOYTHISLEVELDROPBECAUSE VIEWERSOFTENSITCLOSERTOTHESUR ROUNDSTHANTHEYSHOULD



 #HAPTER

$YNAMICRANGECOMPRESSION$2# ˆ CONTROLSTHEDI«ERENCEBETWEENTHE LOUDESTANDTHESOFTESTPARTSOFTHE MIX)TWORKSINCONJUNCTIONWITHTHE DIALOGNORMALIZATIONSETTING4HISSUB JECTISDISCUSSEDINDETAILBELOW ,INEMODEPROlLEˆSETSTHECOMPRES SIONTYPEUSEDBYTHEDECODERFORLINE LEVELSIGNALS 2&MODEPROlLEˆINDICATESTHECOM PRESSIONTYPEUSEDBYTHEDECODERFOR ANTENNA2& SIGNALS2&OVERMODULA TIONPROTECTIONCANALSOBEAPPLIED

%XPORTAND%NCODE/PTIONS

$IALOG.ORMALIZATION 4HEDIALOGNORMALIZATIONORDIALNORM SETTINGINDICATESTHEDIALOGLEVELBASED ONTHE! WEIGHTEDAVERAGELEVELOVER TIME4HE!# DECODERUSESTHESET TINGTOADJUST ORNORMALIZE THEAUDIO OUTPUTTOASPECIlCLEVEL 4HEPOINTOFDIALOGNORMALIZATIONIS TOMAINTAINCONSISTENTVOLUMELEV ELSAMONGDI«ERENTSOURCESSUCHAS 46AND$6$0ROPERSETTINGSOFTHE DIALNORMPARAMETERSMEANSALISTENER DOESNTNEEDTOADJUSTTHEVOLUME WHENCHANGING46CHANNELSORFROM 46TOA$6$4HECHOSENLISTENING LEVELTHEREFORESTAYSCONSTANTFORTHE LISTENER%VENMIXESWITHOUTDIALOG SUCHASINSTRUMENTALMUSIC STILLNEED PROPERLYSETPARAMETERS 4HEDIALOGNORMALIZATIONSETTINGS RANGEFROMnTOnD"IND"INCRE MENTS4HEnSETTINGINDICATESNO LEVELSHIFTTOTHEENCODER7HENTHE DECODERSEESAN!# STREAMWITHTHE nDIALNORMSETTING NOLEVELSHIFTIS APPLIEDTOTHEMATERIAL4HEnD"&3 INDICATESTHEAVERAGE! WEIGHTEDLEVEL OFTHEDIALOGOVERTIME4HATISD" BELOWD"DIGITALFULL SCALE



 #HAPTER

5SINGTHEnSETTINGMEANSYOURMATE RIALWILLPLAYATITSPRE ENCODEDLEVEL

'ENERALGUIDELINESFORDIALOGNORMALIZATION

(OWEVER THEREISANOTHERSTEPCALLED DYNAMICRANGECOMPRESSION$2# THAT CANA«ECTTHEVOLUMEOFTHEMIX #ONVERSELY AnSETTINGTELLSTHEDE CODERTOAPPLYTHEMAXIMUMLEVELSHIFT

v ,IGHTJAZZOR.EW!GEn v -OTIONPICTURESn v .EWSORDOCUMENTARYn

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v 2OCK@NROLLnTOn

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TAINCONSISTENTVOLUMELEVELSANDTO FEEDTHE$2#PROlLES4HISHELPSTHE LISTENERHAVEAMOREENJOYABLEEXPERI ENCE 9OUMAYBETEMPTEDTOSETAHIGH DIALNORMSETTINGINANE«ORTTORAISE THEOVERALLVOLUMEOFYOURMIX$ECOD ERSHAVEBUILT INOVERLOADPROTECTION TOPREVENTHIGHVOLUME LEVELDISTOR TION5NFORTUNATELY THISCIRCUITRYMAY ADVERSELYA«ECTYOURMIXBYOVERLY COMPRESSINGIT4HEREFORE THETWO PROCESSESARECOUNTER PRODUCTIVE9OU TURNUPTHEDIALNORMSETTINGANDTHE DECODERTHENTURNSTHEVOLUMEDOWN BECAUSEYOURMIXISOVERLOADINGTHE SYSTEM

%XPORTAND%NCODE/PTIONS

$YNAMIC2ANGE#OMPRESSION 4HE$OLBY!# ENCODERALLOWSSPECIlC SETTINGSTOCONTROLTHEDYNAMICRANGE OFTHEMATERIAL$YNAMICRANGEISTHE DI«ERENCEBETWEENTHELOUDESTAND THESOFTESTPARTSOFTHEMIX4HEREARE TIMESWHENAVIEWERORLISTENERPREFERS THELARGESTDYNAMICRANGE SUCHAS WHENWATCHINGA(OLLYWOODBLOCKBUST ERINAHOMETHEATER(OWEVER THERE ARETIMESWHENAREDUCEDDYNAMIC RANGEISDESIRED SUCHASLATE NIGHT VIEWING 0ROPERLYSETTINGTHEDYNAMICRANGE COMPRESSIONOR$2#METADATATELLSTHE DECODERTOREDUCETHEDYNAMICRANGE OFMATERIALBASEDUPONPRESETCHOICES INDICATEDWHENENCODING4HELISTENER CANTHENDECIDEWHETHERTOAPPLYTHE $2#ORNOTDURINGPLAYBACK(OWEVER NOTALL$6$DECODERSALLOWSELECT INGTHE$2#3TEREOLINELEVELAND2& SET TOP$6$PLAYERSOFTENRARELYHAVE SELECTABLE$2#OPTIONS"ECAUSETHESE DEVICESDELIVERONLYASTEREODOWNMIX THE$2#PROlLEINDICATEDBYTHEMETA DATAISNEARLYALWAYSAPPLIED



 #HAPTER

$6$PLAYERSWITHDISCRETEOUTPUTS TYPICALLYGIVETHELISTENERSTHECHOICE TOACTIVATETHE$2#ORNOT)TMAYNOT BECALLED$2#)TMAYBECALLEDhMID NIGHTMODEvORSOMETHINGLIKETHAT &ORINSTANCE ONEOFMYCONSUMERSUR ROUNDSYSTEMSCALLSIThNIGHTMODEv 4HEREARETWOMODESOF$2#,INE MODEPROlLEISUSEDBYTWO CHANNEL SET TOPPLAYERSANDBOTHSTEREOAND DIGITALTELEVISION4HISCOMPRES SIONPROlLECANBOOSTLOW LEVELAND CUTHIGH LEVELSIGNALS4HISE«ECTIVELY SQUEEZES ORCOMPRESSES THEDYNAMIC RANGE4HECOMPRESSIONISSCALEABLE DEPENDINGONTHEMODEPROlLECHOSEN ANDTHEDIALNORMSETTING

%XPORTAND%NCODE/PTIONS

2&MODEPROlLEISUSEDBYSET TOP PLAYERSTHATCONNECTTHROUGHAN2&OR ANTENNACONNECTION4HEREISNOSCAL INGOFTHECOMPRESSION2&MODERAISES THEOVERALLLEVELOFTHEMIXD"AND LIMITSTHEPEAKSTOPREVENTOVERMODU LATIONDISTORTION  4HE$2#PROlLESDETERMINEHOWMUCH LOW LEVELSIGNALSAREBOOSTEDANDHIGH LEVELSIGNALSARECUT4HEREARESIXPRO lLESAVAILABLEFROMWHICHTOCHOOSE v &ILM,IGHT v &ILM3TANDARD v -USIC,IGHT v -USIC3TANDARD v 3PEECH v .ONE 4HOUGHYOUCANINDICATEA$2#PROlLE ITAPPLIESONLYIFTHECONSUMERCHOOSES $2#MODEDURINGPLAYBACK/THERWISE ONLYTHEDIALNORMSETTINGAPPLIES (OWEVER MANYSTEREO ONLYDEVICES AUTOMATICALLYENGAGE$2#WHENDOWN MIXING



 #HAPTER

%ACH$2#PROlLEHASDI«ERENTPRESET PROPERTIESTHATCANNOTBEADJUSTED v -AX"OOSTˆINDICATESTHEAMOUNTOF LOW LEVELSIGNALBOOST v "OOST2ANGEˆSHOWSTHERANGE IN D" OFLOW LEVELSIGNALSBOOSTEDAND THEAMOUNTEXPRESSEDASARATIO SEEBELOW  v .ULL"AND7IDTHˆTHISISTHERANGE WHERENOCOMPRESSIONISAPPLIED 4HISRANGEISCENTEREDATTHEDIALOG NORMALIZATIONSETTING4HE$2# PROlLETHENADJUSTSTHEOTHERSET TINGSINRELATIONTOTHEDIALNORM LEVELSETTING)MPROPERLYSETTING DIALNORMDEFEATSTHEWHOLEPUR POSEOFTHE$2#METADATA)FYOU SETTHEDIALNORMTOOHIGH THE$2# OVERLOADPROTECTIONCIRCUITYMAY ADVERSELYA«ECTPLAYBACKQUALITY v %ARLY#UT2ANGEˆSETSTHEINITIAL RANGEWHEREHIGHLEVELSARETURNED DOWNORCOMPRESSEDANDTHE AMOUNTEXPRESSEDASARATIOSEE BELOW  v #UT2ANGEˆSHOWSTHEHIGHER LEVEL SIGNALSTHATARETURNEDDOWN ALSO EXPRESSEDBYARATIOSEEBELOW 

%XPORTAND%NCODE/PTIONS

&ILM,IGHT v -AX"OOSTD"BELOW nD"

&ILM3TANDARD v -AX"OOSTD"BELOW nD"

v "OOST2ANGEnTO

v "OOST2ANGEnTO

nD"RATIO

nD"RATIO

v .ULL"AND7IDTHD" nTOnD" v %ARLY#UT2ANGEnTO nD"RATIO v #UT2ANGEnTOD" RATIO

v .ULL"AND7IDTHD" nTOnD" v %ARLY#UT2ANGEnTO D"RATIO v #UT2ANGEnTOD" RATIO

-USIC,IGHT

-USIC3TANDARD

v -AX"OOSTD"BELOW

v -AX"OOSTD"BELOW

nD"

nD"

v "OOST2ANGEnTO

v "OOST2ANGEnTO

nD"RATIO

nD"RATIO

v .ULL"AND7IDTHD" nTOnD" v %ARLY#UT2ANGENONE v #UT2ANGEnTOD" RATIO

v .ULL"AND7IDTHD" nTOnD" v %ARLY#UT2ANGEnTO nD"RATIO v #UT2ANGEnTOD" RATIO

4HEAMOUNTOFCOMPRESSIONISINDICAT EDASARATIO SUCHAS!RATIO MEANSTHEREISNOCOMPRESSIONAD" SIGNALLEVELCHANGERESULTSINAD" OUTPUTNOORUNITYGAIN !TOTHERRA TIOS THEOUTPUTISREDUCEDBYRELATIVE AMOUNTS!T AD"INCREASEIN INPUTLEVELRESULTSINONLYAD"OUTPUT LEVELGAIN 4HESEARETHEPRESETSETTINGSFORTHE $2#PROlLES



 #HAPTER

/NCEAGAIN THERIGHTSETTINGSARE

3PEECH

PROJECT DRIVEN4HEREFORE )SUGGEST THATYOUEXPERIMENTWITHTHEMODES ANDTHEDIALNORMSETTINGS$OSOME TESTENCODESANDEVALUATETHEM4HEN CHOOSETHEBESTSETTINGFORYOURSUR ROUNDSOUNDMIXBASEDONTHESETESTS

v -AX"OOSTD"BELOW nD" v "OOST2ANGEnTO nD"RATIO v .ULL"AND7IDTHD" nTOnD" v %ARLY#UT2ANGEnTO nD"RATIO v #UT2ANGEnTOD" RATIO

.ONE v 4HEDIALOGUENORMALIZA TIONSTILLAPPLIES)FYOU SETDIALNORMTOnD" INCONJUNCTIONWITHTHIS SETTING YOURMIXWILL PLAYBACKATITSORIGINAL VOLUMEANDDYNAMIC RANGE9OUE«ECTIVELY DEFEATTHE$2#ANDTHE nDIALNORMREmECTSNO SIGNALNORMALIZATIONOR BOOST

%XPORTAND%NCODE/PTIONS

$43 $43#OHERENT!COUSTICS!UDIOO«ERS ANADDITIONALORALTERNATIVEFORMATFOR DELIVERINGYOURSURROUNDMIXESON $6$4HEREAREBOTHHARDWARE AND SOFTWARE BASEDENCODERSAVAILABLE/F UTMOSTIMPORTANCEWHENUSING$43 ISPROPERSYNCHRONIZATIONBETWEEN THEPICTUREANDTHESOUNDTRACK$43 EMBEDSTIMECODETOMAINTAINSYNC (OWEVER SOME$43ENCODERSRELYONLY ONTHEAUDIOANDVIDEOSTARTINGONTHE SAMEFRAME#HECKWITHYOURENCODER FORSPECIlCS $43PREFERSYOURSOURCEAUDIOTRACKS PRIORTOENCODING TOHAVETHEK(Z SAMPLERATE



 #HAPTER

3ETTINGSAVAILABLEFOR$43ENCODES INCLUDE v "ITRATESELECTIONˆCHOOSEEITHER KBPSOR KBPS$43 RECOMMENDSTHEHIGHERRATEUNLESS SPACEISATAPREMIUMINTHEDISC v ,&%ˆSELECTWHETHERTOINCLUDEOR EXCLUDETHE,&%FROMTHElNALEN CODE v 3URROUND#HANNEL!TTENUATIONˆAP PLIESAnD"VOLUMEADJUSTMENTTO THESURROUNDS v 2ESOLUTIONˆSELECTTHEBIT DEPTH FROMEITHER  ORBITS $43DOESNOTSUPPORTMETADATA SO THEREARENOSETTINGSFORDIALOGNOR MALIZATIONOR$2#PROlLESASWITH $OLBY$IGITAL!# 

%XPORTAND%NCODE/PTIONS

7INDOWS-EDIA 4ODELIVERVIATHEWEBANDON #$ 2/- 7INDOWS-EDIAANDABOVE O«ERSSUPPORTFORSURROUNDSOUND 9OUCANSELECTEITHERCONSTANTBITRATE #"2 ORQUALITYVARIABLEBITRATE6"2  #HOOSETHEBITRATEOFTHEENCODEDlLE ANDINDICATEITSBITDEPTH OR BIT 4HEREARENOOTHERSETTINGSINTHE ENCODER



 #HAPTER

4ESTINGTHE%NCODE 7HENUSINGSOFTWAREENCODERS ITIS NOTPOSSIBLETOAUDITIONTHERESULTS DURINGTHEENCODEITSELF&EWIFANY PRODUCTSPLAYENCODEDlLES)NSTEAD YOUMAYNEEDTOAUTHORA$6$WITH YOURlNISHED!# OR$43ENCODED AUDIO/NCECOMPLETED PLAYBACK THEDISCANDEVALUATETHEMIXANDTHE ENCODE 3INCE$6$SSUPPORTMULTIPLE SOUNDTRACKSUPTOEIGHT YOUCOULD INCLUDESEVERALDI«ERENTMIXESOR ENCODESONONEDISC7ITHYOUR$6$ REMOTE SWITCHBACKANDFORTHBETWEEN THETRACKSANDDECIDEWHATSBESTFOR THEPROJECT)HIGHLYRECOMMENDTHAT YOUEVALUATETHESETESTSONAVARIETY OFDI«ERENTSYSTEMS TOO4AKENOTES ANDUSEWHATYOULEARNFORTHEENCODE DESTINEDFORTHElNALDISC

#ONCLUSION

#ONCLUSION &INALTHOUGHTS 4HISBOOKPROVIDEDTHEBASICFOUNDATIONONWHICH

!LSO TOAUGMENTYOUREDUCATION )HIGHLYRECOM MENDTHEFOLLOWINGADDITIONALRESOURCES

TOBUILDYOURSURROUNDSOUNDENDEAVORS!REYOU

$OLBYWWWDOLBYCOM O«ERSSEVERALFREEDOCU

EXCITEDABOUTTHECREATIVEPOSSIBILITIESOPENTOYOU

MENTSIN0$&FORMAT THATPROVIDEADDITIONAL

WITHYOUROWNWORK

DETAILS

)ALSOKNOWTHATNOSINGLEBOOKCANTELLYOUEVERY

s

!'UIDETO$OLBY-ETADATA

s

0RODUCTION'UIDELINES

s

-USIC0RODUCTION'UIDELINES

THINGYOUNEEDTOKNOWABOUTASUBJECT4HERE FORE )ENCOURAGEYOUTOKEEPLEARNINGABOUTAUDIO PRODUCTIONANDSURROUNDSOUNDTECHNIQUES,ISTEN TOWHATOTHERPROFESSIONALSARESAYINGABOUTAND DOINGWITHSURROUNDSOUND'OTOTHEMOVIES RENT $6$S BUYMUSICMIXEDSPECIlCALLYIN+EEP EXPANDINGYOURKNOWLEDGEANDYOUROWNWORK WILLBESOMUCHBETTER

$43WWWDTSONLINECOM ALSOHASAUSEFULDOCU MENT s

$6$ 6IDEO0RODUCTIONWITH$43#OHERENT!COUS TICS!UDIO



 #ONCLUSION

)FYOUPLANTOAUTHORMUSICINSURROUNDSOUND GET THE2ECORDING!CADEMYS0RODUCERSAND%NGINEER INGWINGWWWGRAMMYCOM GUIDELINES s

2ECOMMENDATIONSFOR3URROUND3OUND0RODUC TION

3URROUND0ROFESSIONAL-AGAZINEWWWSURROUND PROCOM HASUP TO DATEINFORMATIONALONGWITHAN ANNUALCONFERENCEDEDICATEDTOSURROUNDSOUND )MHAPPYTOHELPYOUFURTHER TOO$ROPBY$IGITAL -EDIA.ETWWWDMNFORUMSCOM ANDYOULLlND MECO HOSTINGTHE!CID 6EGAS AND3OUND&ORGE FORUMS !LSO FEELFREETOSTOPBYMY7EBSITEATWWWJEF FREYPlSHERCOMORE MAILMEATJPF JE«REYPlSHER COM 3URROUNDSOUNDISANEVOLVINGlELD)HOPEYOU NOWFEELEMPOWEREDTOEXPERIMENTFREELYWITH YOUROWNWORK)LLBELISTENING


*E«REY0&ISHER

'LOSSARY

'LOSSARY 3OMEOFTHESEAUDIOTERMSARERELEVANTTOSURROUND

!#-!UDIO#OMPRESSION-ANAGER DEVELOPEDBY-ICRO

SOUNDDIRECTLY ANDOTHERTERMSARERELATEDTOTHEAUDIO

SOFTASTHESTANDARDINTERFACEFORSIGNALPROCESSINGOFAU

ANDVIDEOINDUSTRYINGENERAL3OMEOFTHETERMSARE

DIODATAINTHE7INDOWSENVIRONMENT PARTICULARLYGEARED

hNEWvLANGUAGEADAPTEDFROMTHEANALOGWORLD

TOWARDSTHE7!6lLEFORMAT3OMETOOLSALLOWCUSTOM

!!&!DVANCED!UTHORING&ORMAT AFORMATTHATALLOWS APPLICATIONSTOSHARERAWORROUGHCUTS !$CONVERTER!NALOG TO DIGITALCONVERTER-ANY!$S

!#-PROCESSES !$#!NOTHERNAMEFORANALOG TO DIGITALCONVERTER3EE $!#

AREALSO$!S WHICHCONVERTDIGITALBACKTOANALOGFOR

!$2!UTOMATEDDIALOGREPLACEMENT THEPROCESSOFRE

MONITORING

PLACINGACTORSLINES RECORDEDONLOCATION WITHCLEANAND

!# $OLBYSAUDIOCOMPRESSIONSCHEME THIRDGENERA TION"OTHSTEREOANDSURROUNDFORMATlLESMAY BEENCODEDTO!# -ANYSOFTWARETOOLSSUPPORTTHE ENCODINGOFSTEREOAUDIOANDIMPORTOF!# lLES

CLEARAUDIORECORDEDINASTUDIOENVIRONMENT!$2WAS VERYPOPULARINTHESANDS ANDTHENWASNOTQUITE ASCOMMONTHROUGHTHES4HEHIGHVOLUMEOFlLM TECHNOLOGYTODAYOFTENCALLSFOR!$2!$2ISALSOOFTEN CALLEDhLOOPINGvBUTSHOULDNOTBECONFUSEDWITHAUDIO LOOPSSUCHASTHOSEFROM!#)$



 'LOSSARY

!)&&!UDIO)NTERCHANGE&ILE&ORMAT

!NCHORPOINT!BITSTREAMLOCATION

ANALOGAUDIOANDVIDEOSIGNALS!6)IS

)TCANBEUSEDFORSTORINGAUDIOIN

THATSERVESASARANDOMPOINT!N

ALSOTHElLEFORMATUSEDBYVIDEOFOR

HIGH ORLOW RESOLUTIONFORMATSAND

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7INDOWS

!NTI ALIASING/VERSAMPLING SMOOTH

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ISTHEOPPOSITEOFALIASING

5SUALLYDESCRIBEDINDECIBELS

!RTIFACT$ISTORTIONOFAPICTUREOR

!UDIOlLE!UDIOSTOREDINANYDIGI

ASOUNDSIGNAL7ITHDIGITALVIDEO

TALFORMAT4HISISNOTTOBECONFUSED

ARTIFACTSCANRESULTFROMOVERLOAD

WITHAUDIOPHILE ANAUDIOA«ECIO

INGTHEINPUTDEVICEWITHTOOMUCH

NADO

SHARINGTHEMBETWEENCOMPUTERSYS TEMS)TISPREDOMINANTLYAN!PPLE FORMAT !LIASING4HEUNDESIREDSHIFTINGOF FREQUENCIES PARTICULARLYPROBLEMATIC ATLOWSAMPLINGRATES WHERETHERE ARENTENOUGHSAMPLESTODESCRIBEOR RECREATEASOUND&ORINSTANCE IFYOU HAVEAK(ZTONEANDARESAMPLING ATARATEOFK(ZANDTHEAUDIOTONE

SIGNALORFROMEXCESSIVEORIMPROPER COMPRESSION

" FRAME)NINTERFRAMECOMPRES SIONSCHEMESEG -0%' AHIGHLY

RISES INTHEORYYOUWONTBEABLETO

!SPECTRATIO2ATIOOFWIDTHTOHEIGHT

COMPRESSED BIDIRECTIONALFRAMETHAT

RECORDFREQUENCIESHIGHERTHANTHE

INDIMENSIONSOFANIMAGE&OREXAM

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PLE THEFRAMEASPECTRATIOOF.43#

BETWEENTHEI FRAMESBEFOREANDAFTER

THATTHESAMPLEACTUALLYBECOMES

VIDEOIS WHEREASWIDESCREEN

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AMPLITUDE!COUSTICAMPLITUDEISMEA

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AND,EFTINASTEREOAUDIOSIGNAL3EE 0ANNING "ALANCEDCABLE!CABLETHATCONTAINS TWOCONDUCTORSCARRYINGAUDIO PLUS ASHIELDFORTHEGROUNDTHATCARRIES NOAUDIO0ROFESSIONALMICCABLESARE ALWAYSBALANCED "ANDWIDTH4HERANGEOFFREQUENCIES INANAUDIOlLE %1 OROTHERSIGNAL

'LOSSARY

ORDEVICETHATPASSESASIGNAL4HIS

"RICKWALL7HENDIGITALAUDIOHITS

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#HAPTER!NEWSEGMENTOFANEXIST

HIGHFREQUENCIES)FASOUNDISBRIGHT

INGWORKASTHEWORKISBROKENUP

THENITCONTAINSANUMBEROFHIGH

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FREQUENCIES)FTHESOUNDISNOT

TIONS

"ASS,OWFREQUENCIESINTHEOVERALL SPECTRUMOFSOUND"ASSISAPPROXI MATEDINTHE(ZTO(ZREGIONOF THEFREQUENCYSPECTRUM "ED"ACKGROUNDMUSICORSOUNDEF FECTLAIDUNDERAVOICE OVER4YPICAL TERMINTELEVISIONANDRADIO

BRIGHT THENITMAYBECONSIDERED

#HORUS&8 !SERIESOFSHORT MODU

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DULL CONTAININGFEWHIGHFREQUENCIES

OFINDIVIDUALPIXELS EACHOFWHICH

3IBILANCEISTYPICALLYFAIRLYBRIGHT

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ALLOWINGBREATHAND3S 0S 4S 0S AND

BRIGHTNESSANDCOLOR

OTHERSIBILANTSOUNDSTOBEHEARD

"ITDEPTH4HENUMBEROFBITSINA

"UMPER3TOCKAUDIOIDENTIFYINGTHE

SOUNDOFANENSEMBLEDUETOTHE

SAMPLE4HEGREATERTHENUMBEROF

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BITS THEGREATERTHERESOLUTIONOFTHE

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THEORIGINALAUDIOIMAGE

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LATEDDELAYSWITHSLIGHTSHIFTSINPITCH TOCREATETHEE«ECTOFMULTIPLEVOICES STEMMINGFROMONEVOICE4HISE«ECT ALLOWSASOLOINSTRUMENTTOHAVETHE

#LIP!DIGITIZEDORCAPTUREDPORTION OFVIDEO #LIPPING$ISTORTION RESULTINGFROM WHENAUDIOIShCLIPPEDO«AFTER

"LUMLEIN4ECHNIQUE!STEREO

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TOROUTEAUDIOFROMPLACETOPLACE

DIRECTIONALlGUREOF MICROPHONES

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#APTURING#APTURINGSOURCEVIDEO

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THECAPTUREDVIDEOISCONVERTEDTO

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 'LOSSARY

CODEANDDECODEDATASUCHASSOUND

ISCOPYRIGHTEDASITSCOMPLETED.O

FREQUENCY4HEHIGHERTHECUTO« THE

ANDVIDEOlLES#OMMONCODECS

ONEHASTHERIGHTTOCOPYTHECOM

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#OMPRESSDYNAMICRANGE 4O

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$!23$IGITAL!UDIO2EFERENCE3IGNAL $!7$IGITAL!UDIO7ORKSTATION $ECIBELD" !MEASUREMENTOF SOUNDDESCRIBINGELECTRICALPOWER REFERENCEDTOMILLIWATT3OD"MIS EQUALTOMILLIWATT ORM4HEAB BREVIATIOND"MAYREFERTOD"U D"V ORD"M4OALISTENER AUDIOMUSTBE D"LOUDERTOAPPEARTOBETWICEAS LOUD WHILEELECTRONICALLY ONLYD" OFVOLTAGEDI«ERENCEAREREQUIREDFOR THESAMERESULT4HISISWHYA WATTAMPLIlERISNOTTWICEASLOUDAS A WATTAMPLIlER $EINTERLACE4HEPROCESSOFREMOV INGARTIFACTSTHATRESULTFROMTHE NATUREOFTWO lELDS PER FRAMEINTER

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'LOSSARY

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 'LOSSARY

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