Most surround sound is recorded as a mixdown of individual tracks, panned in a mixer to produce a convincing effect. But these techniques do not record the actual conditions someone would actually hear in the field. The following technique can capture the actual sound in the field, and also reproduces it without the separation-enhancing logic usually needed with matrix surround systems.
The page author set up the three mic design as indicated as an experiment to record a solo vocalist, and try to also capture some of the room reverberation. The soloist was about two feet from the L and R mics.
The soloist practiced the part a few times before the first take. Then we recorded the take.
The author rewound the tape to play it through the stereo monitor speakers, and started the tape playing at the beginning. Then the following conversation took place:
Author: "Would you please stop practicing? I want to hear the tape."
Soloist: "That's not me. It's the tape!"
It sounded so real that the page author didn't realize it was the tape playing. He thought it was the soloist practicing again.
The page author then continued to experiment and perfect the system over several years.
Surrfield modulations
Poincaré Surrfield
Spheround modulations
Poincaré Spheround
The surround field mic cluster can be used either alone or with close miked musicians. Amazingly, they don't interfere with each other.
The following method is used to record a surround field"
The field mics should be wired to a mixer as follows:
* Use the adaptor in the image above for a balanced-line mic. For the unbalanced mic, connect the mic to one channel strip, and connect its channel strip insert send to the return of another channel strip through this circuit set in the reverse position.
** The use of an SQ decoder as an encoder is covered here.
Any of the following can be used to play back the sound field:
Setting up the Octophonic decoder:
LM | F | RM |
LW | RW | |
LP | B | RP |
This system is based on the relative levels and times of arrival of the signals from each of the mics. They produce the proper sounds at the ears to recreate the original sounds.
Here is a table of relative levels, (dB in parentheses), and delays in microseconds recorded on the tracks of the recording for different directions of sound sources.
Levels are portions of the sound energy. Capital letters show a larger sound level than miniscule letters show.
Dir | Volume L | delay L |
Volume R | delay R | Volume S |
delay S | Direction | 1st | 2nd | 3rd | |||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
0 | 0.87 (-1.2) | 0 | 0.87 (-1.2) | 0 | 0.10~ (-20) | 885 | Dead Ahead | L R | s | ||||||
15 | 0.79 (-2.0) | 191 | 0.92 (-0.7) | 0 | 0.13 (-18) | 950 | R | L | s | ||||||
30 | 0.71 (-3.0) | 369 | 0.97 (-0.3) | 0 | 0.26 (-12) | 951 | R | L | S | ||||||
45 | 0.61 (-4.3) | 521 | 0.99 (-0.1) | 0 | 0.38 (-8.4) | 886 | R | L | S | ||||||
60 | 0.50 (-6.0) | 639 | 1.00 (0 dB) | 0 | 0.50 (-6.0) | 762 | Right Mic | R | L S | ||||||
75 | 0.38 (-8.4) | 712 | 0.99 (-0.1) | 0 | 0.61 (-4.3) | 585 | R | S | L | ||||||
90 | 0.26 (-12) | 737 | 0.97 (-0.3) | 0 | 0.71 (-3.0) | 369 | Dead Right | R | S | L | |||||
105 | 0.13 (-18) | 712 | 0.92 (-0.7) | 0 | 0.79 (-2.0) | 127 | R | S | l | ||||||
120 | 0.10~ (-20) | 762 | 0.87 (-1.2) | 123 | 0.87 (-1.2) | 0 | R S | l | |||||||
135 | 0.13 (-18) | 886 | 0.79 (-2.0) | 365 | 0.92 (-0.7) | 0 | S | R | l | ||||||
150 | 0.26 (-12) | 951 | 0.71 (-3.0) | 582 | 0.97 (-0.3) | 0 | S | R | L | ||||||
165 | 0.38 (-8.4) | 950 | 0.61 (-4.3) | 759 | 0.99 (-0.1) | 0 | S | R | L | ||||||
180 | 0.50 (-6.0) | 885 | 0.50 (-6.0) | 885 | 1.00 (0 dB) | 0 | Dead Back Mic | S | L R | ||||||
195 | 0.61 (-4.3) | 759 | 0.38 (-8.4) | 950 | 0.99 (-0.1) | 0 | S | L | R | ||||||
210 | 0.71 (-3.0) | 582 | 0.26 (-12) | 951 | 0.97 (-0.3) | 0 | S | L | R | ||||||
225 | 0.79 (-2.0) | 365 | 0.13 (-18) | 886 | 0.92 (-0.7) | 0 | S | L | r | ||||||
240 | 0.87 (-1.2) | 123 | 0.10~ (-20) | 762 | 0.87 (-1.2) | 0 | L S | r | |||||||
255 | 0.92 (-0.7) | 0 | 0.13 (-18) | 712 | 0.79 (-2.0) | 127 | L | S | r | ||||||
270 | 0.97 (-0.3) | 0 | 0.26 (-12) | 737 | 0.71 (-3.0) | 369 | Dead Left | L | S | R | |||||
285 | 0.99 (-0.1) | 0 | 0.38 (-8.4) | 712 | 0.61 (-4.3) | 585 | L | S | R | ||||||
300 | 1.00 (0 dB) | 0 | 0.50 (-6.0) | 639 | 0.50 (-6.0) | 762 | Left Mic | L | R S | ||||||
315 | 0.99 (-0.1) | 0 | 0.61 (-4.3) | 521 | 0.38 (-8.4) | 886 | L | R | S | ||||||
330 | 0.97 (-0.3) | 0 | 0.71 (-3.0) | 369 | 0.26 (-12) | 951 | L | R | S | ||||||
345 | 0.92 (-0.7) | 0 | 0.79 (-2.0) | 191 | 0.13 (-18) | 950 | L | R | s | ||||||
360 | 0.87 (-1.2) | 0 | 0.87 (-1.2) | 0 | 0.10~ (-20) | 885 | Dead Ahead | L R | s |
~ Varies with the amount of room spill leaking into the mic pointing directly away from the sound.
The delays and the reduced volumes cause the ears to correctly determine the direction of sound.
In addition, reflections of sounds from room surfaces come from different directions, and activate the mics from the directions they come from. This further reinforces the perceived direction of the sound. The sound recorded sounds quite real.
The Octophonic array works better than the old quadraphonic systems for these reasons:
These diagrams show the relative levels of each of the speakers for 10 sound locations:
LM SOUND | F-LM 22.5° SOUND | F SOUND | F-RM 30° SOUND | RM SOUND | ||||||||||||||
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LM 1.0 |
F .92 |
RM .71 |
LM .98 |
F .98 |
RM .83 |
LM .92 |
F 1.0 |
RM .92 |
LM .79 |
F .97 |
RM .99 |
LM .71 |
F .92 |
RM 1.0 |
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LW .92 |
RW .38 |
LW .83 |
RW .56 |
LW .71 |
RW .71 |
LW .50 |
RW .87 |
LW .38 |
RW .92 |
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LP .71 |
B .38 |
RP .00 |
LP .56 |
B .20 |
RP .20 |
LP .38 |
B .00 |
RP .38 |
LP .13 |
B .26 |
RP .61 |
LP .00 |
B .38 |
RP .71 |
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* | * | * | * | * | * | * | * | * | ||||||||||
LW SOUND | LP SOUND | B SOUND | RP SOUND | RW SOUND | ||||||||||||||
LM .92 |
F .71 |
RM .38 |
LM .71 |
F .38 |
RM .00 |
LM .38 |
F .00 |
RM .38 |
LM .00 |
F .38 |
RM .71 |
LM .38 |
F .71 |
RM .92 |
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LW 1.0 |
RW .00 |
LW .92 |
RW .38 |
LW .71 |
RW .71 |
LW .38 |
RW .92 |
LW .00 |
RW 1.0 |
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LP .92 |
B .71 |
RP .38 |
LP 1.0 |
B .92 |
RP .71 |
LP .92 |
B 1.0 |
RP .92 |
LP .71 |
B .92 |
RP 1.0 |
LP .38 |
B .71 |
RP .92 |
The listener is the head in the center of each diagram.
The sound is intended to come from the direction shown in amber.
The amber and white speakers make the "wall of sound."
The speakers shown in blue violet contribute less to the sound than the others.
A listener centered in the room hears the sounds in their proper locations. These computer simulations show how a listener hears eight image locations when sitting halfway between the room center and one of the speakers. Note: The same results occur if the listener is off-center in other directions. Note the following:
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REGULAR MATRIX ENCODING AND SPEAKER ANGLES |
QUADRAPHONIC LISTENER SPEAKER ANGLES |
OCTOPHONIC LISTENER SPEAKER ANGLES |
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LM -45° |
Fd -27° |
F 0° |
Fd 27° |
RM 45° |
LM -34° |
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RM 34° |
LM -34° |
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F 0° |
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RM 34° |
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LWd -63° |
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Fig 1 |
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RWd 63° |
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Fig 2 |
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Fig 3 |
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LW -90° |
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RW 90° |
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LW -63° |
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RW 63° |
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LWd -117° |
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RWd 117° |
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LP -135° |
Bd -153° |
B 180° |
Bd 153° |
RP 135° |
LP -117° |
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RP 117° |
LP -117° |
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B 180° |
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RP 117° |
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* | * | * | * | * | |||||||||||||
EQUAL AMPLITUDE QUADRAPHONIC IMAGE ANGLES |
EQUAL AMPLITUDE OCTOPHONIC IMAGE ANGLES |
B SPEAKER 70% OF OTHERS OCTOPHONIC IMAGE ANGLES |
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LM -52° |
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F 0° |
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RM 52° |
LM -51° |
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F 0° |
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RM 51° |
LM -45° |
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F 0° |
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RM 45° |
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Fig 4 |
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Fig 5 |
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Fig 6 |
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LW -82° |
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RW 82° |
LW -108° |
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RW 108° |
LW -92° |
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RW 92° |
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LP -128° |
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B 180° |
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RP 128° |
LP -148° |
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B 180° |
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RP 148° |
LP -135° |
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B 180° |
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RP 135° |
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* | * | * | * | * | |||||||||||||
DODECAPHONIC LISTENER SPEAKER ANGLES |
F W B SPEAKERS AT 70% DODECAPHONIC IMAGE ANGLES |
F W B SPEAKERS AT 30% OCTOPHONIC IMAGE ANGLES |
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LM -34° |
Fd -18° |
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Fd 18° |
RM 34° |
LM -46° |
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F 0° |
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RM 46° |
LM -52° |
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F 0° |
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RM 52° |
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LWd -45° |
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Fig 7 |
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RWd 45° |
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Fig 8 |
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Fig 9 |
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LW -89° |
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RW 89° |
LW -96° |
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RW 96° |
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LWd -90° |
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RWd 90° |
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LP -117° |
Bd -135° |
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Bd 135° |
RP 117° |
LP -131° |
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B 180° |
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RP 131° |
LP -139° |
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B 180° |
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RP 139° |
LINKS: