The same caveat to stereo mixing applies here, only more so. A standard 5.1 or 7.1 configuration should work just fine for most Atmos or DTS:X projects. Unless you’re specifically doing professional-level mixing for one of these formats, you don’t need to worry about the extra output busses and physical speakers since such channels can be derived digitally through encoding processes. Such arrays are termed “5.1.2” or “7.1.2,” with the final digit representing the number of height speakers. Both add two or more ceiling-mounted, or upward-firing speakers for the added dimension of height. These have found favor in the cinema and gaming worlds and are incorporated in a growing number of home theater products. Even 10.2, which adds two front “height” channels, two front “wide” channels, and a rear center channel.Ī few years ago, Dolby and DTS introduced new “audio object”-oriented surround formats called Atmos and DTS:X, respectively.7.2, which is the standard 7.1 configuration with two LFE channels (driving subwoofers positioned front and rear).5.0, which is the standard 5.1 configuration minus the subwoofer.There are also variations on these themes, though you’re less likely to encounter them: The subwoofer (which carries the “LFE,” for “Low Frequency Enhancement” channel) can be positioned pretty much anywhere in the room, since the low frequencies it generates are more or less non-directional – that is, it’s tough to determine where they’re coming from anyway.īlu-Ray discs allow for the storage of more data, which has given rise to the 7.1 format, where two more output busses are required and two extra full-range speakers are added to the array, called “surround left” and “surround right.” These are positioned off to each side of the listener, kind of like a big pair of headphones. Placement of Front Left and Right, Center, and Rear Left and Right channels (The number after the dot, in this case “.1”, signifies how many subwoofer channels are being used.) The speakers are arrayed as displayed in this diagram: and the problems to avoid.ĭO determine how many busses/speakers you will needīy far the most common surround format (and the one used widely on DVDs) is 5.1, where six output busses are required to feed five full-range speakers and one band-limited subwoofer.
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And even though it has never quite caught on as a music-only format (at least not yet), there are still lots of new recordings being released in surround on DVD and Blu-Ray discs, not to mention remixes of legacy stereo albums such as the 2017 re-release of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band and the 2012 re-release of Rush's 2112.Īs you make the transition from stereo to surround mixing, here’s a look at some of the most important rules to follow. The prevalence of home theaters has also meant that surround playback systems have become increasingly affordable. Of course, there have been many significant developments since then, and today surround sound is an integral part of motion pictures, gaming and more. It actually made its first public appearance way back in 1941, with Disney’s groundbreaking animated film, Fantasia. Think that surround sound technology is something new? Think again.
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51 SURROUND SOUND AUDIO DOWNLOADS HOW TO
Find out how to mix for 5.1 and 7.1 surround sound, create realistic spatial effects, and avoid phasing issues and other pitfalls. How is mixing in surround different than stereo mixing? There's more to it than you might think.