Living in a New York apartment, I barely have room for two stereo speakers – let alone 5.1, 6.1 or 7.1 surround-sound rigs. So I may not be the ideal person for Dolby’s new Dolby Prologic IIz setup, which features up to 10 speakers, with two up in the air.
Recognizing the z-axis on audio is easy if the audio is properly recorded or processed. If you've heard a holophonic recording on a 4.1 system, you'd know what I mean. The one most internet-famous is the recording of a matchbox being shaken around a holophonic stereo mic. If you haven't heard it - do it. It's awesome and crazy.
A team of coal miners is working hundreds of feet underground when an explosion rocks the tunnel. They scramble for an exit, but those are all blocked. The air fills with dust and gas. There's no escape ... so the survivors inflate a portable panic room, complete with an oxygen supply and air filters, and wait for help. At least that's how Jim Reuther, a senior research scientist at the R&D giant Battelle, hopes the situation pans out.
Good call, but what are the chances of the walls being punctured by debris?
Living in a New York apartment, I barely have room for two stereo speakers – let alone 5.1, 6.1 or 7.1 surround-sound rigs. So I may not be the ideal person for Dolby’s new Dolby Prologic IIz setup, which features up to 10 speakers, with two up in the air.
...why? Humans have two microphones attached to their head. Two. That's it. Most sound designers for film don't even know how to properly mix for 5.1 - all dialogue in the center channel? Seriously? And why a center channel? Why not just pan the front left and right center for dialogue and such? There's no real reason to go over 4.1, then. And with a good stereo recording, utilizing headphones one doesn't even need that to get a GREAT sense of front, back, up, down, left, and right in an audio recording. It ain't rocket science, so the only reason Dolby would do this is to sell more gadgets instead of creating BETTER ones, with BETTER audio standards. If you're going to have a different audio standard anyway, why not upgrade the QUALITY to 192kHz/32bit?
Sorry, vinyl aficionados, but CDs most accurately capture the clarity of musical performances. If you look at the grooves of a standard long-play record, or LP, through a microscope, you’ll see that each is filled with what look like rolling hills. These are, in fact, an extremely close replication of the shape of the sound waves from the musician’s instrument. But because the needle that carves the groove is shaped slightly different than the needle that reads it, the LP will never sound exactly like the original performance.
Given how digital playback works, whereby the waveform is essentially drawn in "steps," the number of which is determined by the sampling rate, and the distance from the center line, as it were, by the bit depth (headroom), of course an analog playback solution sounds better to some - it is as if the same image is both photographed with an older digital camera and painted - the photograph will be imperfect, but will be perceived as more perfect than the painting to some. To others, it will seem cold, and artifacts from the digital photography process may show - the reds may not look as "red," for instance, due to the presence of only one CCD in the camera (much like 16 bit audio not having as much perceived dynamic range to some. The painting will seem more "human," and more "artistic," "warm," and a lot of other intangible, yet equally important adjectives. Much like this, CDs, at 44.1kHz and 16 bit, may be more "perfect" to some, but less "human" to others. That said, from my understanding 192kHz and 32 bit is what is required for a digital audio file to not exhibit any digital artifacts, even subtle ones.
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