WEBVTT - What is Surround Sound? 0:00:00.320 --> 0:00:02.880 Brought to you by the reinvented two thousand twelve camera. 0:00:03.240 --> 0:00:08.920 It's ready. Are you get in touch with technology with 0:00:09.080 --> 0:00:17.799 tex Stole from how stuff works dot com. Hello everyone, 0:00:17.880 --> 0:00:20.840 and welcome to tex stuff. My name is Chris Polette. 0:00:20.840 --> 0:00:23.520 I am an editor here at how stuff works dot Com. 0:00:23.560 --> 0:00:26.479 Sitting across from me as he always does. His senior writer, 0:00:26.640 --> 0:00:30.640 Jonathan Strickland, a sailor, travels to many lands, any place 0:00:30.720 --> 0:00:33.760 he pleases, and he always remembers to wash his hands 0:00:33.800 --> 0:00:38.720 so's he don't get no diseases. That's so pleasant today. Yeah, well, 0:00:38.720 --> 0:00:41.839 you know, wash your hands, okay, has nothing to do 0:00:41.880 --> 0:00:44.199 with what we're gonna talk about. No, we're gonna talk 0:00:44.240 --> 0:00:48.160 about surround the sound. Indeed we are. Actually we're gonna 0:00:48.200 --> 0:00:50.800 talk about the the effect of surround sounding. Surround sound 0:00:50.840 --> 0:00:53.560 itself is kind of a I mean, the term came 0:00:53.600 --> 0:00:57.000 from Dolby, but the concept goes back much further. Yes, 0:00:57.040 --> 0:01:00.680 indeed it does, so, I mean, it's pretty simple concept. 0:01:00.760 --> 0:01:03.160 The idea of surround sound is that you want to 0:01:03.440 --> 0:01:08.160 create sound in a using recorded sound. You want to 0:01:08.160 --> 0:01:10.120 be able to play that recorded sound back in a 0:01:10.160 --> 0:01:12.319 way that sounds like you know, you're in the center 0:01:12.560 --> 0:01:15.679 of all the stuff that's going on that you know, 0:01:15.680 --> 0:01:19.480 you've got you've got sounds coming from various directions around you, 0:01:19.760 --> 0:01:22.760 so it feels more immersive. Yeah, if you ever been 0:01:22.800 --> 0:01:26.039 to the movie theater watching a movie where things are 0:01:26.080 --> 0:01:29.080 you know, someone walks off screen and it you know, 0:01:29.160 --> 0:01:31.039 you get the idea that they're behind you because you 0:01:31.040 --> 0:01:34.040 can hear their boots crunching on the gravel from coming 0:01:34.080 --> 0:01:36.080 from a speaker behind your head, and you go, wow, 0:01:36.080 --> 0:01:41.160 that was really cool. That was that was essentially surround sound. Yeah. So, uh, 0:01:41.480 --> 0:01:44.600 we're mainly going to focus on surround sound um in 0:01:44.640 --> 0:01:48.040 the home theater environment, not in the movie theater where 0:01:48.080 --> 0:01:51.320 we are going to do a Movies and Sound podcast. 0:01:51.360 --> 0:01:53.880 The will be part of our Movie Making Technology series, 0:01:54.480 --> 0:01:56.600 so don't worry, we will get into that, and the 0:01:56.920 --> 0:02:00.120 two are related to one another, but we're mainly focusing 0:02:00.160 --> 0:02:02.080 on like if you want to set up your own 0:02:02.080 --> 0:02:04.520 home theater and what sort of options do you have? 0:02:04.600 --> 0:02:08.440 And you know, what was the progress of surround sound? Yeah, well, 0:02:08.520 --> 0:02:11.800 of course surround sound actually started in the movies. Sure. 0:02:11.880 --> 0:02:14.519 The first the first one I could find reference to 0:02:14.720 --> 0:02:17.880 was fantas Sound, which was created by a couple of 0:02:17.880 --> 0:02:22.800 Disney engineers for the release of Fantasia UM. But it 0:02:22.840 --> 0:02:25.600 was it was a very manual process at that point. 0:02:25.639 --> 0:02:29.520 Basically they had the track uh playing through different speakers, 0:02:29.520 --> 0:02:32.440 two different speakers, and what they would do would be 0:02:32.560 --> 0:02:36.200 to turn one down and the other up uh manually 0:02:36.440 --> 0:02:39.920 so under direction of somebody, so that it appeared to 0:02:39.919 --> 0:02:44.280 to have the effect of moving across one another. Because 0:02:44.280 --> 0:02:49.120 originally we're talking about monophonic sound mono meaning one, so 0:02:49.200 --> 0:02:51.800 you have one sound source and all the sound is 0:02:51.840 --> 0:02:55.200 coming from that source. Now you could have multiple speakers 0:02:55.280 --> 0:02:58.360 hooked up to a monophonic system and it would just 0:02:58.400 --> 0:03:01.560 be that that same sound, the same the exact same 0:03:01.600 --> 0:03:05.040 sound would be coming from each speaker at the same intensity. UH. 0:03:05.160 --> 0:03:08.720 So you know, you could make yourself feel like you 0:03:08.760 --> 0:03:11.600 were in the center of sound by putting a series 0:03:11.639 --> 0:03:15.480 of monophonic sterry speakers around you, but there'll be no 0:03:15.600 --> 0:03:17.880 differentiation there. It wouldn't be like you could hear the 0:03:18.000 --> 0:03:21.079 violins off on one side while the cellos are are 0:03:21.160 --> 0:03:23.960 behind them and and the brass section is to the 0:03:24.080 --> 0:03:26.680 other side. You wouldn't be able to get that differentiation. 0:03:26.720 --> 0:03:29.079 It would be the sound of the entire orchestra being 0:03:29.120 --> 0:03:33.160 all around you everywhere. M Yeah, Actually I misspoke because 0:03:33.440 --> 0:03:36.040 the article that I had found in the Journal of 0:03:36.160 --> 0:03:39.880 Society of Motion Picture Engineers by William E. Garritty and 0:03:39.960 --> 0:03:43.080 Janny Hawkins, so that there was a center channel and 0:03:43.200 --> 0:03:45.880 two speakers, one on either side of the center. So 0:03:46.080 --> 0:03:48.880 what they would do would be to change the U 0:03:49.160 --> 0:03:52.480 turn one up and the other down on the side speakers. 0:03:52.920 --> 0:03:57.120 The center speaker would would continuously play the monophonic sound 0:03:57.480 --> 0:04:01.800 right for that, but I straight manually fading it in 0:04:01.880 --> 0:04:07.280 and out. And that's not terribly terribly different from what 0:04:07.400 --> 0:04:09.920 goes on now, but it's so much more sophisticated, right, right, 0:04:10.000 --> 0:04:14.720 So after monophonic sound, we could talk quickly about stereophonic sounds. Yeah, 0:04:15.360 --> 0:04:17.680 that's the concept where you divide the sound up into 0:04:17.760 --> 0:04:21.880 multiple channels and then you direct the the channels to 0:04:22.080 --> 0:04:26.560 specific speakers. Um. And we generally think of this as 0:04:26.800 --> 0:04:32.000 uh as as being a two speaker system, but technically 0:04:32.040 --> 0:04:35.279 stereophonic can refer to more than just two. It's just 0:04:35.360 --> 0:04:37.960 that you know, in the common vernacular, when you say stereo, 0:04:38.200 --> 0:04:41.880 you think of two speakers, so generally a left and 0:04:42.000 --> 0:04:44.279 right speaker. This is the kind of sound system that 0:04:44.320 --> 0:04:48.360 works really well with headphones, so that you record certain 0:04:48.400 --> 0:04:50.840 sounds on the left channel or in certain sounds of 0:04:50.880 --> 0:04:53.680 the right channel, or you mix them so that certain 0:04:53.720 --> 0:04:56.280 sounds only kind of come across on the left or 0:04:56.320 --> 0:04:58.880 the right um. And by doing that you can give 0:04:59.000 --> 0:05:02.000 the sort of the illusion that you are in the 0:05:02.040 --> 0:05:04.240 middle of whatever it is it's making the sound that 0:05:04.360 --> 0:05:10.560 The example everyone always uses is orchestras because I mean, 0:05:10.640 --> 0:05:13.480 you think about it that it's it's easy enough to say, 0:05:13.520 --> 0:05:14.880 all right, well, this would be like if you were 0:05:14.920 --> 0:05:17.520 standing directly in front of the orchestra, because if you 0:05:17.560 --> 0:05:20.360 were there, you would be able to hear that the 0:05:21.000 --> 0:05:22.960 you know, all the music is coming from the orchestra 0:05:22.960 --> 0:05:24.679 in front of you, but different parts of the orchestra 0:05:24.720 --> 0:05:27.000 are generating that sound at different times, so you would 0:05:27.040 --> 0:05:30.200 hear like the violence would sound like they were off 0:05:30.240 --> 0:05:32.640 to one side, and the brass would sound like it's 0:05:32.640 --> 0:05:36.080 on the other side. UM. So, the the goal of 0:05:36.120 --> 0:05:40.360 stereo was to try and recreate that sensation as accurately 0:05:40.400 --> 0:05:44.840 as possible when you're playing it back yourself. And it's 0:05:45.320 --> 0:05:49.360 a pretty simple and a pretty simple concept. Right You're 0:05:49.400 --> 0:05:52.080 sending one set signals to the left speaker, and one 0:05:52.080 --> 0:05:54.839 says signals to the right speaker, and both maybe playing 0:05:54.920 --> 0:05:57.560 some sounds at the same time, but they'll also be 0:05:57.560 --> 0:06:02.719 playing sounds that are unique to that particular speaker. That's true. 0:06:03.200 --> 0:06:06.640 Surround sound GET does that and makes it way more complicated. Yeah, 0:06:06.640 --> 0:06:09.240 I think I think I would throw in my my 0:06:09.240 --> 0:06:13.480 my pet research project here, Okay, Yeah, because it's a 0:06:13.520 --> 0:06:16.120 good bridging. Yeah, I was thinking about the areas we 0:06:16.120 --> 0:06:18.840 were sort of what I was mulling over. UM. One 0:06:18.880 --> 0:06:20.400 of the things I told Jonathan I wanted to talk 0:06:20.440 --> 0:06:24.480 about was quadraphonic sound UM, which I had always heard 0:06:24.520 --> 0:06:27.400 about UM growing up in the seventies and eighties, but 0:06:27.440 --> 0:06:30.040 never really had the opportunity to experience. And it's very 0:06:30.080 --> 0:06:33.400 hard to experience now, But it was just because people 0:06:33.400 --> 0:06:37.440 don't use it really anymore. But guadrophonic sound, if you've 0:06:37.440 --> 0:06:39.640 ever heard of it, it is as you would expect 0:06:39.680 --> 0:06:43.920 with the prefix quad uh four channel version UM with 0:06:44.120 --> 0:06:47.920 left front, right front, left rear, and right rear speakers UM. 0:06:48.120 --> 0:06:51.799 And this it was sort of an early seventies project. 0:06:51.839 --> 0:06:56.360 A lot of the the high fidelity type audio manufacturers 0:06:56.400 --> 0:06:58.719 came out with equipment that would support it. UM you 0:06:58.760 --> 0:07:03.480 would see eight track tapes, vinyl records and real to 0:07:03.560 --> 0:07:08.400 real audio tape with you know recordings and in quadraphonic format. 0:07:08.920 --> 0:07:12.000 UM and it pretty much works very in very very 0:07:12.040 --> 0:07:15.680 similar ways to UH to stereo sound. The problem I 0:07:15.720 --> 0:07:18.520 think probably was judging from my research, is that it 0:07:18.560 --> 0:07:22.360 required special equipment. The eight tracks that had it were 0:07:22.480 --> 0:07:26.720 formatted differently. UM. They had only one side with fewer 0:07:26.760 --> 0:07:31.080 programs rather than two sides. UM and uh. You know, 0:07:31.160 --> 0:07:33.720 to to play a vinyl record, you had to have 0:07:33.840 --> 0:07:36.080 a special stylist because the grooves were cut a little 0:07:36.080 --> 0:07:39.080 differently to support the different channels. Since you have four 0:07:39.360 --> 0:07:42.760 discrete channels of audio going to four different you know, 0:07:42.840 --> 0:07:46.520 each channel is going to a different speaker. UM. The 0:07:46.760 --> 0:07:48.920 of course, here, the idea is that the listener would 0:07:48.960 --> 0:07:52.160 be in the center of this the square that's made 0:07:52.160 --> 0:07:56.680 by the four speakers, and that through managing the levels 0:07:56.880 --> 0:07:59.480 of each speaker and the types of sound that are 0:07:59.480 --> 0:08:02.920 coming through speaker, you could create you know, a sound 0:08:03.040 --> 0:08:04.880 scape if you want to. You know that that's a 0:08:04.960 --> 0:08:07.960 pretty common term term soundscaping, where you're trying to create 0:08:08.120 --> 0:08:11.720 a particular experience through sound to make it very immersive. 0:08:11.880 --> 0:08:16.440 And uh and and you know, audiophiles are always looking 0:08:16.480 --> 0:08:21.240 for the really immersive and really um um well true 0:08:21.280 --> 0:08:24.080 to life, yeah, playback option because you want you want 0:08:24.200 --> 0:08:26.360 to sound at least if you're an audio file, you 0:08:26.400 --> 0:08:28.480 want to sound as close to as if you were 0:08:28.520 --> 0:08:33.440 actually there when the sound was being generated as possible. Yeah. 0:08:33.480 --> 0:08:38.360 The uh, the system also required a special demodulator to um, 0:08:39.400 --> 0:08:44.120 especially if you were going to play both stereophonic, well monophonic, 0:08:44.160 --> 0:08:48.600 stereophonic and quadrophonic records on the same system. Um. You know, 0:08:48.720 --> 0:08:52.960 it really was kind of equipment intensive. Um. And then 0:08:53.000 --> 0:08:57.400 there was another format of quadrophonic sound, Compact Discrete four 0:08:57.559 --> 0:08:59.800 or c D four not to be confused at all, 0:09:00.160 --> 0:09:03.319 the compact disc format UM, and it you know, it 0:09:03.440 --> 0:09:05.559 was one of those things where it was a format war. 0:09:05.880 --> 0:09:10.520 JVC was was behind this, and they apparently a lot 0:09:10.520 --> 0:09:14.040 of people really liked it, uh or really really hated it, 0:09:14.080 --> 0:09:18.960 depending on whom you ask. UM. But they were incompatible formats, 0:09:19.080 --> 0:09:21.240 and I think the cost of the equipment and the 0:09:22.040 --> 0:09:25.040 mess with all the different formats kind of you know, 0:09:26.400 --> 0:09:28.920 caused the whole quadraphonic thing to fade away. And then 0:09:28.920 --> 0:09:31.199 of course we got into uh as we moved into 0:09:31.240 --> 0:09:33.960 the nineties, we got into CDs, and you know, people 0:09:34.000 --> 0:09:36.760 weren't making CDs to to work with quadrophonic sound anymore, 0:09:36.760 --> 0:09:41.320 so it just disappeared. Yeah. Um, I mean audiophiles will 0:09:41.320 --> 0:09:44.040 probably still cry out and say, hey, I still have 0:09:44.120 --> 0:09:46.400 my quadraphonic system and it's awesome, because they're very proud 0:09:46.400 --> 0:09:47.600 of them. I mean they do. There are a lot 0:09:47.640 --> 0:09:49.360 of people who still have them out there, But you 0:09:49.400 --> 0:09:51.319 have to find the equipment that actually still works. Is 0:09:51.360 --> 0:09:53.960 the problem, because no one's manufacturing it, right, the equipment 0:09:54.000 --> 0:09:58.480 and the the you know, the stuff to play on it. Um, 0:09:58.600 --> 0:10:03.120 and someone is manufacturing it, they're probably a very small manufacturer, right. So, 0:10:03.120 --> 0:10:07.360 so true quadrophonic sound is you have four audio channels 0:10:07.800 --> 0:10:11.160 and you have four speakers, and so you've got it's 0:10:11.240 --> 0:10:15.280 it's four it's called four four four because it's it's 0:10:15.280 --> 0:10:18.760 it stays four discrete channels through the whole um, the 0:10:18.800 --> 0:10:22.440 whole process. You can also achieve quadrophonic sound, and some 0:10:22.520 --> 0:10:26.480 quadraphonic systems were able to do this by getting four 0:10:27.400 --> 0:10:32.400 lines of information out of two lines of information. This 0:10:32.440 --> 0:10:35.439 gets really kind of a kind of confusing, but that's 0:10:35.480 --> 0:10:40.079 called like the four to four processing system. Right, So 0:10:40.160 --> 0:10:44.880 you start off with four different UM channels. You can 0:10:44.920 --> 0:10:48.160 press that down into two lines of information, and then 0:10:48.200 --> 0:10:50.520 you have a decoder that brings it back up to four. 0:10:51.080 --> 0:10:53.600 And uh, I'll see if I can explain this in 0:10:53.600 --> 0:10:55.360 a way that makes sense. It's hard to do when 0:10:55.400 --> 0:10:57.440 you don't have a visual to go with it. So 0:10:57.559 --> 0:11:01.800 maybe maybe at some point UM UH will do some 0:11:01.880 --> 0:11:04.959 sort of video where we'll talk about this. But if 0:11:04.960 --> 0:11:07.679 you do find this confusing, we have some great articles 0:11:07.679 --> 0:11:10.160 on the site on both how movie sound works and 0:11:10.240 --> 0:11:12.080 how surround sound works where you can kind of see 0:11:12.120 --> 0:11:15.240 what I'm talking about. So with a four two four 0:11:15.320 --> 0:11:20.119 system you have for the four different kinds of information 0:11:20.200 --> 0:11:24.280 information are the the sounds that are unique to your 0:11:24.559 --> 0:11:28.720 left speaker. This is again in a in like a 0:11:28.720 --> 0:11:32.320 a regular surround sound system. You have the information that 0:11:32.480 --> 0:11:35.520 is only going to the right speaker, you have the 0:11:35.559 --> 0:11:37.679 information that's going to both, and then you have the 0:11:37.720 --> 0:11:40.640 information that's only going to the surround speaker. So this 0:11:40.679 --> 0:11:43.240 would normally be a speaker that's to your left, a 0:11:43.240 --> 0:11:47.160 speaker to this's your right, and the speaker that's behind you, okay, um. 0:11:47.760 --> 0:11:51.679 And the way that they get the the last two 0:11:51.880 --> 0:11:54.920 to work. Uh. It all depends on whether or not 0:11:55.480 --> 0:11:59.280 the signals are in phase or out of phase with 0:11:59.320 --> 0:12:03.440 each other. So left and right is easy right, because 0:12:03.440 --> 0:12:05.800 you're just sending the information to one speaker or the 0:12:05.840 --> 0:12:08.480 other speaker. Sending it to both is also easy. You 0:12:08.520 --> 0:12:12.600 send both both speakers the same information or both sides 0:12:12.640 --> 0:12:14.920 the same information at the same time. So if you 0:12:14.920 --> 0:12:17.280 were to look at the waves like the sound waves, 0:12:17.600 --> 0:12:19.800 they would match up perfectly. It'd be the same amplitude 0:12:19.840 --> 0:12:23.960 and same frequency. To do the surround sound. What they 0:12:24.000 --> 0:12:26.280 do is too so that you don't get the sound 0:12:26.320 --> 0:12:28.280 from the front speakers, the ones that are in front 0:12:28.280 --> 0:12:29.680 of you, and you want to just get the ones 0:12:29.720 --> 0:12:33.280 that are around you. Uh, you put them out of phase. 0:12:33.720 --> 0:12:35.760 And by saying out of phase that what that means 0:12:35.920 --> 0:12:39.480 is that when you have the peak of the sound 0:12:39.480 --> 0:12:42.280 wave from one speaker, it matches the trough of the 0:12:42.320 --> 0:12:45.400 sound wave of the other speaker, so it's opposite exactly, 0:12:45.400 --> 0:12:47.600 it's opposite. So while one is speaking, the other one 0:12:47.679 --> 0:12:50.160 is a trough. And this is important. This this relates 0:12:50.200 --> 0:12:53.320 to how the speaker itself moves. There's a speaker cone 0:12:53.360 --> 0:12:56.880 in your speaker that vibrates. That vibration is what generates 0:12:56.920 --> 0:12:59.679 the sound you hear, which is also kind of amazing. 0:12:59.679 --> 0:13:02.080 We'll have to do a podcast just about speakers at 0:13:02.080 --> 0:13:06.360 one point to talk about how a little vibrating speaker 0:13:06.440 --> 0:13:09.280 cone can generate all the different sounds you hear when 0:13:09.280 --> 0:13:14.079 you listen to any prerecorded stuff, or actually any broadcast stuff, 0:13:14.080 --> 0:13:16.760 anything that's coming over a speaker. I mean, it's it's 0:13:16.800 --> 0:13:22.080 this little vibrating film that's generating that sound. So anyway, 0:13:22.120 --> 0:13:24.960 the when it's out of phase like that, the two 0:13:25.000 --> 0:13:28.200 sound waves cancel each other out, so we don't really 0:13:28.320 --> 0:13:30.959 perceive them. Yeah, that's sort of, in a way, a 0:13:31.000 --> 0:13:34.360 little bit like how noise canceling headphones work. Yes, exactly, 0:13:34.400 --> 0:13:36.960 it's exactly the way noise canceling headphones work. In the 0:13:36.960 --> 0:13:39.400 sense that you want to be able to create a 0:13:39.679 --> 0:13:43.200 wave that matches but is out of phase with the 0:13:43.200 --> 0:13:46.040 the one that you're trying to dampen, right, and so 0:13:46.240 --> 0:13:49.160 you get the dampened the dampened speakers, you don't hear 0:13:49.200 --> 0:13:50.760 the sound from. You do hear the sound from the 0:13:50.760 --> 0:13:54.439 surround sound speakers. Um, And all it takes is encoding 0:13:55.040 --> 0:13:58.199 the these lines of information the right way so that 0:13:58.600 --> 0:14:00.640 the waves match up or don't match up. And then 0:14:00.800 --> 0:14:04.000 when it's played back through whatever system you're using, usually 0:14:04.040 --> 0:14:08.559 like a DVD system or whatever, UM, there's a decoder 0:14:08.720 --> 0:14:11.600 that takes those two lines of information and then decodes 0:14:11.640 --> 0:14:15.880 that into the four the four different streams UM. So 0:14:15.960 --> 0:14:17.920 that that's kind of that was kind of the next step. 0:14:18.000 --> 0:14:20.400 And like I said, some of the quadriphonic systems were 0:14:20.440 --> 0:14:22.320 able to do that. They weren't just the four four 0:14:22.440 --> 0:14:28.000 four discrete systems UM those great little phase shifts. I 0:14:28.560 --> 0:14:31.640 find that really fascinating. It also meant that if you 0:14:31.680 --> 0:14:33.800 had a left speaker and a right speaker and they 0:14:33.840 --> 0:14:38.200 were playing the right frequencies, you would get an effect 0:14:38.280 --> 0:14:40.800 as if there were a speaker directly in front of you, 0:14:41.760 --> 0:14:44.320 and that that we call that the phantom speaker because 0:14:44.320 --> 0:14:47.800 there's not a physical device that's generating that sound. It's 0:14:47.840 --> 0:14:51.400 just because the way that the other two stereo speakers 0:14:51.400 --> 0:14:54.040 are are generating sound at the same time, it gives 0:14:54.040 --> 0:14:57.640 you the effect that there is a speaker there. Okay, 0:14:57.720 --> 0:14:59.920 we'll see that. That makes so much more sense now 0:15:00.400 --> 0:15:02.800 because I thought it was a speaker that could punch 0:15:02.840 --> 0:15:04.400 you so hard that it would leave an impression of 0:15:04.440 --> 0:15:06.840 its bringing your face. See, I thought it was a 0:15:06.880 --> 0:15:09.840 speaker that was supposed to be developed to play all 0:15:09.880 --> 0:15:13.800 these different video games, but never actually came out. We're 0:15:13.840 --> 0:15:17.120 just making phantom jokes now, and someone's going to complain 0:15:17.160 --> 0:15:20.680 because those are inside jokes, not even inside jokes, really, folks, 0:15:20.720 --> 0:15:23.400 that's just reference. That's simon and inside joke. We're just 0:15:23.440 --> 0:15:27.680 making very obscure references. Uh. So that that four too, 0:15:27.720 --> 0:15:32.720 four is an example of a matrix system. The matrix 0:15:32.760 --> 0:15:37.400 are the systems where the processing systems where you you 0:15:37.400 --> 0:15:43.640 you combine various lines of of channels into one or 0:15:43.680 --> 0:15:49.240 two or however many discrete. Um. Uh, Well, I guess 0:15:49.240 --> 0:15:51.320 discreet would be the wrong word, because discreet would mean 0:15:51.320 --> 0:15:55.320 that you would have one per one channel, person per speaker. 0:15:55.440 --> 0:15:58.360 But it's when you combine these this lines of information 0:15:58.360 --> 0:16:01.320 that will later be decoded to become UMU to go 0:16:01.400 --> 0:16:03.800 to each individual speaker so that you get that surround 0:16:03.840 --> 0:16:08.880 sound effect. Um. Did you want to talk about the 0:16:08.880 --> 0:16:11.840 differences between things like five point one, six point one, 0:16:11.880 --> 0:16:15.560 seven point one, etcetera. Well, yeah, that's uh, that's essentially 0:16:15.600 --> 0:16:18.840 the number of speakers, or actually the number of channels 0:16:18.880 --> 0:16:21.120 that you have. The first number is the number of 0:16:21.160 --> 0:16:25.240 regular channels. In the second is the number of I 0:16:25.280 --> 0:16:29.280 guess base, yeah, lf E low frequency UM channels. That's 0:16:29.360 --> 0:16:32.760 what's going to your subwoffer. Yeah. Yeah, And it sort 0:16:32.760 --> 0:16:34.880 of reminds me of what a friend of mine used 0:16:34.920 --> 0:16:38.160 to call the earthquake speaker. I used to uh used 0:16:38.160 --> 0:16:40.040 to go to a club that had one of the 0:16:40.600 --> 0:16:42.600 you couldn't even tell it was on. It was this 0:16:42.720 --> 0:16:45.080 giant cube. It was one of the speakers that it 0:16:45.120 --> 0:16:48.640 was created for the movie Earthquake in the seventies, and 0:16:48.920 --> 0:16:51.320 its job was not to make a sound that you 0:16:51.360 --> 0:16:54.040 could hear. It was. Its job was to make a 0:16:54.080 --> 0:16:56.040 sound that you could feel that made it feel the 0:16:56.080 --> 0:16:57.760 floor feel like it was shaking, but you couldn't hear 0:16:57.760 --> 0:16:59.320 anything coming out of it. Was just that the base 0:16:59.480 --> 0:17:02.880 was that low, right, it was beyond beyond the range 0:17:02.920 --> 0:17:06.359 of human hearing exactly. Yes, we can definitely sense it 0:17:06.520 --> 0:17:09.560 through uh, Like like you said, you could feel it, yeah, 0:17:09.600 --> 0:17:10.919 and yeah, it's the same sort of thing that when 0:17:10.960 --> 0:17:12.760 you go see a movie where there's a big explosion 0:17:12.800 --> 0:17:15.320 and you feel you're feeling your chair rumbled. That's that's 0:17:15.320 --> 0:17:18.520 what that is. So that's yeah, the five, the five 0:17:18.520 --> 0:17:21.399 point the h and that speaker. The speakers in and 0:17:21.520 --> 0:17:25.560 home theater systems are not nearly as uh you know, 0:17:26.160 --> 0:17:29.200 powerful as those used for the movie theaters and your 0:17:29.240 --> 0:17:32.919 average home theater system last year, because there are there 0:17:32.960 --> 0:17:35.840 are a few crazy people out there who have some 0:17:35.960 --> 0:17:38.359 really powerful speaker systems and a whole lot of money 0:17:38.359 --> 0:17:40.280 to blow on that, because we're talking like, you know, 0:17:40.760 --> 0:17:43.400 the tens of thousands of dollars for for these kind 0:17:43.440 --> 0:17:45.280 of speakers, but the kind that you would pick up 0:17:45.280 --> 0:17:48.760 at your local electronics store for most people is uh 0:17:49.440 --> 0:17:52.080 probably these days, I would I would guess at five 0:17:52.119 --> 0:17:54.000 point one or seven point one, in which case you've 0:17:54.040 --> 0:17:57.960 got um, the center speaker. Uh. In the case at 0:17:57.960 --> 0:18:00.159 five point one, two in the front and two on 0:18:00.200 --> 0:18:03.199 the side, or you know, just behind you. Um, the 0:18:03.280 --> 0:18:06.640 seven speaker set up is a little more diverse. You've 0:18:06.680 --> 0:18:08.920 got a couple behind you and maybe even I guess 0:18:08.920 --> 0:18:11.000 a real real channel. There's a six point one too. 0:18:11.440 --> 0:18:13.560 Well it's a single one behind you and then the 0:18:13.600 --> 0:18:16.560 other one has the two So yeah, it's it's just 0:18:16.600 --> 0:18:19.600 basically dividing the number of channels up and the more 0:18:19.640 --> 0:18:21.880 the more channels you've got the more speakers you've got, 0:18:21.920 --> 0:18:25.080 so you you placed them strategically around you to create 0:18:25.160 --> 0:18:28.440 that that sound, and you just took up the channels indicated. 0:18:28.520 --> 0:18:32.639 And the strategically part is very important because the sound 0:18:32.680 --> 0:18:35.359 has been designed for specific for it to come from 0:18:35.400 --> 0:18:38.200 a specific direction exactly. In other words, with five point one, 0:18:38.240 --> 0:18:41.119 you couldn't just you know, put the five speakers around 0:18:41.119 --> 0:18:43.719 you in any orientation. Yeah, you have to put them 0:18:43.800 --> 0:18:45.879 in a certain place if you want to achieve the 0:18:45.920 --> 0:18:48.119 desired effect. I suppose you could put them in in 0:18:48.320 --> 0:18:50.160 just random places and it would be kind of weird, 0:18:50.200 --> 0:18:52.919 but yeah, it wouldn't don't match up to anything you 0:18:52.960 --> 0:18:55.440 were watching or now if you're just listening to music, 0:18:55.480 --> 0:18:57.560 it might not make as big a difference. It just 0:18:57.560 --> 0:19:00.399 wouldn't give you the effect that was intended. Now, so 0:19:00.520 --> 0:19:02.359 five point one, Yeah, you've got that. You've got your 0:19:02.359 --> 0:19:05.560 center channel. So that's that's usually in the movies, the 0:19:05.600 --> 0:19:08.040 center channel is where most of the dialogue comes from. 0:19:08.560 --> 0:19:10.480 That's because it appears to be coming from the screen, 0:19:10.720 --> 0:19:12.680 right right. Yeah, It's one of those things where we 0:19:12.800 --> 0:19:15.000 just we've kind of trained ourselves that if we're looking 0:19:15.000 --> 0:19:17.800 at a person and they're talking. Uh, the sounds should 0:19:17.840 --> 0:19:21.600 pretty much come from that direction. Um. It's only if 0:19:21.640 --> 0:19:24.399 a character is off screen and talking that we normally 0:19:24.400 --> 0:19:29.040 would hear that person speaking through one of the other speakers, uh, 0:19:29.080 --> 0:19:31.159 the other. So that you've got that's number one is 0:19:31.160 --> 0:19:33.119 your center channel. Then you've got your front left in 0:19:33.160 --> 0:19:36.320 your front right, which are usually set you know obviously 0:19:36.359 --> 0:19:38.119 off to the side, to the left and right of 0:19:38.200 --> 0:19:41.359 the center channel. UM. Then you have your rear left 0:19:41.400 --> 0:19:44.680 and your rear right audio and those would be behind 0:19:44.960 --> 0:19:48.520 the viewer or listener. So that's the five. You know, 0:19:48.520 --> 0:19:51.240 you've got one five, the three in the front and 0:19:51.240 --> 0:19:53.600 two in the rear. Then you've got the point one 0:19:53.640 --> 0:19:57.399 would be the sub Wliffer six point one. Usually, UM, 0:19:57.520 --> 0:20:02.359 it depends because there's no set standard for surround sound. 0:20:02.359 --> 0:20:04.480 There are many companies that have come up with different 0:20:04.640 --> 0:20:08.440 surround sound UM approaches, but in general a six point 0:20:08.440 --> 0:20:11.240 one surround sound set up there's usually an additional rear 0:20:11.440 --> 0:20:16.400 center speaker and that's normally used specifically for sound effects. 0:20:16.440 --> 0:20:18.800 So it's not you know, that's to give you that 0:20:18.880 --> 0:20:22.120 more rich immersive experience, but it never it didn't really 0:20:22.240 --> 0:20:25.160 take off. Six point one just was one of those 0:20:25.200 --> 0:20:29.040 things where you know it just it was it was 0:20:29.080 --> 0:20:31.399 almost people begin to view it, I guess as we 0:20:31.440 --> 0:20:34.160 would get this just because we can. And it never 0:20:34.200 --> 0:20:36.920 really took off, at least in the home market. Seven 0:20:36.960 --> 0:20:41.720 point one does rearrange the orientation a little bit. Uh, 0:20:41.800 --> 0:20:45.800 So you've got instead of the additional rear speaker, Um, 0:20:45.960 --> 0:20:48.800 you've got additional speaker to your left and one to 0:20:48.880 --> 0:20:51.199 your right. So you've got you've got the three in 0:20:51.240 --> 0:20:53.720 front of you. You've got one tier left, one tier 0:20:53.800 --> 0:20:56.560 right like immediately to your left and right, and then 0:20:56.960 --> 0:21:00.000 the two behind you. And so that's that's all seven 0:21:00.119 --> 0:21:04.240 right there. Uh and then right now is pretty much 0:21:04.320 --> 0:21:08.120 the top of the home theater system. But it's not 0:21:08.840 --> 0:21:11.840 people of course are not stopping there. Why would they. 0:21:12.160 --> 0:21:14.560 But but yeah, that that's usually what you would see 0:21:14.600 --> 0:21:17.800 in your local electronics store five five point one in 0:21:17.960 --> 0:21:20.280 seven point one systems, Yeah, you might see some six 0:21:20.320 --> 0:21:22.280 point ones too, but like I said, they didn't really 0:21:22.320 --> 0:21:24.320 take off very much. So usually you see, you know, 0:21:24.359 --> 0:21:29.879 the five point one being the more um popular is 0:21:29.880 --> 0:21:31.680 probably the wrong word, but just that's the one you're 0:21:31.720 --> 0:21:33.680 going to find the most often. I think seven point 0:21:33.720 --> 0:21:36.680 one you'll find when you're looking at some of the 0:21:36.760 --> 0:21:40.200 higher end sound systems. I'm sure there's some that are 0:21:40.200 --> 0:21:43.680