Eschewing one size fits all speaker configurations, Dolby enables the home theater designer to design a sound system and speaker placement scheme that fits the unique acoustical properties of the room size and shape. a system incorporating a 9.1 Atmos surround channel “bed” allows for 118 discrete surround objects to pan, explode or whiz around via up to 62 speakers and 2 discrete subwoofer channels). Supporting up to 128 discrete sound tracks and up to 64 speakers, the commercial version of Dolby Atmos allows for a lot of customization (e.g. The actual number of loudspeakers will vary as room size increases to support multiple rows of seats.ĭolby Atmos approaches this from a different perspective. Smaller systems start with 9.1 (based on 5.1 with 4 height channels). Loudspeaker/Channel configurationsĪuro-3D calls for 3 layers of loudspeakers that consists of: 1 – Lower Layer – following the same design parameters as a current 5.1 or 7.1 surround configuration 2 – Height Layer – from 4 to 5 discrete channels correlated to the lower layer of speakers (note: Auro-3D does not use a discrete pair of height speakers to correlate to the surround rear channels) 3 -Top Layer – one or more loudspeakers for overhead effects.Īuro-3D has established speaker layouts for up to a 13.1 channel system (based on 7.1 with full complement of height & top layer). To learn more about Auro-3D and Dolby Atmos, see the videos and website links at the bottom of this article. Dolby Atmos also uses a more traditional channel-based surround “bed” of 7 or 9 speaker channels in combination with the new object elements. The surround sound processor then “renders” the data with respect to the actual speaker configuration utilized in the room to create the desired 3D surround effect. position and height level of the object in the sound space). Dolby Atmos), the sound elements are combined with metadata that describes how and where the sound element should be reproduced in the playback room based on numerous criteria (i.e. Object-based systems require “live” recordings to be artificially “created” in the mixing environment. Auro-3D believes this hybrid approach has some advantages over purely “object-based” systems, such as a channel-based system’s ability to support live recording of 3D music performances or sound effects. An Auro-3D sound mix is comprised mostly of traditional channel-based content, though it also implements a form of object-based sound technology also. The postproduction facility is equipped with these standardized speaker configurations, which must then be matched as closely as possible in the home environment according to these predetermined configurations for accurate 3D surround sound reproduction. Auro-3D), a sound designer mixes the many “sound elements” (dialogue, Foley stage effects, music, etc.) by distributing them over several audio tracks and directing them to specific sound channels that correspond to specific speakers or speaker arrays in a surround playback system. Let’s take a deeper look.īefore we talk about putting these new 3D sound systems into a room, let’s talk about the differences between Dolby Atmos and Auro-3D. Much has been learned since the introduction of these formats in 2012. The first studios and commercial cinema releases incorporating 3D surround formats such as Dolby Atmos and Auro-3D have been around since 2012, but 2014 saw the year of the rise of 3D surround sound formats in the residential market. What was once pegged as a mere attempt to sell more speakers is now accepted as a dramatic, exciting, and worthwhile step forward in the surround sound experience. Having now experienced it as it was intended to be experienced, in a well-designed and engineered environment, the verdict is in. 3D surround sound is finally here and it is taking the home theater / media room industry by storm.
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