Multi-Channel Replay Systems

5.1 versus Ambisonic

This is a brief look at the possibilities and limitations of two systems used to create their own distinct variety of immersive experiences. This follows on from the discussion in this post.

5.1 Replay systems


When mixing dialogue, music and ambience for a traditional 5.1 speaker arrangement, as would be the case for most film, television, radio or game sound, the 'convention' would be to route dialogue to the front or centre speaker, music to the L&R speakers and route any ambient sounds to the rear speakers. This can help with the separation of each distinct element but when it comes down to the creation of an immersive or enveloping soundscape these conventions fall drastically short of being satisfactory.

As we discovered in an earlier post the reliance of phantom images multi-channel replay systems is crucial. Therefore the positioning of the speakers in relation to each other is fundamentally important. The routing of dialogue and ambience to their respective pre-determined locations highlights further the limitations and predicability of these conventional systems.

Ambisonic Replay Systems

If we chose to dispense with the traditional conventions that 5.1 systems adhere and apply the subjective experience to an Ambisonic environment then the opportunities for further envelopment can be realised. With the addition of the periphonic component in the Ambisonic replay system, the extent to which the character's audio environment can be recreated or represented increases greatly. To be able to convey the audio equivalent of a camera looking up and down, and to follow this camera movement from an audio point of view can only add to the true immersion or envelopment, for the viewer, in the experience. Further details on Ambisonic systems can be seen in this post.