M2TB rev. 3.5.2 Multichannel Monitoring Tutorial Booklet 2nd Edition With Reference to and the surround monitoring functions of the Yamaha DM2000, DM1000, and 02R96 digital consoles May 2005 rev. 3.5.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Multichannel Monitoring Tutorial Booklet Second edition, rev. 3.5.2., May 2005 (First edition, rev. 230, June 2002) Contents Foreword ...................................................................................................................................................... 3 Preface ......................................................................
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Foreword Surround sound has evolved into more than the experience heard in cinemas. Through the introduction of the DVD, it has invaded most every aspect of our lives — our homes, our cars, and even our workplaces. We now listen to multi-channel audio delivered via television programs, video games, and even by the music of our favorite bands.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Preface As one whose profession is the acoustical design of studios, I place great value on the parting ceremony of handing over to its new owner my creation (studio) whose playback environment and acoustical response I have ensured.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 0. Introduction The most important consideration for a studio monitoring environment is that “the response of all channels be consistent.” The second most important consideration is that this consistent response be “good response.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 1. What is surround? 1-1. Stereo and surround “Multi-channel” is sometimes called “surround,” and “two-channel” is often called “stereo.” The precise terms are as follows.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 1-2-1. 3-1 ch This method is based on a two-channel system (L, R), and adds a center channel (C) and surround channel (S). Although there are two surround speakers, one each at left and right, the playback is monaural. The “3” in “3-1” indicates L, C, and R, and the “–1” indicates S. Note that if “3-1” is expressed as “3.1,” this means “L, C, R” + “LFE” . 1-2-2.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 1-3. Key points for multi-channel monitoring In our consideration of multi-channel monitoring, it is important to understand the following three key points. Multichannel formats Bass management Playback environment [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2. Multi-channel formats At present, multi-channel playback is supported by numerous types of consumer media, of which DVD is one. The playback response for each of these types of media is defined by the organizations or manufacturers listed below.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Each format of multi-channel media is characterized by a combination of “surround processing method,” “encoding and compression method,” “recording response,” and “playback response.” Most of these types of media provide “downmixing” functionality to allow two-channel playback.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Media Film Method Name Manufacturer, Organization Surround processing method Compression method Recording response (media) 3-1 matrix Dolby Stereo DTS Stereo Dolby lab. DTS 4-2 Matrix Encode - - L, C, R: full range S: 100Hz - 7kHz Playback response Level: L=C=R=S(LS+RS) (speaker, amp) L, C, R: full range S: 100Hz - 7kHz Method 5.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Method Name 6.1 matrix Dolby DIGITAL Surround EX DTS-ES Matrix Manufacturer, Organization Dolby lab.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Media DVD-Video Method 3-1 matrix 3-1 discrete Dolby Surround Dolby DIGITAL Dolby lab. Dolby lab.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Media Music Method 5.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Media Digital broadcast Method 5.1 discrete Main countries Name Manufacturer, Organization Surround processing method Compression method Recording response (media) Japan Europe, etc. - Signal format: ISO, IEC Signal format: ISO, IEC Playback response, etc.: ARIB Playback response, etc.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Media Games Method 5.1 discrete 5.0 matrix Name Manufacturer, Organization Surround processing method Compression method Dolby DIGITAL DTS Dolby Pro Logic II Dolby lab. DTS Dolby lab.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-1. Surround processing methods There are two types of surround processing method; “matrix” and “discrete.” 2-1-1. Matrix This method uses phase synthesis technology to record a larger number of channels on a limited number of tracks. This means that for some channels, there may be restrictions in playback bandwidth and channel separation (crosstalk).
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Playback by end-users Production L R C LFE LSt RSt L R C LFE LS RS BS L R C LFE LS RS BS’(≒in-phase signal of LSt and RSt) Media Master Surround processing Surround processing Movie, DVD-Video etc. [Fig. 6] 6.1 matrix 2-1-2. Discrete This method allows each channel to be recorded as a completely independent track.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Production L C R LFE LS RS BS Master Playback by end-users L C R LFE LS RS BS L C R LFE LS RS BS Media Surround processing Surround processing DVD-Video [Fig. 9] 6.1 Discrete 2-2. Encoding and compression methods 2-2-1.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-2-2. Compression methods Compression methods can be broadly divided into two types; lossy compression and lossless compression. With lossy compression, the original signal cannot be recovered in its entirety from the compressed signal that is recorded; i.e., this is irreversible compression.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Examples of lossy (irreversible) compression formats Media Film CH 5.1ch Compression fs [Hz] Qb [bit] Bitrate [bps] Dynamic range [dB] Dolby AC-3 44.1k 16 320k - APT-X100 (DTS) 44.1k 16 882k - ATRAC (SDDS) 44.1k 16 2.4M* - 1 - 5.1ch Dolby AC-3 48k 16, 20, 24 (1 - 7.1ch) DTS coherent acoustic 48k, 96k 16, 20, 24 MPEG-2 AAC 32k, 44.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-3. Recording response By “recording response” we mean the response allowed when the master tape produced by the studio is recorded onto the production target media. The response of each channel recorded on the media will depend on the encoding method and compression method as described above.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-4. Playback response By “playback response” we mean the desired (recommended) response of the playback system that plays back the media. For example, this corresponds to the frequency response of each speaker and the level balance.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Playback bandwidth 3-1: In the case of matrix, 100 - 7 kHz (it is best to use full-range speakers) In the case of discrete, full-range 5.1: Full-range 5.0: In the case of matrix, 100 Hz - 20 kHz (it is best to use full-range speakers) In the case of discrete, full-range 6.1: Full-range [LFE channel] Level “Band level” is +10 dB compared to the main channel.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Surround channels] Level For film productions, set the playback level of surround channels at -3 dB relative to the front channels. The film playback environment is designed based on the level balance for 3-1 (L=C=R=S=(LS+RS)=85dBC, LS=RS ≈ 82 dBC); the surround playback level is not changed for 5.1. 3-1: LS=RS=82 dBC; in other words, S (LS+RS) =85 dBC 5.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-4-3. Music: DVD-A, Super Audio CD The 5.1 channel (6 channel) playback response for DVD-A or Super Audio CD is shown below. 1/3 octave band level All-pass level Input Signal Wide-band Pink Noise approx. 0VU (-20dBrms) LFE : approx. 79dBC (20-120Hz) L=C=R=LS=RS=LFE : approx. 71dB L=C=R=LS=RS : 85dBC 90 LFE ±0dB L=C=R=LS=RS (5.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Regarding LFE recording and playback levels] Excerpted and summarized from the DVD-Audio Software Production Guidebook (Supplemented Edition) Systems such as Dolby Digital prescribe the mechanism by which the LFE level is boosted during playback, and LFE is boosted (+10 dB) by the playback system in the same way during production as well.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [When reproducing monaural surround (S) from LS and RS] DVD-Audio Software Production Guidebook (Supplemented Edition) If no independent speaker is provided at a location corresponding to monaural surround (S), it is usual to adjust S by -3 dB and distribute it to LS and RS for playback.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-5. Down-mixing Most multi-channel media requires two-channel playback. There are two possible ways in which content equivalent to a multi-channel production can be mixed to two channels. One way is to generate a separate two-channel mix using the individual musical materials (stems) that were used for multi-channel mixing.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-5-2. Two-channel fold-down for Digital broadcasting (Japan, MPEG-2 AAC) 5.1ch Master L 2ch Down-mix Lo ＝Att3×(L＋Att1×C＋Att2×LS) Att3 Ro＝Att3×(R＋Att1×C＋Att2×RS) Att3 R C Att1 LFE -∞ LS Att2 RS Att2 Meta data ■Att1 0.707 (-3dB) ■Att2 0.707 (-3dB), 0.500 (-6dB), 0.354 (-9.0dB) 0.000 (-∞dB) ■Att3 0.707 (-3dB) ■Default Att1＝Att2＝Att3＝0.707 (-3dB) [ Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 2-5-3. Two-channel fold-down for DVD-Audio 5.1ch Master L + / - LFE Att1 Att7 Rmix ＝±Att7×L＋Att8×R±Att9×C ±Att10×LFE±Att11×LS±Att12×RS Att8 R C 2ch Down-mix Lmix ＝＋Att1×L±Att2×R±Att3×C ±Att4×LFE±Att5×LS±Att6×RS + / - Att2 + / - Att3 + / - Att9 + / - Att4 Meta data ■Att1〜Att12 1.000 (0dB)〜 0.001 (-60dB), 0.000 (-∞dB) ※0.2dB-step （0〜-40dB） ※0.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3. Playback environment The playback environment consists of two aspects; room acoustics (which include the room shape, absorptivity, reflectivity, and diffusivity characteristics), and speaker placement. This chapter will discuss speaker placement. Discussions of music-related media commonly refer to Rec. ITU-R BS. 775-1[1] ([Fig. 19]) recommendations.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3. Height of each speaker = 1.2 m (listener ear height) The surround speakers (LS, RS) may be placed higher than L, C, and R as long as the elevation angle is within 15˚. Surround speakers (LS, RS) are placed at the sides rather than at the rear.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-1-3. Center speaker placement Rec. ITU-R BS. 775-1 recommends that the L, C, and R speakers all be placed at the same height (ear level). Thus, if the playback environment includes video, an acoustically transparent screen is recommended.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-2. L, R We will consider two angles of separation for the L-R speakers; 60° and 45°. If we want to emphasize compatibility with conventional two-channel systems such as used for music playback, we give priority to the 60˚ placement.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-3. LS, RS For the surround speakers (LS, RS), we have two types; a “direct surround” environment or a “diffuse surround” environment ([Fig. 22]). Direct surround is a method in which the pair of surround speakers is aimed directly at the listening point.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-3-1. Direct surround In the case of direct surround, the placement of the surround speakers involves a trade-off between “surround panning” and “sense of rear stereo.” Below, we describe the characteristics of typical direct surround configurations (110˚ ±10˚ (ITU-R), 135˚, 150˚) [Fig. 23]. C L R ±10° 110° 135° 150° RS LS [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation because the ITU-R configuration, with its L/R spread of 60˚, is based on maintaining compatibility with conventional two-channel stereo, its surround speakers were placed correspondingly further toward to the front comparison to QUAD.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Incidentally, Rec. ITU-R BS. 775-1 gives examples of multiple speakers used as surround speakers, and it is stated that in this case, these speakers should be placed in the range of 60˚–150˚ symmetrically between left and right. C R L 6 0° 60° LS1 RS1 150° RS2 LS2 [Fig. 25] Rec. ITU-R BS. 775-1; Four surround loudspeakers 3-3-3.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-4. C If a visual image is not used, or if an acoustically transparent screen is used, the center speaker should be placed at the same height as the L/R speakers. If it is important to match the sound and the image, it is good to place the center speaker slightly above the middle of the screen.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-5. Playback image compatibility with the playback environment Differences in surround speaker placement and the spread between the L/R speakers rarely cause profoundly different results in the playback image when a surround production is played back.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-6. SUB When placing the sub-woofer, we must take the acoustics of the room into account. For example, placing the sub-woofer in the corner of the room will produce good results in terms of power, but may produce problems in the frequency response due to disruptions caused by standing waves. [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-7.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Fig. 32] shows a comparison between a small room and large room, illustrating how the playback level from speakers decreases by distance and how movement of 25 cm (one head) from the listening point will affect the playback level from each speaker[4],[8].
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-8. Monitor alignment In some cases, problems with the size or shape of the studio will mean that it is not possible to place all speakers at an equal distance from the listening point. Such problems can occur particularly when partially renovating a two-channel studio for multi-channel support.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-8-1. Comb filtering: Distance difference > 8 mm If the same sound is played back from two speakers whose distance to the listening point differs by 8 mm or more, dips will occur in the frequency region below 20 kHz. A distance of 8 mm corresponds to a minute time difference of approximately 0.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 3-8-4. Speaker placement height and time alignment If delay compensation is to be applied in an environment in which all of the speakers are not placed at the identical height, we must consider how this will interact with the playback sound field and the playback response. [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation comb filtering could cause highs to be attenuated in the playback sound. In musical productions, signals that are highly correlated between the front channels and surround channels are sometimes used to create phantom sound images in a variety of directions.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation In order to construct a reliable monitoring environment, THX pm3 also requires that playback equipment such as speakers and amps be selected from a list of approved equipment that has met careful testing by THX.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 4. Bass management In a small- to medium-sized studios, room modes due to standing waves often become a problem, and it is easy for inconsistencies to develop in the low-frequency response of each speaker. This can impair the following important requirements for multi-channel monitoring. 1. That all channels have a consistent response. 2.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation +20 +10dB L, C, R, LS, RS, BS 0 20k 12.5k 8k 5k 3.15k 2k 1.25k 800 500 80Hz MAIN SPEAKER 315 50 31.5 -20 20 SUBWOOFER 200 -10 125 Relative SPL [dB] LFE +10 1/3 octave band center frequency [Hz] [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation D. All channels can be given a playback response equivalent to large monitors that reproduce the ultra-lows starting at 20 Hz. Most professional sub-woofers are able to reproduce the low range down to about 20 Hz.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 85 LFE SPL [dB] 80 C 10dB 75 70 65 60 20k 16k 12.5k 10k 8k 6.3k 5k 4k 3.15k 2.5k 2k 1.6k 1.25k 1K 800 630 500 400 315 250 200 160 125 100 80 63 50 40 31.5 25 20 16 55 1/3oct. band frequency [Hz] [Fig. 38] LFE vs. C; with Bass Management [Fig. 39] and [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation If bass management is to be applied in a professional playback environment, the filter response must be meticulously matched between the bass management controller and speakers, and a sub-woofer of equivalent grade to the main channel woofer units must be considered, taking careful thought for its placement. Bass management that simply imitates [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Filter Types] The type of filter used (Butterworth, Linkwitz, etc.) depends on the matching between the type of low pass filter and the response of the main speakers. Example: For small types where the main speaker is attenuated below 80 Hz.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation +20 +10dB? +10dB L, C, R, LS, RS, BS 0 -10 20k 12.5k 8k 5k 3.15k 2k 1.25k 800 120Hz 500 80 50 31.5 20 -20 315 MAIN SPEAKER SUBWOOFER 200 Relative SPL [dB] LFE +10 1/3 octave band center frequency [Hz] [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 4-4. Monitoring the decoder output The inclusion of a bass management controller is required for consumer DVD players and AV receivers. As mentioned in the preceding section, the ability to adjust the gain of the LFE channel is indispensable for bass management, and for this reason some consumer devices do not output LFE at unity gain.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation level according to the channel format. However there is no guarantee that the playback of all consumer devices is being processed as described in [Fig. 43], [Fig. 44]. It is desirable to obtain the output levels and output diagram for each device you are using.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 5. Monitor systems As stated at the beginning of this booklet, multi-channel monitoring involves three key points; “multichannel format,” “bass management,” and “playback environment.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 5-1. Monitor matrix A monitor matrix circuit is required if you will need to perform both 5.1 and 3-1 processing, or if you need to produce audio for different media such as DVD-Video and film even though both of these are 5.1. A monitor matrix is also required in order to audition the down-mixing functionality defined by DVDVideo (Dolby DIGITAL, DTS).
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 6. Measurement and adjustment In two-channel playback, placing the L and R speakers at the left and right of the listening point and playing them back at the same power will allow both L and R to be received at the same power and the same timing.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation When the headroom is 20 dB Reference signal Reference signal level Peak meter VU meter 1kHz Digital -20dBp-p (-23dBrms) -20dBFS 0dB Analog (-17dBp-p) -20dBrms Pink noise (DC)–20kHz -20dBrms (-14dBFS) 0–1.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation CH Media L C R LS 3-1 DVD-V 85dBC 85dBC 85dBC RS S=LS+RS=85dBC, (LS=RS=82dBC) BS LFE - - DVD-A - Film Digital broadcast 5.1 - Prescribed by administrative body DVD-V 85dBC 85dBC 85dBC 85dBC 85dBC - Film 82dBC 82dBC - DVD-A 85dBC 85dBC - Super Audio CD Digital broadcast 6.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 90 All pass level : 85dBC 1/3 octave band level : approx.71dB SPL [dB] 80 70 60 20k 12.5k 8k 5k 3.15k 2k 1.25k 800 500 315 200 125 80 50 31.5 20 40 AP(C) 50 1/3 octave band center frequency [Hz] [Fig.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 6-3. Narrow-band pink noise We can consider the following factors as possible reasons for differences in frequency response between playback channels. 1. Playback response of the speakers 2.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation The Yamaha DM2000, DM1000, and 02R96 internally provide two types of pink noise for use as monitor adjustment signals; -20 dBrms “broad-band pink noise” and 500 Hz - 2 kHz “narrow-band pink noise.” The band level of the 500 Hz - 2 kHz pink noise is approximately 5 dB greater than the band level of the broad-band pink noise.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 6-4. LFE channel level balance For a DVD-Video (Dolby, DTS) or film production (Dolby, DTS, SDDS), adjust the amp gain so that the band level of the LFE channel is +10 dB relative to the main channel. Note that it is a mistake to adjust the amp gain so that the pink noise playback level shown by the sound level meter is 95 dBC (=85dBC+10dB).
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Main channels] • All-pass level • Band level (1/3 octave) 85 dBC approx. 71 dB [LFE band level (1/3 octave) ] • Approx. 81 dB (+10 dB) • Approx. 71 dB (+/-0 dB) DVD-Video, film DVD-Audio, Super Audio CD [LFE all-pass level (20 Hz–120 Hz) ] • Approx. 89 dBC (approx. +4 dBC) DVD-Video, film • Approx. 79 dBC* (approx.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 6-5. Delay adjustments Even in an environment in which all speakers are placed at an equal distance from the listening point, it is best to measure and adjust the time alignment.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Adjusting the delay between channels is important not only for the broad purpose of correcting the speaker placement locations, but also for the purpose of maintaining the playback frequency response in the production environment.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation 7. Summary At present, multi-channel productions are being released in numerous types of consumer media, including film, DVD-Video, DVD-Audio, Super Audio CD, digital broadcast, and games.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation Reference materials [References] [1] [2] [3] “Multichannel stereophonic sound system with and without accompanying pictures”, Recommendation ITU-R BS. 775-1 (1992-1994) “Method for the subjective assessment of small impairments in audio systems including multichannel sound systems”, Recommendation ITU-R BS.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Acknowledgement] Completion of this booklet was made possible by the cooperation of the following people. I would like to take this opportunity to express my thanks to them. (Honorific titles are omitted.) • Hisayuki Nakayama Content Production / Studio Services, Dolby Laboratories International Services Inc. Japan Branch • Roy H.
Multichannel Monitoring Tutorial Booklet (M2TB) rev. 3.5.2 Masataka Nakahara : SONA Corporation ©2005 YAMAHA Corporation, ©2005 SONA Corporation [Author] Masataka Nakahara Engineering manager, SONA Corporation (http://www.sona.co.jp). Director of the AES Japan section. He graduated from the graduate school of the Kyushu Institute of Design in Fukuoka, in 1995. And then, he joined the SONA Corporation in Tokyo, and is engaged in acoustic design for professional studios. In 2005, he received Dr.
