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Kapitel 11 Wiedergabeverfahren Karl M Kapitel 11 Wiedergabeverfahren Karl M. Slavik und Stefan Weinzierl 11.1 Zweikanalstereofonie. 610 11.1.1 Vorgeschichte. 610 11.1.2 Abhörbedingungen. 611 11.2 Quadrofonie . 612 11.3 Mehrkanalstereofonie. 615 11.3.1 Entwicklung. 615 11.3.2 Nomenklatur . 616 11.3.3 Spuren- und Kanalbelegung, Signalüberwachung. 618 11.4 Matrizierte Mehrkanal-Kodierverfahren. 620 11.4.1 Dolby Stereo und Dolby Stereo SR . 620 11.4.2 Dolby ProLogic II und Dolby ProLogic IIx . 624 11.4.3 Lexicon Logic 7. 625 11.4.4 SRS Circle Surround und CS II. 626 11.5 Digitale und diskrete Mehrkanal-Kodierverfahren. 626 11.5.1 CDS. 626 11.5.2 Dolby E, Dolby Digital, Dolby Digital Plus, Dolby True HD. 627 11.5.3 Dolby Metadaten. 632 11.5.4 DTS. 634 11.5.5 MPEG-basierte Mehrkanalverfahren. 636 11.5.6 SDDS. 639 11.5.7 Worldnet Skylink. 640 11.6 Wiedergabeanordnungen im Studio- und Heimbereich. 641 11.6.1 Wiedergabe von 3.0 und 4.0 . 641 11.6.2 Wiedergabe von 5.1 und mehr Kanälen. 642 11.6.3 LFE . 644 11.6.4 Bass-Management. 645 11.6.5 Einmessung. 645 11.6.6 Mehrkanalfähige Medien im Heimbereich . 647 609 610 K. M. Slavik, S. Weinzierl 11.7 Mehrkanalton im Kino. 648 11.7.1 Lichtton. 649 11.7.2 Magnetton . 650 11.7.3 Tonabtastung und Aufbereitung (A-Chain). 651 11.7.4 Wiedergabe im Kino und in der Filmtonregie (B-Chain) . 652 11.7.5 Wiedergabe von 4.0, 5.1 und 6.1 im Kino . 654 11.7.6 D-Cinema . 655 11.8 3D Audio. 657 11.8.1 Vector Base Amplitude Panning . 657 11.8.2 Ambisonics . 659 11.8.3 Wellenfeldsynthese . 664 11.8.4 Binauraltechnik. 671 Normen und Standards. 682 Literatur. 682 11.1 Zweikanalstereofonie 11.1.1 Vorgeschichte Bereits 1881 erhielt der französische Ingenieur Clément Ader ein Patent für die zweikanalige Übertragung von Audiosignalen über – zu diesem Zeitpunkt noch ver- stärkerlose – Telefonleitungen. Das System wurde noch im gleichen Jahr eingesetzt, um Aufführungen aus der Pariser Oper in einen Ausstellungsraum der Ersten Inter- nationalen Elektrotechnischen Ausstellung in Paris stereofon zu übertragen (Eich- horst 1959). In der Anfangszeit des Rundfunks Mitte der 1920er Jahre wurden ver- suchsweise stereofone Übertragungen über zwei unabhängige Sendefrequenzen durchgeführt (Kapeller 1925). 1933 wurde dem Ingenieur Alan Dower Blumlein das Patent für die Aufzeichnung zweikanaliger Signale in einer Schallplattenrille in Form einer Zweikomponentenschrift (Flankenschrift) zugesprochen (Blumlein 1931), im gleichen Jahr wurden bei EMI in Hayes/England versuchsweise erste Schallplatten nach diesem Verfahren hergestellt. In den Jahren 1943 und 1944 entstanden bei der Reichs-Rundfunk-Gesellschaft (RRG) in Berlin erste Versuchsaufnahmen auf zweikanaligem Magnetband (Audio Engineering Society 1993). Für den Heimgebrauch veröffentlichte die Fa. RCA im Jahr 1954 erste zweikanalige Aufnahmen als vorbespielte Tonbänder, im Jahr 1958 erschienen erste stereofone Vinylplatten, u. a. von der Britischen Decca. 1963 schließlich wurde das in den USA bereits seit 1961 gebräuchliche Verfahren zur stereofonen Rundfunkübertragung (Pilottonverfahren) auch in Deutschland über- nommen. Am 30. August 1963 übertrug der Sender Freies Berlin (SFB) Deutsch- lands erstes Rundfunkkonzert in Stereo. Kapitel 11 Wiedergabeverfahren 611 11.1.2 Abhörbedingungen Bei zweikanalstereofoner Wiedergabe werden Lautsprecher als seitliche Begren- zungen eines Bereichs von Hörereignisrichtungen eingesetzt, die sich in Form von Phantomschallquellen zwischen den Lautsprechern ausbilden. Diese Phantom- schallquellen entstehen bei der Wiedergabe von stereofon kodierten Aufnahmen oder bei der Wiedergabe von monofon aufgenommenen Signalen, die auf mehrere Lautsprecher verteilt werden. Die Zusammenhänge zwischen den stereofonen Merkmalen Laufzeit- und Pegeldifferenz und der Lokalisation der Phantomschall- quelle sind in Kap. 10.3 behandelt. Die Breite der Lautsprecherbasis bzw. der Öff- nungswinkel, unter dem ein Hörer die Lautsprecher sieht (s. Abb. 11.1), ist ein Kompromiss: Ein zu kleiner Winkel schränkt die Ausdehnung des bei der Wieder- gabe sich ausbildenden Stereopanoramas unnötig ein. Ein zu großer Öffnungswin- kel führt zu einer zunehmenden Instabilität der Hörereignisorte, die Wiedergabe wird empfindlicher gegenüber Kopfbewegungen des Hörers, und es tritt eine uner- wünschte vertikale Elevation der Phantomschallquellen auf. In den 1960er Jahren etablierte sich ein Öffnungswinkel von 60° als Standard, d. h. eine Anordnung mit den Lautsprechern und dem Hörer an den Eckpunkten eines gleichseitigen Dreiecks. Bezieht man die Lokalisation auf die prozentuale Ausweichung auf der Lautsprecherbasis und nicht auf den horizontalen Lokalisationswinkel, so ist die Abb. 11.1 Zweikanalstereofone Wiedergabeanordnung nach DIN 15996 mit einer Lautsprecher- basis von b = 3 m bis 4,5 m, einem Hörabstand von l = (0,9 ± 0,3) x b in m und einem resultie- renden Basiswinkel von δ = 60° ± 15°. Der Toleranzbereich (Stereo-Hörfläche) für eine seitliche Verschiebung der Hörposition bei einer zulässigen Fehl-Lokalisation von mittigen Phantom- schallquellen um ±50 cm bei einer Lautsprecherbasis von b = 3 m beträgt in einem Hörabstand von l = 3 m nur 21 cm. 612 K. M. Slavik, S. Weinzierl stereofone Lokalisationskurve weitgehend unempfindlich gegenüber gerinfügigen Abweichungen des Lautsprecher-Öffnungswinkels bzw., damit gleichbedeutend, gegenüber dem Abstand des Hörers von der Lautsprecherbasis. Nach DIN 15996 ist ein Toleranzbereich von 45° bis 80° für die zweikanalige Wiedergabe bei der Ton- bearbeitung zulässig. Gravierender wirkt sich eine geringfügige seitliche Verschiebung der Hörpositi- on auf die Lokalisation von Phantomschallquellen aus. Lässt man eine geringfügige Fehl-Lokalisation einer mittigen Phantomschallquelle durch eine Verschiebung des Hörers zu, ergibt sich nur eine schmale, nach hinten etwas breiter werdende Stereo- Hörfläche (Abb. 11.1). Die Mitglieder eines Aufnahmeteams (z. B. Aufnahmeleiter und Toningenieur) müssen daher hintereinander, nicht nebeneinander sitzen. 11.2 Quadrofonie Die frühesten Experimente mit mehrkanaligen Wiedergabeanordnungen finden sich im Bereich des Filmtons sowie in der Elektroakustischen Musik, einem Genre, das überwiegend oder ausschließlich Lautsprecher als Klangquellen für musikalische Aufführungen verwendet (Supper 1997, Ungeheuer 2002). In der französischen Musique concrète kamen bereits 1950 vierkanalige Systeme mit Lautsprechern links und rechts vor, hinter und über dem Publikum zum Einsatz (Symphonie pour un Homme Seul, Pierre Schaeffer/Pierre Henry). Im Umkreis der amerikanischen Tape Music entstanden um die gleiche Zeit Tonbandkompositionen für acht kreis- förmig um das Publikum angeordnete Lautsprecher. Dazu gehören Stücke wie Wil- liams Mix (John Cage, 1952), Octet I und Octet II (Earl Brown, 1952/53) oder In- tersection (Morton Feldman, 1953). Während diese Stücke unsynchronisierte, monofone oder stereofone Bänder benutzten, entstanden im Elektronischen Studio des WDR in Köln mit Gottfried Michael Koenigs Klangfiguren II (1956) sowie Karl-Heinz Stockhausens Gesang der Jünglinge (1956) und Kontakte (1960) erste Kompositionen für die zu dieser Zeit entwickelten, vierkanaligen Magnetbandfor- mate und quadrofone Wiedergabe mit den Lautsprechern an den Ecken eines Qua- Abb. 11.2 Quadrofone Lautsprecheranordnungen: Standard Konfiguration (Scheiber array, links) und Dynaquad array (rechts) Kapitel 11 Wiedergabeverfahren 613 drats um das Publikum. Quadrofone Lautsprecheranordnungen sind in der Elektro- akustischen Musik auch heute noch verbreitet, überwiegend als sog. Scheiber Array, seltener als sog. Dynaquad�������������� Array (Abb. 11.2). Der Versuch, die Langspielplatte als zweikanaligen Tonträger für die Übertra- gung von vier Signalen zu nutzen, führte zur Entwicklung von 4-2-4-Matrixver- fahren. Dabei werden bei der Enkodierung aus vier Quellsignalen (LF, RF, LB, RB) durch additive bzw. subtraktive Überlagerung und Phasenverschiebung zwei Über- tragungskanäle gebildet (Lt, Rt), aus denen bei der Dekodierung vier Wiedergabe- signale (L'F, R'F, L'B, R'B) zurückgewonnen werden. In Matrixschreibweise gilt für die Enkodierung (11.1) für die Dekodierung (11.2) Ein Vergleich der Ausgangssignale (LF, RF, LB, RB) mit dem nach der Dekodierung rekonstruierten Signal (L'F, R'F, L'B, R'B) für einige der in den 1970er Jahren verbrei- teten Matrizierungen (Tabelle 11.1) zeigt, dass die Wiedergewinnung eines vier- kanaligen Ausgangssignals nur um den Preis eines erheblichen Übersprechens be- nachbarter Kanäle möglich war. Die erste, bereits Ende der 1960er Jahre von Peter Scheiber vorgeschlagene Scheiber-Matrix (Scheiber 1971) wurde nie kommerziell realisiert, da sie nur eine Kanaltrennung von 3 dB bei den Frontkanälen und eine gegenphasige Übertragung der rückwärtigen Kanäle erlaubte. Das von CBS/Sony propagierte und am weitesten verbreitete SQ-Verfahren garantierte, ebenso wie die konkurrierenden Verfahren QS (Sansui), QM (Toshiba), QX-4 (Denon), AFD (Mat- sushita), QR (Kenwood) und UD-4 (Denon), eine höhere frontale Kanaltrennung und eine Verteilung des Phasenversatzes auf alle Lautsprecherpaare (außer dem frontalen) durch Verwendung von Allpassfiltern mit einer relativen Phasendifferenz von 90°. Mit Schaltungen zur Unterdrückung von Nachbarkanälen durch einen vom jeweils dominierenden Kanal gesteuerten Expander (gain riding) konnte in be- stimmten Situationen, d. h. wenn nicht alle Kanäle gleich ausgesteuert waren, das Übersprechen weiter verringert werden. 614 K. M. Slavik, S. Weinzierl Tabelle 11.1: Kodierung für einige quadrofone 4-2-4-Matrixverfahren. Bei Verwendung
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