DOCSLIB.ORG

Transmissions a Week. in the USA NBC Is Gradually Cardboard Tube

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Transmissions a Week. in the USA NBC Is Gradually Cardboard Tube throughout mainland France by the Telecomsatellite, in scrambled form to prevent unauthorised viewing.Close examination of off -air signals along the south coastof the UK should reveal telltale random blackends to the scanning lines to confirm scrambling. Denmark: The new TV2 network should commence oper- CATALOGUE ations in 1988, with twelve main regional transmittersand ONLY 65p eventually fill-in relays where necessary. The servicewill be independent of Danmarks Radio (DR)and will be commercially financed. A 100W ch. E9 relay is at present operating near the main ch. E7 Sonderjyllandtransmitter. Stereo sound: The Italian RAI-3 network(u.h.f.) is at present experimenting with stereophonicsound, using the EQUIPMENT & PROFESSIONAL ADVICE two -carrier system. There are some twohours of stereo Aerial Techniques offer a unique blend of the best equip- transmissions a week. In the USA NBC isgradually ment and impartial professionaladvice for Television/FM hours DXing or simply better domestic reception. converting its entire system to stereo: over twenty LABGEAR UPCONVERTERS ideal for TV-DXing, used butguaranteed in good of stereo broadcasts a week are at present beingtransmit- working order, mains powered, limited stock E17.95 cent of FERNSEH-ANTENNA DR1712 Combined Band 1/3 wideband aerialfor TV-DXing, ted from fifty main stations covering 47 per covers 47-68MHz and 175-230MHz; 2 elements(Band 1); 9 elements Band 3 gold mainland USA, with satellite signal distribution. anodised, requires single down lead E4/3.70 31°W has ceased SPECIAL OFFER! - ANTIFERENCE XG14 Multi -element 17dB(peak) High Gain Satellite news: The 4GHz Intelstat bird at Wideband UHF aerial, covering channels 21-68 09.95 Libya(transponder17)andArgentina LABGEAR CM7271 UHF Wideband Masthead Pre -amplifier,15dB Gain; very low operations. f16 20 satellite at noise figure of only 1.6dB. High signal handling 200rnV (transponder 24) have moved to the Intelstat f13.50 with "appall- LABGEAR CM7261 Matching Power Supply for above pre -amp 27-5°W. NTA (Lagos) is on transponder 19 SPECIAL OFFER! - THOMSON TS 2503P1 10" screen ColourTelevision/Monitor, ing quality" - the sound is likened tospeech down a Multi -standard PAUSECAM for Systems B/G/I/L VHF -UHF,mains and 12/24v oper- ation, video/Audio i/p & o/p connections, comes completewith infra -red remote testing a new E2913.90 cardboard tube! The USSR has been control (SAE leaflet) 0.50 satellite, with three TV channels at 32dBWlevel, at 11°W. 'NEW BEST OF CO -TV book by John Wood TSS-1 remains on the 3.675GHz satellite at14°W. Thanks Whether your need is for local or fringe reception,alternative forthisinformation on 4GHz channels, TV/FM DXing, or for a distribution system,Aerial toNickHarrold Techniques is the 'one stop' address for allequipment. transmissions. All prices inclusive of VAT and Carriage. Delivery 7-10 days. An unusual Ku band aerial was shown bythe US firm ACCESS & VISA Mail and Telephone orders welcome. Focus Technology at a recent exhibition.It's a flat, AERIIIAL TEOHNICILIES(T) BARCLAYCARD1 frequency -selective device made from atwo-inch thick 11, Kent Road, Padtstone, sheet of aluminium on which concentricparabolas are Poole, Dorset, 131112 2EH. Tel: 0202 738232. machined. The feedhorn is mounted at thefocal point of the centre parabola. switching between standards is increasing. Luxor,Salora On a personal note, I was surprised to seelightning and Grundig all produce such sets. OurBrussels cor- flashes displayed on the picture while watchingthe CNN respondent recently bought a Grundig P40/242./90which during a heavy Europe 11GHz feed via a 2m dish can tune over 48-340MHzplus u.h.f., has 99 channel thunderstorm! Then down came the summerrain, the memory selection and awide range of fine tuning.It picture became noisy and virtuallydisappeared with loss covers systems B/G, L, I andD/K with switching between of syncs. The picture gradually returned tothe noise -free PAUNTSOSECAM - the NTSC option isuseful for condition as the torrent subsided. watching AFN-TV in suitable locations. Theset's cov- erage includes the S channels usedfor cable distribution. Multi -standard TV Receivers Because losses are greater at u.h.f. than v.h.f.in a cable The use of multi -standard TV sets withautomatic system there's a tendency for cable operatorsto convert to v.h.f. Table 1 lists S channel allocations. Table 1: S channel allocations. Narrow -band IF Amplifier The use of a narrow i.f. bandpass responsefor weak Bandwidth Bandwidth signal reception or for improvedselectivity during an Bandwidth Ch. Ch. Ch. (MHz) (MHz) (MHz) intense SpE opening gives greatly improvedresults. Most established DXers use a degree of switchedselectivity. S2 111-118 S14 251-258 S26 342-350 Originally use of a 405/625 -line dual -standardreceiver S3 118-125 S15 258-265 S27 350-358 would do the trick, the 405 -line sectionproviding the S4 125-132 S16 265-272 S28 358-366 366-374 narrow vision i.f. bandwidthrequired. Subsequently use S5 132-139 S17 272-279 S29 chassis vision selec- 139-146 S18 279-286 S30 374-382 has been made of surplus Philips G8 S6 tivity modules and designs have appearedin this magazine S7 146-153 S19 286-293 S31 382-390 S20 293-300 S32 390-398 (see the February 1982 issue). Morerecently HS Publica- S8 153-160 commercial unit, type S9 160-167 S21 302-310 S33 398-406 tions of Derby have introduced a S10 167-174 S22 310-318 S34 406-414 D100, that consists of an integratedtuner/i.f. strip with Sll 230-237 S23 318-326 S35 414-422 switched selectivity. Narrowing the i.f.bandwidth will S12 237-244 S24 326-334 S36 422-430 reveal signals that are completely lostwith a standard, 430-438 S13 244-251 S25 334-342 S37 wide i.f. bandwidth. simple circuit Ml -M10, S11 -S19 as Paul Barton recently sent us a relatively Belgian variations: Sl-S10 referred to as (see Fig. 1) that will provide a 2MHzbandwidth when U1 -U9, S20 -S37 not used. Belgian channelS1 is 69-76MHz, S2 readily 76-83MHz, S3 83-90MHz. correctly aligned. The components required are 663 TELEVISION AUGUST 1986.
Load more

Recommended publications
  • Multichannel Sound Technology in Home and Broadcasting Applications
    Report ITU-R BS.2159-4 (05/2012) Multichannel sound technology in home and broadcasting applications BS Series Broadcasting service (sound) ii Rep. ITU-R BS.2159-4 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio-frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Annex 1 of Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Reports (Also available online at http://www.itu.int/publ/R-REP/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management Note: This ITU-R Report was approved in English by the Study Group under the procedure detailed in Resolution ITU-R 1.
    [Show full text]
  • Stereo Pickups & Phono Cartridges: 1958
    Stereo Pickups & Phono cartridges: 1958 - today - stereophonic sound customer . Pickup Technology by some popular stereo Pickups & Cartridges 1958 - today Some well-known stereo Pick-up from 1958 to today " URLs OF popular cartridge & pickup fire " The influence OF A so-called ' Compensation Capacitor ' on frequency response OF mm of cartridges. " the influence of a compensation condenser on the frequency response of a mm pick-up. 1958 This is typical frequency response OF 1st generation Ceramics stereo Pickup Typical frequency response of one of the first ceramic(s) stereophonic sound customers: Fig. 2.1 file:///C|/HiFiStuff/CartridgeDatabase/PickupTechnology.htm (1 of 17)6/3/2005 11:12:39 AM Stereo Pickups & Phono cartridges: 1958 - today - stereophonic sound customer Ceramics Pickup cartridge by ELAC: BST 1 (1958) [ 2.2 ] Ceramic(s) pick-up . Fig. 2.2 refers tons of A Fig. 2.2 refers to the fundamental basic construction OF structure of a piezoelectric pick- piezoelectric pickup that up, as it was usually planned with which usually supplied crystal elements from with low turntables cost. Seignettesalz Most OF thesis pickups (Kaliumnatriumtartrat) for have seignette salt crystals inexpensive record players. To based on potassium the unfavorable influence of sodium tartrate. Regarding temperature and air humidity on the disadvantageous such a crystal connection ceramic influence OF temperature (s) offers against it by far more and humidity, more favorable characteristics. Fig. however, ceramics instead shows 2.1 the frequency OF that crystal compound response of a piezokeramischen does more offer much pick-up made of barium titanate more better properties. (asking IO 3 ). Fig.
    [Show full text]
  • Film Essay for "This Is Cinerama"
    This Is Cinerama By Kyle Westphal “The pictures you are now going to see have no plot. They have no stars. This is not a stage play, nor is it a feature picture not a travelogue nor a symphonic concert or an opera—but it is a combination of all of them.” So intones Lowell Thomas before introduc- ing America to a ‘major event in the history of entertainment’ in the eponymous “This Is Cinerama.” Let’s be clear: this is a hyperbol- ic film, striving for the awe and majesty of a baseball game, a fireworks show, and the virgin birth all rolled into one, delivered with Cinerama gave audiences the feeling they were riding the roller coaster the insistent hectoring of a hypnotically ef- at Rockaway’s Playland. Courtesy Library of Congress Collection. fective multilevel marketing pitch. rama productions for a year or two. Retrofitting existing “This Is Cinerama” possesses more bluster than a politi- theaters with Cinerama equipment was an enormously cian on the stump, but the Cinerama system was a genu- expensive proposition—and the costs didn’t end with in- inely groundbreaking development in the history of motion stallation. With very high fixed labor costs (the Broadway picture exhibition. Developed by inventor Fred Waller from employed no less than seventeen union projectionists), an his earlier Vitarama, a multi-projector system used primari- unusually large portion of a Cinerama theater’s weekly ly for artillery training during World War II, Cinerama gross went back into the venue’s operating costs, leaving sought to scrap most of the uniform projection standards precious little for the producers.
    [Show full text]
  • An Anthology of Reprinted Articles on Stereophonic Techniques Copyright © 1986 Audio Engineering Society, Inc
    An anthology of reprinted articles on stereophonic techniques Copyright © 1986 Audio Engineering Society, Inc. Library of Congress Catalog Card No. 86-070767. ISBN No. 0-937803-08-1. First printing, 1986 April (all rights reserved). Except for brief passages to be used in review or as citation of authority, no part of this book may be reproduced without prior permission from: Publications Office, Audio Engineering Society, Inc., 60 East 42nd Street, New York, New York 10165. Stereophonic recording and playback dominate the that cover certain historical aspects of the subject. commercial media of records, tapes, and FM broad­ Included here is B. Hertz’s description of Ader’s historic casting, and it is to the credit of both our technology stereo transmissions from the stage of the Paris and our binaural hearing capabilities that a single pair Opera in 1881. Welch and Reed’s description of the of channels can produce auditory perspectives so Columbia Multiplex Grand phonograph is included, convincingly. since it was undoubtedly the first instrument which In the days before loudspeakers and amplifiers, could actually record stereo. Further historical papers headphones and carbon microphones were used to cover the work of Blumlein—truly the father of stereo— transmit stereo from the stage of the Paris Opera to and the many engineers at Bell Labs. listeners in an adjoining space. This was over 100 The second section of the anthology deals with years ago, and the dream of auditory perspective for analysis and experimentation in stereophonic phe­ the consumer was not to be fulfilled until Walt Dis­ nomena.
    [Show full text]
  • NTSC Specifications
    NTSC Modulation Standard ━━━━━━━━━━━━━━━━━━━━━━━━ The Impressionistic Era of TV. It©s Never The Same Color! The first analog Color TV system realized which is backward compatible with the existing B & W signal. To combine a Chroma signal with the existing Luma(Y)signal a quadrature sub-carrier Chroma signal is used. On the Cartesian grid the x & y axes are defined with B−Y & R−Y respectively. When transmitted along with the Luma(Y) G−Y signal can be recovered from the B−Y & R−Y signals. Matrixing ━━━━━━━━━ Let: R = Red \ G = Green Each range from 0 to 1. B = Blue / Y = Matrixed B & W Luma sub-channel. U = Matrixed Blue Chroma sub-channel. U #2900FC 249.76° −U #D3FC00 69.76° V = Matrixed Red Chroma sub-channel. V #FF0056 339.76° −V #00FFA9 159.76° W = Matrixed Green Chroma sub-channel. W #1BFA00 113.52° −W #DF00FA 293.52° HSV HSV Enhanced channels: Hue Hue I = Matrixed Skin Chroma sub-channel. I #FC6600 24.29° −I #0096FC 204.29° Q = Matrixed Purple Chroma sub-channel. Q #8900FE 272.36° −Q #75FE00 92.36° We have: Y = 0.299 × R + 0.587 × G + 0.114 × B B − Y = −0.299 × R − 0.587 × G + 0.886 × B R − Y = 0.701 × R − 0.587 × G − 0.114 × B G − Y = −0.299 × R + 0.413 × G − 0.114 × B = −0.194208 × (B − Y) −0.509370 × (R − Y) (−0.1942078377, −0.5093696834) Encode: If: U[x] = 0.492111 × ( B − Y ) × 0° ┐ Quadrature (0.4921110411) V[y] = 0.877283 × ( R − Y ) × 90° ┘ Sub-Carrier (0.8772832199) Then: W = 1.424415 × ( G − Y ) @ 235.796° Chroma Vector = √ U² + V² Chroma Hue θ = aTan2(V,U) [Radians] If θ < 0 then add 2π.[360°] Decode: SyncDet U: B − Y = -┼- @ 0.000° ÷ 0.492111 V: R − Y = -┼- @ 90.000° ÷ 0.877283 W: G − Y = -┼- @ 235.796° ÷ 1.424415 (1.4244145537, 235.79647610°) or G − Y = −0.394642 × (B − Y) − 0.580622 × (R − Y) (−0.3946423068, −0.5806217020) These scaling factors are for the quadrature Chroma signal before the 0.492111 & 0.877283 unscaling factors are applied to the B−Y & R−Y axes respectively.
    [Show full text]
  • COMMUNICATIONS .S46 a ,Qf" U FORUM Sb
    00 HE7601 S@ COMMUNICATIONS .S46 a ,qF" U FORUM Sb HIGH-DEFINITION TELEVISION Robert Hopkins, Advanced Television Systems. Committee Kerns Powers, RCA Laboratories Craig Cuttner, Home Box Office Renville McMann, CBS December 5, 1985 Genga Arulampalam, Rapporteur MASSACHUSETTS INSTITUTE OF TECHNOLOGY Y1N MASSACHUSETTS INSTITUTE OF TECHNOLOGY COMMUNICATIONS FORUM CAMBRIDGE, MASSACHUSETTS 02139 TELEX: 92-1473 MITCAM HIGH-DEFINITION TELEVISION Robert Hopkins, Advanced Television Systems. Committee Kerns Powers, RCA Laboratories Craig Cuttner, Home Box Office Renville McMann, CBS December 5, 1985 Genga Arulampalam, Rapporteur HIGH-DEFINITION TELEVISION Renville McMann - CBS McMann began by stating that the quality of High- Definition Television (HDTV) is determined by the quality of production, transmission, and display. He said that CBS had conducted some studies using high quality cinema film in an attempt to classify and aefine picture quality relating it to picture resolution and the number of lines. As at present, standard TV images had a resolution in the range of 525 lines. However, the Japanese have been working on the NHK system which has 1125 lines. He said that what they were looking for in HDTV was improved resolution, improved color, wide screen aspect ratio, and stereophonic sound. As for wide screen aspect ratio, the current specification of 4:3 has been used for some time and yields a good picture. However, for HDTV a wider screen of 5:3 was first discussed and it was then decided that 5.33:3 woulo better allow the transmission of normal wide aspect motion pictures with minimum distortion. In the area of color rendition he said that the interference between color and luminance information should be completely eliminated, and color sharpness should be improved.
    [Show full text]
  • Sound Recording
    Sound Recording David Adamcyk Advanced Mixed Music Composition Microphones Types Dynamic: Operates via a diaphragm attached to a thin coil wrapped around a magnet. The magnetic flux of the coil moving in an electro-magnetic field creates a voltage. • Pros: high moisture tolerance; rugged, simple construction; can handle very high sound pressure levels (good for drums, trumpets, etc) • Cons: slower transient response, not very sensitive • examples: Shure SM57 and SM58 Condenser: Works on the principle of a capacitor: the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. An electrical current (i.e. phantom power) is sent to the assembly, and as the diaphragm moves, the voltage of the current changes. • Pros: quicker frequency response than dynamic microphones, especially to high frequencies (lighter diaphragm); very sensitive; fast transient response • Cons: less rugged and more sensitive to temperature and humidity; operate using phantom power (or batteries) • Examples: AKG C-414, Neumann 184, Shure SM-81 Ribbon: Works on same principle as dynamic microphone, but the diaphragm is a thin aluminum ribbon. • Pros: although large, can pick up a lot of high frequency detail without sounding as harsh as condenser microphones; don’t require phantom power. • Cons: the most fragile of microphones • Examples: RCA 44 and the AEA R44 Microphones Directional Patterns (a.k.a. polar pattern or directionality) and Frequency Responses Note 1: Omnis generally have better low frequency response Note 2: Polar patterns are frequency dependant Note 3: The off-axis frequency response of directional mics varies significantly Source: Williams, Michael.
    [Show full text]
  • THE SORCERER's APPRENTICES: AUTHORSHIP and SOUND AESTHETICS in WALT DISNEY's FANTASIA by Daniel Fernandez a Thesis Submitted
    THE SORCERER’S APPRENTICES: AUTHORSHIP AND SOUND AESTHETICS IN WALT DISNEY’S FANTASIA by Daniel Fernandez A Thesis Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Masters of Arts Florida Atlantic University Boca Raton, FL May 2017 Copyright by Daniel Fernandez 2017 ii ACKNOWLEDGEMENTS I would like to thank my committee members for all of their guidance and support, especially to my advisor Anthony Guneratne for his helpful suggestions during the writing of this manuscript. I am also grateful to a number of archival collections, particularly those of Yale University for providing me with some of the primary sources used for this manuscript. Likewise, I would like to acknowledge Stephanie Flint for her contribution to the translation of German source material, as well as Richard P. Huemer, Didier Ghez, Jennifer Castrup, the Broward County Library, the University of Maryland, the Fales Library at New York University, and Zoran Sinobad of the Library of Congress, for the advice, material assistance, and historical information that helped shape this project. iv ABSTRACT Author: Daniel Fernandez Title: The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia Institution: Florida Atlantic University Thesis Advisor: Dr. Anthony Guneratne Degree: Masters of Arts in Communications Year: 2017 This thesis makes three claims new to the critical literature on Walt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements.
    [Show full text]
  • HARRY F. OLSON December 28, 1901-April 1, 1982
    NATIONAL ACADEMY OF SCIENCES H A R R Y F . O LSON 1901—1982 A Biographical Memoir by CYRIL M. HARRIS Any opinions expressed in this memoir are those of the author(s) and do not necessarily reflect the views of the National Academy of Sciences. Biographical Memoir COPYRIGHT 1989 NATIONAL ACADEMY OF SCIENCES WASHINGTON D.C. HARRY F. OLSON December 28, 1901-April 1, 1982 BY CYRIL M. HARRIS ARRY F. OLSON, pioneer in acoustics and electronic H sound recording, died on April 1, 1982, at Princeton Medical Center at the age of eighty-one. He had been a mem- ber of the National Academy of Sciences since 1959. During his career of nearly forty years with RCA, Dr. Olson developed several types of microphones for broad- casting and recording, high-fidelity loudspeakers, phono- graph pickups and recording equipment, underwater sound equipment, and sound motion picture and public address systems; he contributed substantially to the development of the RCA magnetic tape recorder for television and the RCA music synthesizer. Harry F. Olson was born in Mt. Pleasant, Iowa, on Decem- ber 18, 1901, the first of two children. Both his father, a farmer, and mother, a talented amateur artist, were born in Sweden and had come to this country to seek new opportu- nity. Their son exhibited an interest in science and technology at an early age, which they encouraged by supplying him with a modest shop and laboratory. While still in grade school and with very little data on design, Harry built and flew model airplanes—an art then in its infancy.
    [Show full text]
  • Technical Standards for FM Radio Broadcasting in the Bahamas
    Technical Standards for FM Radio Broadcasting in The Bahamas ECS 04/2019 Issue Date: 25 March 2019 Table of Contents 1 Preliminary ..................................................................................................................... 4 1.1 Introduction ........................................................................................................... 4 1.2 Definitions ............................................................................................................. 4 1.3 Symbols.................................................................................................................. 6 1.4 Abbreviations......................................................................................................... 6 1.5 Designators ............................................................................................................ 7 1.6 Main Transmitter ................................................................................................... 7 1.7 Auxiliary Transmitters ............................................................................................ 7 2 General ........................................................................................................................... 7 3 Labeling .......................................................................................................................... 8 4. Effective Radiated Power (ERP) ...................................................................................... 8 5 Minimum Distance Separation between
    [Show full text]
  • Mono Stereo Mpx Mono and Stereo
    MONO STEREO MPX MONO AND STEREO In the FM transmission there are mainly two types of audio signals: • Mono • Stereo Stereo signals are actually more common in broadcast radio and they consist of two channels that can be labelled L and R (Left and Right) providing one channel for each of the two speakers and create the impression of sound heard from various directions, as in natural hearing. MPX The MPX FM stereo system was designed to be backward compatible and it allows broadcast signals to be received on mono equipment as well. It is composed of three parts. • The first is a normal audio signal made up of the Sum of Left and Right channels. This is the signal heard on a Mono radio and it is the same as switching the Stereo/Mono Switch on an amplifier to “Mono”. • In addition, a difference signal (Left - Right) is generated and then used to modulate a 38 kHz subcarrier using Double sideband suppressed carrier (DSBSC) modulation. This is an AM modulation of the subcarrier. • To keep the receiver decoder locked into the 38kHz subcarrier, a 19 kHz pilot tone (EXACTLY 1/2 of 38 kHz) is transmitted as well. The pilot is feeded with a 10% modulation. FM STEREO BROADCAST BAND Amplitude Frequency MPX ENCODER It is also possible to encode other information on an MPX signal together with the Left and Right audios: often the RDS signal is mixed with them. RDS stands for Radio Data System. It uses a 57kHz subcarrier to carry data at 1187.5 bits per second.
    [Show full text]
  • Surround Sound Past, Present and Future
    Surround Sound Past, Present and Future A history of multichannel audio from mag stripe to Dolby Digital Surround Sound Past, Present, and Future ilm sound, television audio, voices in religious epics, for example. and music playback formats Some formats switched this channel used to be distinctly different off by means of trigger tones when it products of industries often wasn’t needed because the track on workingFF in isolation. Recently, how- the film was particularly narrow, and ever, this has changed. The popularity thus very hissy. of surround sound in the home has Although film stereo lost favor in A history of brought these sound formats closer the 1960s and early 1970s due to together. And now new digital high costs of the magnetic formats multichannel audio multichannel technology is poised to and a slump in the film business, foster an even more consistent sound mixers continued to experi- from mag stripe approach to sound reproduction, ment with the effects channel. easing the burden on both consumer Formats such as six-track 70 mm to Dolby Digital and producer while providing high magnetic (see sidebar next page) fidelity not just to the tonality of live provided consistent signal-to-noise sound, but also to its spatiality. ratios on all channels, so mixers could use the effects channel to envelop the Origins of surround sound audience in continuous low-level ambient sounds. The effects channel The first commercially successful came to convey greater sonic realism multichannel formats were developed overall, not just the occasional in the early 1950s for the cinema.
    [Show full text]