Dolby Laboratories SEU4 User manual

Dolby SurroundDolby Surround
Mixing ManualMixing Manual
Part Part
No. No.
91536 91536
Issue Issue
22

Dolby Surround Mixing ManualDolby Surround Mixing Manual
Dolby Dolby
and and
the the
double-D double-D
symbol symbol
are are
registered registered
trademarks trademarks
of of
Dolby Dolby
Laboratories. Laboratories.
S05/12280/16103S05/12280/16103
© ©
2005 2005
Dolby Dolby
Laboratories, Laboratories,
Inc. Inc.
All All
rights rights
reserved. reserved.
Issue Issue
22
Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited.Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited.
iiii
Dolby Laboratories, Inc.Dolby Laboratories, Inc.
USA HeadquartersUSA Headquarters
Dolby Laboratories, Inc.Dolby Laboratories, Inc.
100 Potrero Avenue100 Potrero Avenue
San Francisco, CA 94103-4813San Francisco, CA 94103-4813
TelephoneTelephone
415-558-0200415-558-0200
FacsimileFacsimile
415-863-1373415-863-1373
UK European Licensing Liaison OfficeUK European Licensing Liaison Office
Dolby LaboratoriesDolby Laboratories
Wootton BassettWootton Bassett
Wiltshire SN4 8QJ EnglandWiltshire SN4 8QJ England
TelephoneTelephone
(44) 1793-842100(44) 1793-842100
FacsimileFacsimile
(44) 1793-842101(44) 1793-842101
Far EastFar East
Dolby Laboratories International Services, Inc.Dolby Laboratories International Services, Inc.
Japan BranchJapan Branch
Fuji Chuo Building 6FFuji Chuo Building 6F
2-1-7, Shintomi, Chuo-ku2-1-7, Shintomi, Chuo-ku
Tokyo 104-0041 JapanTokyo 104-0041 Japan
TelephoneTelephone
(81) 3-5542-6160(81) 3-5542-6160
FacsimileFacsimile
(81) 3-5542-6158(81) 3-5542-6158
Dolby Laboratories International Services (Shanghai) Co., Ltd.Dolby Laboratories International Services (Shanghai) Co., Ltd.
03-07a, 18/F., The Center03-07a, 18/F., The Center
989 ChangLe Road989 ChangLe Road
Shanghai 200031 ChinaShanghai 200031 China
TelephoneTelephone
(86) 21-6113-3456(86) 21-6113-3456
FacsimileFacsimile
(86) 21-6113-3400(86) 21-6113-3400
This manual is dedicated to Bob “Spider” Seiderman, whose insight, experience and guidanceThis manual is dedicated to Bob “Spider” Seiderman, whose insight, experience and guidance
through more than 20 years of audio mixing helped to make this manual possible. Without Bob’sthrough more than 20 years of audio mixing helped to make this manual possible. Without Bob’s
input, the success of Dolby Surround for live sporting events would have been far more difficult. Hisinput, the success of Dolby Surround for live sporting events would have been far more difficult. His
expertise and willingness to share his thoughts with others are reflected in several sections of thisexpertise and willingness to share his thoughts with others are reflected in several sections of this
manual. It is with deep sorrow that we have had to say our goodbyes to Bob so early in his life.manual. It is with deep sorrow that we have had to say our goodbyes to Bob so early in his life.
Thank you Bob for letting us share some of your expertise with other audio engineers in the industry.Thank you Bob for letting us share some of your expertise with other audio engineers in the industry.
Your friends at Dolby Laboratories,Your friends at Dolby Laboratories,
Jim HilsonJim Hilson
David GrayDavid Gray
Michael DiCosimoMichael DiCosimo

Dolby Surround Mixing ManualDolby Surround Mixing Manual
iiiiii
Table of ContentsTable of Contents
List of FigurList of Figur
eses
........................................................................................................
......................................................................................................................
..vi..vi
List of TablesList of Tables
....................................................................................................
......................................................................................................................
....viii....viii
Chapter Chapter
1 1
IntroductionIntroduction
....................................................................................................................................
............................................................
1-11-1
Chapter Chapter
2 2
Technical Technical
GuidelinesGuidelines
....................................................................................................................
..............................................
2-12-1
2.12.1
Equipment Equipment
from from
Dolby Dolby
LaboratoriLaboratori
eses
........................................................................................................................
2-12-1
2.1.12.1.1
Dolby ModeDolby Mode
l SEU4 Surrl SEU4 Surr
ound Encodound Encod
ing Unit...................................ing Unit...................................
2-12-1
2.1.22.1.2
Dolby MDolby M
odel SDodel SD
U4 SurrU4 Surr
ound Deound De
coding coding
UnitUnit
....................................................................
2-12-1
2.22.2
System System
InformationInformation
......................................................................................................................
......................................................
2-22-2
2.2.12.2.1
Room Room
Layouts............................................Layouts............................................
............................................................................
2-22-2
2.2.22.2.2
Control Control
Rooms.................................................................................Rooms.................................................................................
2-32-3
2.2.32.2.3
Remote Remote
TrucksTrucks
....................................................................................................
............................................................
2-42-4
2.2.42.2.4
Critical Critical
Listening Listening
Rooms..................................................................Rooms..................................................................
2-42-4
2.2.52.2.5
Consumer Consumer
Decoders.............................................................Decoders.............................................................
......................
2-42-4
2.32.3
Additional Additional
EquipmeEquipme
nt nt
RequiredRequired
................................................................................................................
......................
2-52-5
2.3.12.3.1
Speakers Speakers
and and
Amplifiers...........................................Amplifiers...........................................
..............................................
2-52-5
2.3.22.3.2
Center Center
ChanneChanne
l l
SpeakerSpeaker
............................................................................................................
......................
2-72-7
2.3.32.3.3
Smaller Smaller
Center CCenter C
hannel hannel
Speakers..................................................Speakers..................................................
2-92-9
2.3.42.3.4
Surround Surround
Channel Channel
SpeakersSpeakers
................................................................................................................
..
2-102-10
2.3.52.3.5
Surround Surround
Speaker Speaker
Location...........................................................Location...........................................................
2-102-10
2.3.62.3.6
Audio Audio
ConsoleConsole
s..............................................................................s..............................................................................
2-112-11
2.3.72.3.7
Monitor Monitor
PathPath
..........................................................................................................................
..........................................
2-112-11
2.3.82.3.8
Speaker SoSpeaker So
und Pressuund Pressu
re Level....................................................re Level....................................................
..
2-132-13
2.3.92.3.9
SPL SPL
MetersMeters
..............................................................................................................
..........................................................
2-142-14
2.3.102.3.10
Phase Phase
ScopeScope
..................................................................................................
................................................................
2-142-14
Chapter Chapter
3 3
System System
InstallationInstallation
..........................................................................................................................
..............................................
3-13-1
3.13.1
Signal Signal
Routing Routing
Audio Audio
ConnectionConnection
ss
............................................................................................................................
3-13-1
3.1.13.1.1
Inputs Inputs
and and
OutputsOutputs
..............................................................................................................................................
......
3-13-1
3.1.23.1.2
Wiring foWiring fo
r Maximum Immur Maximum Immu
nity to Interferenity to Interfere
nce.................................nce.................................
3-13-1
3.23.2
Signal Signal
Flow Flow
Options—EncoOptions—Enco
derder
..........................................................................................................
..............................
3-33-3
3.2.13.2.1
Basic RecoBasic Reco
rding Serding Se
tup with tup with
Auxiliary BuAuxiliary Bu
s Surround s Surround
FeedFeed
..........................
3-33-3
3.2.23.2.2
Basic RecBasic Rec
ording Seording Se
tup with Ftup with F
ilm Pannilm Pann
ing Consing Cons
oleole
................................................
3-43-4
3.2.33.2.3
Basic RecorBasic Recor
ding Setup wding Setup w
ith 2 Stereo Bith 2 Stereo B
us Output...........................us Output...........................
3-43-4
3.33.3
Signal FlSignal Fl
ow Optionow Option
s—Decoder..................................s—Decoder..................................
....................................................................
3-43-4
3.3.13.3.1
Recording Recording
Setup with MoSetup with Mo
nitor Section nitor Section
of Console..........................of Console..........................
3-43-4
3.3.23.3.2
RecordiRecordi
ng Setup wing Setup wi
th Surroundth Surround
-Ready Mon-Ready Mon
itor Section itor Section
of Console...of Console...
..
3-53-5
3.3.33.3.3
Live BroLive Bro
adcast adcast
Setup.................................Setup.................................
............................................................................
3-53-5
3.3.43.3.4
Live Live
BroadcasBroadcas
t Set Se
tup tup
with with
Fail-SafeFail-Safe
..............................................................................................
3-63-6
3.3.53.3.5
Monitoring Monitoring
Music Music
Premixes Premixes
for Fifor Fi
lmlm
................................................................................................
3-63-6
3.43.4
Dolby Dolby
Model Model
SEU4 SEU4
SetupSetup
............................................................................................................
............................................
3-73-7
3.4.13.4.1
Surround Surround
Active Active
LEDLED
................................................................................................................
..............................
3-73-7
3.4.23.4.2
External ProcesExternal Proces
sing Loop (EPLsing Loop (EPL
) Loop Switch..............................) Loop Switch..............................
......
3-83-8
3.53.5
Dolby Dolby
Model Model
SDU4 SDU4
SetupSetup
....................................................................................................
....................................................
3-83-8

Dolby Surround Mixing ManualDolby Surround Mixing Manual
iviv
3.5.13.5.1
Internal Internal
Switches—Switches—
CAT CAT
344 344
informationinformation
................................................................................
3-83-8
3.5.23.5.2
Center Center
Speaker Speaker
SwitchSwitch
..................................................................................................................
......................
3-93-9
3.5.33.5.3
Wake-up Wake-up
StateState
..............................................................................................................
................................................
3-103-10
3.5.43.5.4
Local/ReLocal/Re
mote mote
FaderFader
..................................................................................................................................
..........
3-103-10
3.5.53.5.5
EPL EPL
SwitchSwitch
..............................................................................................................
..........................................................
3-113-11
3.63.6
Cat Cat
150E 150E
Card Card
SettingsSettings
................................................................................................................
..........................................
3-123-12
3.6.13.6.1
Bass SplBass Spl
itting Moitting Mo
dification........................................dification........................................
..........................................
3-123-12
3.6.23.6.2
Time Time
Delay Delay
CalculationCalculation
ss
......................................................................................................................
..........
3-133-13
Chapter Chapter
4 4
System System
SetupSetup
..............................................................................................................................
............................................................
4-14-1
4.14.1
Encoder Encoder
AlignmeAlignme
nt....................................................................................nt....................................................................................
......
4-14-1
4.24.2
Decoder Decoder
AlignmentAlignment
..............................................................................................................
..............................................................
4-24-2
4.2.14.2.1
Input Input
LevelsLevels
......................................................................................................
....................................................................
4-24-2
4.2.24.2.2
Output Output
Levels.....................................................Levels.....................................................
............................................................
4-34-3
4.34.3
Room Room
EQEQ
......................................................................................................
....................................................................................................
4-34-3
4.3.14.3.1
ANSI/SMPTE ANSI/SMPTE
202M 202M
X-Curve....................................X-Curve....................................
..............................................
4-44-4
4.3.24.3.2
ANSI/SMPTE ANSI/SMPTE
222M 222M
Modified Modified
X-Curve............................................X-Curve............................................
4-44-4
4.3.34.3.3
Recording Recording
Studios—MuStudios—Mu
sic Mixisic Mixi
ng...................................................ng...................................................
4-54-5
4.3.44.3.4
Near-Field Near-Field
MonitorsMonitors
....................................................................................................................
..............................
4-54-5
Chapter Chapter
5 Mixing 5 Mixing
Techniques.....................................................................................Techniques.....................................................................................
5-15-1
5.15.1
AnnounceAnnounce
rs and Dialogrs and Dialog
ue..................................................ue..................................................
....................................................
5-15-1
5.25.2
Interior Interior
EffectsEffects
........................................................................................................
....................................................................................
5-15-1
5.35.3
Positioning Positioning
of the Stereo of the Stereo
Image................................................................Image................................................................
......
5-15-1
5.45.4
Panning Panning
Sounds.....................................................Sounds.....................................................
............................................................................
5-25-2
5.55.5
Stacking Stacking
Encoded Encoded
TracksTracks
..........................................................................................................................
..............................
5-25-2
5.65.6
Magic Magic
Surround......................................................Surround......................................................
............................................................................
5-25-2
5.75.7
Decoder Decoder
Mistracking Mistracking
and and
Steering Steering
ArtifactsArtifacts
................................................................................................
5-35-3
5.85.8
Surround Surround
PumpingPumping
..................................................................................................
............................................................................
5-35-3
5.95.9
Proper Proper
Surround Surround
Level aLevel a
nd Connd Con
tenttent
........................................................................................................................
5-45-4
5.105.10
Limiters, Limiters,
Delays, ReverDelays, Rever
b Units, Ob Units, O
ther Effects Pther Effects P
rocessorsrocessors
....................................................
5-45-4
5.115.11
Mono to Mono to
Stereo SyntStereo Synt
hesizers....................................................hesizers....................................................
......................................
5-45-4
5.125.12
Dolby Dolby
Surround Surround
CompatiblCompatibl
e e
ProcessorsProcessors
..........................................................................................................
5-45-4
5.135.13
Mono, SMono, S
tereo, antereo, an
d Dolbd Dolb
y Surrouny Surroun
d Comd Com
patibilitypatibility
..............................................................................
5-55-5
5.145.14
MonitoringMonitoring
....................................................................................................
....................................................................................................
5-55-5
5.155.15
Common Common
PitfallsPitfalls
..........................................................................................................
............................................................................
5-55-5
Chapter 6 Chapter 6
Live BroadcasLive Broadcas
t Applications..........................................t Applications..........................................
......................................................
6-16-1
6.16.1
TransmissioTransmissio
n Pan Pa
th Cth C
onsideratioonsideratio
nsns
............................................................................................................................
6-16-1
6.26.2
Phase Phase
ChasersChasers
....................................................................................................................
....................................................................
6-16-1
6.36.3
Station Station
LimitersLimiters
............................................................................................................................
............................................................
6-16-1
6.46.4
Station Station
ProcessinProcessin
gg
................................................................................................................
..............................................................
6-16-1
6.56.5
HeadroomHeadroom
....................................................................................................
....................................................................................................
6-26-2
6.66.6
Stereo Stereo
Synthesizers Synthesizers
in Transin Trans
mission mission
PathsPaths
................................................................................................
6-26-2
Chapter Chapter
7 Video 7 Video
Games and Games and
MultimediaMultimedia
................................................................................................................
......................
7-17-1
7.17.1
IntroductionIntroduction
................................................................................................
....................................................................................................
7-17-1
7.27.2
Normal Normal
Dolby Dolby
Surround Surround
EncodingEncoding
........................................................................................................
......................
7-17-1
7.37.3
Polarity Polarity
InversionInversion
..............................................................................................................
....................................................................
7-17-1
7.47.4
Phase Phase
Encoding................................................................................Encoding................................................................................
......................
7-27-2

Dolby Surround Mixing ManualDolby Surround Mixing Manual
vv
7.57.5
Dolby SurDolby Sur
round Gamround Gam
e Mode e Mode
Encoding.......................................................Encoding.......................................................
7-27-2
7.67.6
ModificatioModificatio
n n
PrinciplePrinciple
................................................................................................................
......................................................
7-37-3
7.77.7
ApplicatioApplicatio
n n
InformationInformation
..................................................................................................................
..............................................
7-47-4
7.87.8
SEU4 GamSEU4 Gam
e Mode Ale Mode Al
ignment...............................................ignment...............................................
..............................................
7-57-5
7.97.9
Testing GamTesting Gam
e Mode Encode Mode Encod
ing with an Auding with an Aud
io Consolio Consol
ee
..............................................................
7-57-5
7.107.10
Game Game
Playback..........................................Playback..........................................
....................................................................................................
7-67-6
Chapter Chapter
8 Theory 8 Theory
of Operation................................................................................of Operation................................................................................
......
8-18-1
8.18.1
Encoder.............................................................................Encoder.............................................................................
......................................................
8-18-1
8.28.2
Decoder..............................Decoder..............................
..............................................................................................................
......................................
8-18-1
Chapter Chapter
9 Miscellane9 Miscellane
ous Informatioous Informatio
n........................................................................n........................................................................
9-19-1
9.19.1
Contacting Contacting
Dolby Dolby
LaboratoriesLaboratories
..........................................................................................................
..............................
9-19-1
9.29.2
Software Software
IdentificatiIdentificati
on aon a
nd Tnd T
rademark rademark
UsageUsage
........................................................................................
9-29-2
9.39.3
Dolby Dolby
Surround Surround
ConsultanConsultan
tsts
..................................................................................................................
..............................
9-29-2
9.49.4
Dolby Dolby
Surround Surround
Software Software
ListsLists
..................................................................................................
......................................
9-39-3

Dolby Surround Mixing ManualDolby Surround Mixing Manual
vivi
List of FiguresList of Figures
Figure Figure
Description Description
PagePage
2-1 2-1
Dolby Dolby
Model Model
SEU4 SEU4
and and
SDU4SDU4
............................................................................................................................
..............
2-12-1
2-2 2-2
Typical Typical
Room Room
LayoutLayout
..................................................................................................
....................................................................
2-22-2
2-3 2-3
Sound Sound
Field Field
Pattern Pattern
with with
Two Two
Surround Surround
Speakers.......................Speakers.......................
..............................
2-32-3
2-4 2-4
Sound Sound
Field Field
Pattern Pattern
with with
Four Four
Surround Surround
SpeakersSpeakers
..........................................................................
2-32-3
2-5 2-5
Large Large
Listening Listening
Room Room
with with
Surround Surround
Speaker Speaker
ArrayArray
....................................................................
2-42-4
2-6 2-6
Front Front
Speakers Speakers
Equidistant Equidistant
from from
Engineer..................................................Engineer..................................................
2-52-5
2-7 2-7
Wrong Wrong
Soffit Soffit
and and
Center Center
Speaker Speaker
Placement..............................................Placement..............................................
2-62-6
2-8 2-8
Listener Listener
in in
Sweet Sweet
SpotSpot
............................................................................................................................
......................................
2-72-7
2-9 2-9
Listener Listener
Shifted Shifted
to to
Side................................................................................Side................................................................................
2-72-7
2-10 2-10
Defined Defined
Image.......................................................................................Image.......................................................................................
..............
2-82-8
2-11 2-11
Front Front
Speakers Speakers
in in
the the
Same Same
Horizontal Horizontal
PlanePlane
........................................................................................
2-82-8
2-12 2-12
Ideal Ideal
Setup—All Setup—All
Speakers Speakers
Above Above
ScreenScreen
......................................................................................................
2-92-9
2-13 2-13
Ideal Ideal
Setup—All Setup—All
Speakers Speakers
Below Below
Screen......................Screen......................
............................................................
2-92-9
2-14 2-14
Compromised Compromised
Setup—HigSetup—Hig
h-Frequeh-Freque
ncy ncy
Drivers Drivers
In In
LineLine
............................................................
2-92-9
2-15 2-15
5.1-Channe5.1-Channe
l l
System System
Room Room
Layout............................................................Layout............................................................
2-102-10
2-16 2-16
Vertical Vertical
Location Location
of of
Surround Surround
Speakers Speakers
in in
Control Control
Room.........................Room.........................
2-112-11
2-17 2-17
Typical Typical
Signal Signal
FlowFlow
......................................................................................................................
..................................................
2-112-11
2-18 2-18
Signal Signal
Flow Flow
through through
Console Console
Monitor........................................................Monitor........................................................
2-122-12
2-19 2-19
Modified Modified
Monitor Monitor
Section Section
of of
2-Track 2-Track
Console............................................Console............................................
2-132-13
2-20 2-20
Radio Radio
Shack Shack
Analog Analog
and and
Digital Digital
SPL SPL
MetersMeters
........................................................................................
2-142-14
2-21 2-21
Tektronix Tektronix
760 760
Phase Phase
Scope Scope
Display Display
of of
Center Center
Channel Channel
InformationInformation
................
2-152-15
2-22 2-22
Tektronix Tektronix
760 760
Phase Phase
Scope—TypicScope—Typic
al al
MultichanMultichan
nel nel
Information...............Information...............
2-152-15
3-1 3-1
XLR XLR
ConnectoConnecto
r r
PinsPins
..........................................................................................................................
..............................................
3-13-1
3-2 3-2
Signal Signal
Routing—StRouting—St
ereo ereo
Bus Bus
and and
Auxiliary Auxiliary
SendsSends
..............................................................................
3-33-3
3-3 3-3
Signal Signal
Routing—Routing—
Film-Style Film-Style
Panning..................................Panning..................................
....................................................
3-43-4
3-4 3-4
Signal Signal
Routing—DRouting—D
ual ual
Stereo Stereo
Bus................................................................Bus................................................................
3-43-4
3-5 3-5
Signal Signal
Routing—Routing—
Console Console
with with
Monitor Monitor
SectionSection
......................................................................................
3-53-5
3-6 3-6
Signal Signal
Routing—MRouting—M
onitor onitor
Section Section
with with
4 4
Channel Channel
Insert Insert
Points...................Points...................
3-53-5
3-7 3-7
Signal Signal
Routing—LRouting—L
ive ive
BroadcastBroadcast
..............................................................................................................
......................
3-63-6
3-8 3-8
Signal Signal
Routing—LRouting—L
ive ive
Broadcast Broadcast
with with
Fail Fail
SafeSafe
......................................................................................
3-63-6
3-9 3-9
Signal Signal
Routing—4Routing—4
-2-4 -2-4
MonitorinMonitorin
g................................................................g................................................................
3-73-7
3-10 3-10
SEU4 SEU4
Front Front
Panel Panel
with with
Surround Surround
Active Active
LED LED
On........................................On........................................
3-73-7
3-12 3-12
SEU4 SEU4
with with
EPL EPL
HighlighteHighlighte
dd
............................................................................................................................................
......
3-83-8
3-13 3-13
CAT CAT
344 344
Card Card
Switches Switches
and and
Jumpers..............................Jumpers..............................
......................................................
3-93-9
3-14 3-14
Center Center
Speaker Speaker
Switch Switch
Detail......................................................................Detail......................................................................
3-93-9
3-15 3-15
Wake-Up Wake-Up
State State
Jumper Jumper
DetailDetail
............................................................................................................................
..........
3-103-10
3-16 3-16
Remote Remote
Fader Fader
and and
ConnectorConnector
....................................................................................................................................
..
3-103-10
3-17 3-17
Remote Remote
Fader Fader
Switch Switch
DetailDetail
..................................................................................................................................
..........
3-113-11
3-18 3-18
EPL EPL
Switch Switch
Detail...............Detail...............
......................................................................................................................................
..........
3-113-11
3-19 3-19
Detail Detail
of of
Jumper Jumper
Modification Modification
for for
Bass Bass
SplittingSplitting
................................................................................
3-133-13
3-20 3-20
Delay Delay
Switch Switch
DetailDetail
..............................................................................................................
..........................................................
3-133-13
4-1 4-1
Adjusting Adjusting
the the
Center Center
Input Input
Trim Trim
ControlControl
............................................................................................................
4-24-2
4-2 4-2
Adjusting Adjusting
the the
Right Right
Input Input
Trim Trim
Control.........................................................Control.........................................................
4-34-3
4-3 4-3
Adjusting Adjusting
the the
Center Center
Output Output
Trim Trim
Control..................Control..................
....................................................................
4-34-3

Dolby Surround Mixing ManualDolby Surround Mixing Manual
viivii
4-4 4-4
Standard Standard
X-CurveX-Curve
..................................................................................................................
..............................................................
4-44-4
4-5 4-5
Modified Modified
X-Curves.......X-Curves.......
....................................................................................................................................
..............................
4-44-4
7-1 7-1
Phase Phase
Shifter Shifter
and and
PositionerPositioner
........................................................................................................
......................................
7-27-2
7-2 7-2
Signal Signal
Flow Flow
for for
Game Game
EncodingEncoding
......................................................................................................................
..............
7-37-3
7-3 7-3
Dolby Dolby
Surround Surround
Game Game
EncodingEncoding
..................................................................................................................................
7-37-3
7-4 7-4
Game Game
Mixer....................................................Mixer....................................................
............................................................................................
7-47-4
7-5 7-5
Waveform Waveform
of of
Game Game
Encoded Encoded
SignalSignal
......................................................................................................................
7-47-4
7-6 7-6
Positioner Positioner
Function Function
Via Via
Audio Audio
ConsoleConsole
..............................................................................................................
7-67-6
7-7 7-7
Game Game
Audio Audio
Creation Creation
and and
ReproductiReproducti
on.....................................................on.....................................................
7-77-7
8-1 8-1
Dolby Dolby
Surround Surround
Encoder....................................Encoder....................................
....................................................................................
8-18-1
8-2 8-2
Dolby Dolby
Surround Surround
Pro Pro
Logic Logic
DecoderDecoder
..........................................................................................................................
8-28-2

Dolby Surround Mixing ManualDolby Surround Mixing Manual
viiiviii
List of TablesList of Tables
Table Table
Description Description
PagePage
3-1 3-1
EPL EPL
ConnectiConnecti
onsons
..............................................................................................................
................................................................
3-123-12
3-2 3-2
Delay Delay
Switch Switch
SettingsSettings
..............................................................................................................................
..................................
3-143-14
7-1 7-1
Dolby Dolby
Surround Surround
Game Game
Encoding Encoding
Options.........................Options.........................
......................................................
7-67-6

Dolby Surround Mixing ManualDolby Surround Mixing Manual
1-11-1
Chapter 1Chapter 1
IntroductionIntroduction
DolbyDolby
®®
Surround is a format that enables the Surround is a format that enables the
production and delivery of multi-dimensionalproduction and delivery of multi-dimensional
soundtracks for television, cable, consumer video, compact disc, video game and other stereosoundtracks for television, cable, consumer video, compact disc, video game and other stereo
media. Once created, Dolby Surround soundtracks can be recorded, broadcast and reproduced inmedia. Once created, Dolby Surround soundtracks can be recorded, broadcast and reproduced in
the same manner as any conventional stereo programs, including compatible monophonicthe same manner as any conventional stereo programs, including compatible monophonic
playback. Consumers equipped with Dolby Surround systems will experience a program’s fullplayback. Consumers equipped with Dolby Surround systems will experience a program’s full
measure of spatial dimensionality, just as they do from thousands of Dolby Stmeasure of spatial dimensionality, just as they do from thousands of Dolby St
ereo moviesereo movies
currently available on home video media.currently available on home video media.
Many aspects of Dolby Surround soundtrack production are the same as those of Many aspects of Dolby Surround soundtrack production are the same as those of
stereostereo
soundtrack production. The main difference is that the mixing console must have at soundtrack production. The main difference is that the mixing console must have at
least threeleast three
and preferably four outputs to feed the Dolby Surround encoder. To and preferably four outputs to feed the Dolby Surround encoder. To
complete the surroundcomplete the surround
system, additional speakers and amplifiers are needed to monitor the system, additional speakers and amplifiers are needed to monitor the
Center and SurroundCenter and Surround
channels via a Dolby Surround decoder.channels via a Dolby Surround decoder.
In most cases the finished two-channel encoded soundtrack is all that In most cases the finished two-channel encoded soundtrack is all that
will be recorded orwill be recorded or
broadcast. However, in some cases it may be broadcast. However, in some cases it may be
desirable to record the four-channel stems (Left,desirable to record the four-channel stems (Left,
Center, Right and Surround encoder input signals) onto separate tracks when further elements areCenter, Right and Surround encoder input signals) onto separate tracks when further elements are
to be added later, such as to be added later, such as
with music pre-mixes for movie soundtracks.with music pre-mixes for movie soundtracks.
This manual contains the This manual contains the
information necessary for production personnel to properly information necessary for production personnel to properly
produceproduce
soundtracks in Dolby Surround.soundtracks in Dolby Surround.

Dolby Surround Mixing ManualDolby Surround Mixing Manual
2-12-1
Chapter 2Chapter 2
Technical GuidelinesTechnical Guidelines
2.1 2.1
Equipment Equipment
from from
Dolby Dolby
LaboratoriesLaboratories
The equipment described below exists in two versions. The newer one The equipment described below exists in two versions. The newer one
has much greaterhas much greater
immunity to RF interference, and as sold in immunity to RF interference, and as sold in
Europe with a single power line Europe with a single power line
voltage, is compliantvoltage, is compliant
with the EMC standards of the European Union. with the EMC standards of the European Union.
Operationally the two versions are analogous,Operationally the two versions are analogous,
and this manual applies to both. Older units have and this manual applies to both. Older units have
a “gold” finish to the a “gold” finish to the
tray and top, the moretray and top, the more
recent ones a “silver” finish. The newer recent ones a “silver” finish. The newer
versions do not have removable front cover plates andversions do not have removable front cover plates and
thumbscrews; to gain access to the plug-in modules and ithumbscrews; to gain access to the plug-in modules and i
nternal switches, remove the extrudednternal switches, remove the extruded
front panel (two screws on top and five front panel (two screws on top and five
underneath).underneath).
2.1.1 2.1.1
Dolby Dolby
Model Model
SEU4 SEU4
Surround Surround
Encoding Encoding
UnitUnit
The SEU4 receives four input signals (Left, Center, Right, and The SEU4 receives four input signals (Left, Center, Right, and
Surround) from the audio consoleSurround) from the audio console
and matrix encodes them into two and matrix encodes them into two
output signals (Lt and Rt). The Lt output signals (Lt and Rt). The Lt
and Rt signals are thenand Rt signals are then
treated as any stereo signal would be for treated as any stereo signal would be for
transmission and recording.transmission and recording.
2.1.2 2.1.2
Dolby Dolby
Model Model
SDU4 SDU4
Surround Surround
Decoding Decoding
UnitUnit
The SDU4 decodes the two-channel encoded signal (Lt The SDU4 decodes the two-channel encoded signal (Lt
and Rt) into four output signals (Left,and Rt) into four output signals (Left,
Center, Right and Surround) using DolbyCenter, Right and Surround) using Dolby
®®
Surround Pro LogicSurround Pro Logic
®®
decoding technology. The unitdecoding technology. The unit
also provides switchable stereo and monophonic monitoring modes for evaluating mixalso provides switchable stereo and monophonic monitoring modes for evaluating mix
compatibility. A ganged master fader allows all four compatibility. A ganged master fader allows all four
monitor output channels to be variedmonitor output channels to be varied
together, allowing variations in listening level while together, allowing variations in listening level while
maintaining playback balance andmaintaining playback balance and
calibration.calibration.
Figure 2-1 Dolby Model SEU4 and Figure 2-1 Dolby Model SEU4 and
SDU4SDU4
It is important to listen through the decoder It is important to listen through the decoder
while mixing in order to while mixing in order to
hear any subtle changes thathear any subtle changes that
the Dolby Surround matrix encoding process may create.the Dolby Surround matrix encoding process may create.

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-22-2
Both the SEU4 and SDU4 Both the SEU4 and SDU4
are available for purchase from Dolby professional product dealersare available for purchase from Dolby professional product dealers
and for rent from several studio equipment rental houses.and for rent from several studio equipment rental houses.
2.2 2.2
System System
InformationInformation
2.2.1 2.2.1
Room Room
LayoutsLayouts
The various room possibilities for working with Dolby Surround encoding all conform to a The various room possibilities for working with Dolby Surround encoding all conform to a
basicbasic
standard. They all require the typical standard. They all require the typical
Left and Right speakers we have grown accustomed to forLeft and Right speakers we have grown accustomed to for
stereo production. In addition, a Center channel speaker and two stereo production. In addition, a Center channel speaker and two
or more Surround speakers areor more Surround speakers are
needed,needed,
Figure 2-2Figure 2-2
. Individual room requirements will determine exact needs for . Individual room requirements will determine exact needs for
the Surroundthe Surround
channel.channel.
MONITORMONITOR
RR
LL
SS
SS
CC
Figure 2-2 Typical Room LayoutFigure 2-2 Typical Room Layout

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-32-3
2.2.2 2.2.2
Control Control
RoomsRooms
In order to achieve even Surround channel dispersion, Dolby Laboratories recommends that aIn order to achieve even Surround channel dispersion, Dolby Laboratories recommends that a
room layout such as the one shown inroom layout such as the one shown in
Figure 2-3Figure 2-3
use two Surround speakers.use two Surround speakers.
Figure 2-3 Sound Field Figure 2-3 Sound Field
Pattern with Two Surround SpeakersPattern with Two Surround Speakers
For rooms similar toFor rooms similar to
Figure 2-4Figure 2-4
, four Surround speakers better serve both the mix , four Surround speakers better serve both the mix
engineerengineer
working in the front of the room working in the front of the room
and the clients listening in the and the clients listening in the
back. Sharing two Surroundback. Sharing two Surround
speakers within this configuration compromises both listening positions: when the balance isspeakers within this configuration compromises both listening positions: when the balance is
correct for the engineer, it will correct for the engineer, it will
usually be too loud for the usually be too loud for the
client. When a compromise in balanceclient. When a compromise in balance
is necessary, rooms should always be optimized in favor of the is necessary, rooms should always be optimized in favor of the
engineer. However, the betterengineer. However, the better
solution is for the engineer and client solution is for the engineer and client
to each have a to each have a
set of Surround speakers.set of Surround speakers.
Figure 2-4 Sound Field Figure 2-4 Sound Field
Pattern with Four Surround SpeakersPattern with Four Surround Speakers

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-42-4
2.2.3 2.2.3
Remote Remote
TrucksTrucks
Remote trucks producing live shows offer a challenge for Center channel Remote trucks producing live shows offer a challenge for Center channel
speaker placement. Thespeaker placement. The
desired Center channel speaker position is usually either occupied by equipment and videodesired Center channel speaker position is usually either occupied by equipment and video
monitors vital to production, or by the window to monitors vital to production, or by the window to
the main production area. In the latter the main production area. In the latter
case acase a
Center channel speaker would block the line of Center channel speaker would block the line of
sight to the director. Neither sight to the director. Neither
scenario is desirable;scenario is desirable;
the only reasonable solution is to not the only reasonable solution is to not
use a Center channel speaker. Because the mixer is use a Center channel speaker. Because the mixer is
in closein close
proximity to the Left and Right speakers, successful mixes can be proximity to the Left and Right speakers, successful mixes can be
created using this arrangement.created using this arrangement.
Since this is not an Since this is not an
ideal situation, assistance from those at the station who ideal situation, assistance from those at the station who
can check the mixcan check the mix
with a proper monitor setup is usually required.with a proper monitor setup is usually required.
2.2.4 2.2.4
Critical Critical
Listening Listening
RoomsRooms
Critical listening rooms, mastering rooms, television master control rooms and screening roomsCritical listening rooms, mastering rooms, television master control rooms and screening rooms
are similar to control rooms. For larger rooms, several Surround speakers may be are similar to control rooms. For larger rooms, several Surround speakers may be
used in anused in an
array much like a movie theater array much like a movie theater
as shown inas shown in
Figure 2-5Figure 2-5
. In these applications, the SDU4 is ideal.. In these applications, the SDU4 is ideal.
However, many facilities also set up separate Home However, many facilities also set up separate Home
Theater rooms with a typical Theater rooms with a typical
living roomliving room
atmosphere. A living room environment with a coatmosphere. A living room environment with a co
mplete consumer system including a Dolbymplete consumer system including a Dolby
Surround Pro Logic receiver, VCR, laser disc player, Surround Pro Logic receiver, VCR, laser disc player,
CD player, and consumer grade speakersCD player, and consumer grade speakers
gives clients a good idea of how gives clients a good idea of how
the project will translate when the project will translate when
played back at home.played back at home.
Figure 2-5 Large Listening Room with Figure 2-5 Large Listening Room with
Surround Speaker ArraySurround Speaker Array
2.2.5 2.2.5
Consumer Consumer
DecodersDecoders
Consumer Dolby Surround Pro Logic decoders operate identically to the Consumer Dolby Surround Pro Logic decoders operate identically to the
Dolby model SDU4Dolby model SDU4
professional decoder, but they include foolproof circuitry such as auto-balance to correctprofessional decoder, but they include foolproof circuitry such as auto-balance to correct
left/right balance errors. When mixing or checking quality, this function is undesirable, since ileft/right balance errors. When mixing or checking quality, this function is undesirable, since i
tt
can hide the very problems being checked for. These types can hide the very problems being checked for. These types
of features are needed at theof features are needed at the

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-52-5
consumer level to correct channel imbalances introduced during transmission or tape duplication.consumer level to correct channel imbalances introduced during transmission or tape duplication.
Also, consumer decoders do not normally have enough time delay Also, consumer decoders do not normally have enough time delay
for studios or a simple way tofor studios or a simple way to
compare Mono, Stereo and Surround compatibility. While suitable for small listening compare Mono, Stereo and Surround compatibility. While suitable for small listening
rooms,rooms,
never use consumer decoders in control rooms as part of the never use consumer decoders in control rooms as part of the
mixing process.mixing process.
2.3 2.3
Additional Additional
Equipment Equipment
RequiredRequired
2.3.1 2.3.1
Speakers Speakers
and and
AmplifiersAmplifiers
Front speaker setup may be accomplished two ways. One, add Front speaker setup may be accomplished two ways. One, add
a Center speaker that matches thea Center speaker that matches the
acoustic characteristics of the existing Left and Right acoustic characteristics of the existing Left and Right
soffit speakers or two, install threesoffit speakers or two, install three
identical near-field monitors. In either case, the design of all identical near-field monitors. In either case, the design of all
three front speakers must bethree front speakers must be
identical; panning from one type of speaker to another identical; panning from one type of speaker to another
causes great differences in the sound. Thiscauses great differences in the sound. This
does not mean that they all does not mean that they all
have to be the have to be the
same size. Large Left and same size. Large Left and
Right speakers and a smallerRight speakers and a smaller
Center speaker from the same product line are acceptable. Center speaker from the same product line are acceptable.
If possible, the Center speaker shouldIf possible, the Center speaker should
have the same high- and mid-frequency drivers as the Left have the same high- and mid-frequency drivers as the Left
and Right speakers.and Right speakers.
When placing the speakers, all three front speakers should be equidistant from the When placing the speakers, all three front speakers should be equidistant from the
mixingmixing
position, as shown inposition, as shown in
Figure 2-6Figure 2-6
..
MONITORMONITOR
RR
LL
SS
SS
CC
Figure 2-6 Front Speakers Equidistant from EngineerFigure 2-6 Front Speakers Equidistant from Engineer
Do not use soffit-mounted Left and Right speakers with a Do not use soffit-mounted Left and Right speakers with a
Center speaker placed on the consoleCenter speaker placed on the console
overbridge, as shown inoverbridge, as shown in
Figure 2-7Figure 2-7
, because the Left and Right , because the Left and Right
speakers will be too far from speakers will be too far from
thethe
mixer.mixer.

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-62-6
MONITORMONITOR
RR
LL
SS
SS
CC
Figure 2-7 Incorrect Soffit Figure 2-7 Incorrect Soffit
and Center Speaker Placementand Center Speaker Placement
The Surround speakers can be smaller bookshelf-type speakers. The actual frequency response ofThe Surround speakers can be smaller bookshelf-type speakers. The actual frequency response of
the Surround channel is 100 Hz to the Surround channel is 100 Hz to
7 kHz so large speakers for bass reproduction and extended7 kHz so large speakers for bass reproduction and extended
range tweeters for ultra-high frequencies are not necessary. It is range tweeters for ultra-high frequencies are not necessary. It is
important, however, to chooseimportant, however, to choose
Surround speakers that sound similar to the front speakers throughout the 100 Hz Surround speakers that sound similar to the front speakers throughout the 100 Hz
to 7 kHz range;to 7 kHz range;
a smaller speaker from the same product line usually a smaller speaker from the same product line usually
works best.works best.
If all three speakers in the If all three speakers in the
front are identical, the power front are identical, the power
amps for each should be rated equally. Ifamps for each should be rated equally. If
the Center speaker is smaller, and the the Center speaker is smaller, and the
Center channel bass is being redirected to the Center channel bass is being redirected to the
Left andLeft and
Right channels, seeRight channels, see
Part 2.3.3Part 2.3.3
, then the power rating of the center amp should be at least 75%, then the power rating of the center amp should be at least 75%
that of the left and that of the left and
right amps. The total power provided for the right amps. The total power provided for the
Surround channel should not beSurround channel should not be
less than that of either less than that of either
the Left or Right channels. If separate athe Left or Right channels. If separate a
mps are used for each Surroundmps are used for each Surround
speaker (the preferred method), each amp should have at speaker (the preferred method), each amp should have at
least 50% of the power of the least 50% of the power of the
left andleft and
right amps. If one amp is used for the right amps. If one amp is used for the
Surround channel (acceptable, but not as desirable), itSurround channel (acceptable, but not as desirable), it
should be rated the same as should be rated the same as
left and right amps. For example, use left and right amps. For example, use
three identical front speakersthree identical front speakers
with three 100-Watt amps and two 50-Watt awith three 100-Watt amps and two 50-Watt a
mps for the Surround speakers.mps for the Surround speakers.

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-72-7
2.3.2 2.3.2
Center Center
Channel Channel
SpeakerSpeaker
The Center channel speaker is used to anchor dialogue and The Center channel speaker is used to anchor dialogue and
other sounds to the screen. Inother sounds to the screen. In
conventional two-speaker configurationconventional two-speaker configuration
s, the listener can only s, the listener can only
hear a balanced mix when seatedhear a balanced mix when seated
exactly in the center or sweet spot,exactly in the center or sweet spot,
Figure 2-8Figure 2-8
. This configuration provides a good phantom. This configuration provides a good phantom
image.image.
Figure 2-8 Listener in Sweet SpotFigure 2-8 Listener in Sweet Spot
If the listener moves to either If the listener moves to either
side of this sweet spot the side of this sweet spot the
mix becomes heavy on that side. Themix becomes heavy on that side. The
listener perceives the Center channel as coming from a listener perceives the Center channel as coming from a
point other than halfway between the Leftpoint other than halfway between the Left
and Right speakers, as inand Right speakers, as in
Figure 2-9Figure 2-9
. In this configuration, the phantom image is . In this configuration, the phantom image is
displaced offdisplaced off
the screen.the screen.
Figure 2-9 Listener Shifted to SideFigure 2-9 Listener Shifted to Side

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-82-8
This produces an eye/ear conflict, since the visual and This produces an eye/ear conflict, since the visual and
audio images don’t match. The addition ofaudio images don’t match. The addition of
a Center speaker ensures that the center information, such as dialogue, stays a Center speaker ensures that the center information, such as dialogue, stays
locked on the screenlocked on the screen
no matter where the listener is no matter where the listener is
seated, as shown inseated, as shown in
Figure 2-10Figure 2-10
..
Figure 2-10 Defined ImageFigure 2-10 Defined Image
Also, since most engineers are used to mixing with Also, since most engineers are used to mixing with
a phantom center, it a phantom center, it
is easy not to realize is easy not to realize
howhow
much mono or center information a typical mix much mono or center information a typical mix
contains. When the center speaker is added, itcontains. When the center speaker is added, it
reproduces all mono information. This results is a narrower mix narrower reproduces all mono information. This results is a narrower mix narrower
than most people arethan most people are
accustomed to. This further supports the need to have a accustomed to. This further supports the need to have a
Center speaker in the studio to Center speaker in the studio to
hear whathear what
will result in homes with will result in homes with
a Center speaker.a Center speaker.
Place the Center speaker in the Place the Center speaker in the
same horizontal plane as the Left same horizontal plane as the Left
and Right speakers wheneverand Right speakers whenever
possible,possible,
as shown in Figure 2-11as shown in Figure 2-11
. In near-field applications, this is usually a . In near-field applications, this is usually a
simple task.simple task.
Figure 2-11 Front Speakers in the Figure 2-11 Front Speakers in the
Same Horizontal PlaneSame Horizontal Plane
When soffit mounted speakers are used, conflicts with video monitors may cause difficulty. If When soffit mounted speakers are used, conflicts with video monitors may cause difficulty. If
itit
is not possible to put the is not possible to put the
speakers in the same horizontal plane, place the speakers in the same horizontal plane, place the
Center speaker eitherCenter speaker either
above or below the video screen, as inabove or below the video screen, as in
Figure 2-12Figure 2-12
oror
Figure 2-13Figure 2-13
..

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-92-9
Figure 2-12 Ideal Figure 2-12 Ideal
Setup—All Speakers Above ScreenSetup—All Speakers Above Screen
Figure 2-13 Ideal Figure 2-13 Ideal
Setup—All Speakers Below ScreenSetup—All Speakers Below Screen
The goal is to place The goal is to place
the high frequency drivers (tweeters) in a straight line. the high frequency drivers (tweeters) in a straight line.
This may requireThis may require
turning the Center speaker upside down or sideways, as shown inturning the Center speaker upside down or sideways, as shown in
Figure 2-14Figure 2-14
. Make sure that. Make sure that
the high frequency driver is oriented for the correct the high frequency driver is oriented for the correct
dispersion characteristics if you place it indispersion characteristics if you place it in
any position other than its normal one.any position other than its normal one.
Figure 2-14 Compromised Setup—High-Frequency Drivers In LineFigure 2-14 Compromised Setup—High-Frequency Drivers In Line
2.3.3 2.3.3
Smaller Smaller
Center Center
Channel Channel
SpeakersSpeakers
Many speaker product lines contain different sized models of the same Many speaker product lines contain different sized models of the same
design. The midrangesdesign. The midranges
and tweeters are normally exactly the same and tweeters are normally exactly the same
while the woofers differ in quantity while the woofers differ in quantity
and size. In casesand size. In cases
where soffit space is limited, a where soffit space is limited, a
smaller version of the main Left smaller version of the main Left
and Right speakers may be theand Right speakers may be the

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-102-10
only option for the Center channel. The only option for the Center channel. The
Dolby SDU4 allows for the sDolby SDU4 allows for the s
maller Center speaker, withmaller Center speaker, with
its reduced low frequency capabilities, by redirecting the Center channel its reduced low frequency capabilities, by redirecting the Center channel
low frequencylow frequency
information below 100 Hz to the Linformation below 100 Hz to the L
eft and Right speakers. For further information oneft and Right speakers. For further information on
implementing this function, please seeimplementing this function, please see
Part 3.6.1 Bass Splitting ModificationPart 3.6.1 Bass Splitting Modification
..
2.3.4 2.3.4
Surround Surround
Channel Channel
SpeakersSpeakers
For normal Dolby Surround installations, small bookshelf speakers will suffice. However, youFor normal Dolby Surround installations, small bookshelf speakers will suffice. However, you
may wish to consider planning for the future. The may wish to consider planning for the future. The
5.1-channel mixing format shown in Figure 2-5.1-channel mixing format shown in Figure 2-
15, is currently the format of 15, is currently the format of
choice for mixing motion picture.choice for mixing motion picture.
MONITORMONITOR
RR
LL
RSRS
LSLS
CC
SWSW
Figure 2-15 5.1-Channel System Room Figure 2-15 5.1-Channel System Room
LayoutLayout
This format uses the standard three full range front channels, twThis format uses the standard three full range front channels, tw
o full-range Surround channelso full-range Surround channels
and one Low Frequency Effects (LFE) orand one Low Frequency Effects (LFE) or
boomboom
channel. The LFE channel is band limited from 3channel. The LFE channel is band limited from 3
Hz to 120 Hz in Hz to 120 Hz in
the Dolby Digital format. A the Dolby Digital format. A
subwoofer, separate from any other front channelsubwoofer, separate from any other front channel
subwoofer, is normally connected to this channel with an subwoofer, is normally connected to this channel with an
appropriate amplifier. Since theappropriate amplifier. Since the
Surround channels are independent (stereo) and full range, a little Surround channels are independent (stereo) and full range, a little
extra expense, wiring andextra expense, wiring and
thought may save headaches down the road.thought may save headaches down the road.
To be 5.1-channel ready, use full-range speakers in each location. If To be 5.1-channel ready, use full-range speakers in each location. If
a smaller Center channela smaller Center channel
speaker is used, the same model may also be speaker is used, the same model may also be
used for the Surround speakers. Use a separateused for the Surround speakers. Use a separate
power amplifier for each Surround speaker. Direct individual runs should be used for power amplifier for each Surround speaker. Direct individual runs should be used for
the audiothe audio
wiring from each speaker to the wiring from each speaker to the
amp rack or patch bay (for amp rack or patch bay (for
self-powered speakers).self-powered speakers).
2.3.5 2.3.5
Surround Surround
Speaker Speaker
LocationLocation
For installations using one pair of speakers for the SFor installations using one pair of speakers for the S
urround channel, place the speakers on theurround channel, place the speakers on the
side walls approximately two feet behind the side walls approximately two feet behind the
engineer’s seating position and at least two feetengineer’s seating position and at least two feet
above the engineer’s head. They should point to a above the engineer’s head. They should point to a
spot two feet above the spot two feet above the
engineer’s head, as inengineer’s head, as in
Figure 2-16Figure 2-16
. If four or more speakers are used, . If four or more speakers are used,
the same guidelines apply for each set the same guidelines apply for each set
ofof
speakers. In any case, never point a Surround speaker directly at speakers. In any case, never point a Surround speaker directly at
the listener or below theirthe listener or below their
seating position.seating position.

Dolby Dolby
Surround Surround
Mixing Mixing
Manual Manual
Chapter Chapter
2 2
- -
Technical Technical
GuidelinesGuidelines
2-112-11
Figure 2-16 Vertical Location of Surround Figure 2-16 Vertical Location of Surround
Speakers in Control RoomSpeakers in Control Room
2.3.6 2.3.6
Audio Audio
ConsolesConsoles
The console’s flexibility greatly affects surround mixing capability. While it is possible to The console’s flexibility greatly affects surround mixing capability. While it is possible to
createcreate
a Dolby Surround mix on a a Dolby Surround mix on a
console with as little as console with as little as
a stereo bus and one auxiliary send, thea stereo bus and one auxiliary send, the
ability to do complex mix ability to do complex mix
moves is virtually nonexistent. A console with film-style panningmoves is virtually nonexistent. A console with film-style panning
allows the greatest flexibility for desired sound placement. Console automation also helps createallows the greatest flexibility for desired sound placement. Console automation also helps create
complex mixes. The exact needs for a complex mixes. The exact needs for a
particular application will depend on the complexity particular application will depend on the complexity
of theof the
mix. When deciding to purchase new equipment, it is mix. When deciding to purchase new equipment, it is
a good idea to think a good idea to think
about future needs, notabout future needs, not
just those of today.just those of today.
2.3.7 2.3.7
Monitor Monitor
PathPath
The normal audio path is from the The normal audio path is from the
console to the encoder to the console to the encoder to the
recording device to the decoderrecording device to the decoder
to the speakers, as shown into the speakers, as shown in
Figure 2-17Figure 2-17
..
DD
EE
CC
OO
DD
EE
R R
MM
OO
NN
II
TT
OO
RR
SS
SS
OO
UU
RR
CC
EE
S S
EE
NN
CC
OO
DD
EE
R R
RR
EE
CC
OO
RR
DD
EE
RR
Figure 2-17 Typical Signal FlowFigure 2-17 Typical Signal Flow
In most cases, this configuration disables console functions such as solo and source selection. ToIn most cases, this configuration disables console functions such as solo and source selection. To
continue to use these functions, install the decoder in continue to use these functions, install the decoder in
the monitoring path of the console, asthe monitoring path of the console, as