Sentences with phrase «channel sound mixer»

Not exact matches

All sound fields get a work out, including an awesome rear channel stereo split that is just as impressive as the front sound field, Dialogue mix is exact, with no dropouts or distortion.

The movie's theatrical Dolby Digital 5.1 sound mix is reproduced here accurately, with crystal - clear dialogue in the centre channel that's been perfectly recorded, ensuring you don't miss a word of this decidedly dialogue - based film.

Not surprisingly given the age, it didn't sound like a modern 5.1 mix, channel separation being mild.

The attendant 5.1 mix, encoded in the lossless DTS - HD MA format, is sufficiently robust, each channel regularly carrying not just ambience but sound effects and music as well.

A distortion - free 5.1 audio mix in Dolby Digital and DTS configurations demonstrates a little weakness in its centre channel (which can be compensated for to some extent through equalizing), but for source material of this age, the sound demonstrates a remarkable fidelity.

The 5.1 DTS - HD master audio mix is more remarkable, a delicious piece of sound design that uses all the channels to striking effect.

Sound is centrally oriented and the back channels are rarely used (save for some street noise and background chatter, most evident in the bustling courthouse), but these aspects of the mix are faithful to the film even if they don't pack a notable wallop of their own.

You won't mistake the audio here for a more contemporary multichannel mix featuring a plethora of elements and plenty of low - frequency information (a single explosion, for instance, can sound a little thin as it rips through the front and rear channels), but surround - sound mavens shouldn't be disappointed.

Which is why many supervising sound editors and final mixers aim to fill the rear channels with rich but undefined backgrounds.

Further, sounds exist only as part of a channel mix.

If a scene requires, say, a helicopter taking off, that sound has to be assigned to specific channels and mixed together with other sounds.

It adds the ability to control distinct sound elements in a soundtrack to the traditional channel - based approach for mixing.

The video is well matched by a DD 5.1 audio mix that blows the shingles off the roof: the musical numbers sound as good as they can, though they're so clean that the obviousness that the vocal tracks are laid on a separate channel make the scenes as they play out in crowded pubs seem curiously detached.

Elsewhere, the mix does strive to put the viewer in the action — an early scene with Sam Elliott taking an overly - hot shower uses rear - channel effects to enhance the first - person POV, and a later action scene that takes place outside of the house gains tension from directional sound work after Lewis's score drops away entirely.

Raimi's old - fashioned approach to sound design (and the age of the film) spell a relatively underwhelming lossless DTS - HD Master Audio 5.1 mix, but every cartoony sound effect is perfectly clear and Danny Elfman's score sounds robust; just don't expect maximum exploitation of the surround channels — it's a fairly front - heavy mix.

The DTS - HD Master Audio 5.1 mix is likewise workmanlike; The Rookie will doubtless never sound better than this, and though the rear channels don't get much of a workout, it's certainly an adequate presentation.

A bit too much emphasis is placed on the center channel at times, but for the most part, the sound is crisp, clean, and well - mixed.

A mix of minor sounds emanated from the side and rear channels.

For the first time, Dolby Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback.

Employing 7.1 channels, the DTS - HD mix is full of life, delivering both music and sound effects crisply and from all over the sound field.

As with any Mono track, all of the audio comes from the center channel, and the mix of dialogue, mostly - present»70s score, and a few active sound effects is satisfactory and never difficult to distinguish.

The audio track is a remastered Dolby Digital 5.1 mix that relegates almost all the information to the front channels; musical interludes sound nearly as tinny and thin as the children staring robotically ahead as they karaoke each number.

The sound, on the other hand, is practically perfect: Lionsgate have included not only a 7.1 DTS - HD Master Audio soundtrack (a rarity and a treat), but also what's called a «Neo-X» mix, which runs in 11.1 channels -LRB-!)

For the new DVD, MGM has fashioned a 5.1 mix that places the dialogue in the center channel, music and panned sound effects in the front surrounds, and a discreet, reverberating mono sound effects track.

The TL SH - AWD allows fine - tuning of the sound, as well, with separate controls for sub - and center channel levels, making it easy to bring more bass into the mix, or setting the system for better acoustic playback.

The sound system includes a fully powered subwoofer / satellite speaker system with a 15 - inch bass reflex subwoofer, 2 - channel mixer and two Numark NDX 800 players.

In the Spring 2017 Windows 10 Creators Update, both Xbox and Windows added support for platform - level spatialized sound: within a single content and programming pipeline, support for both speaker and headphone outputs, for multiple formats (including Dolby Atmos and Windows Sonic for Headphones), and for both channel - and object - based mixes, all enabled for millions of consumers.

The soundscape in Extraction is in the league of the original's, providing ample intercom - voice and gun sounds through the Wii remote's speaker as well as a stirring mix of sound effects, whispers, growls and other frightful sounds from the main audio channels.

Mixed - media installation with HD video on flat - screen monitor and four - channel sound, dimensions variable.

Mixed - media sculpture with high - definition video on flat - screen monitor with four - channel sound, dimensions variable

Below: Some Information on Boston School Desegregation (2004), mixed media installation with furniture, books, two - channel video, sound, wall text, included in «Through the Gates: Brown vs. the Board of Education,» California African American Museum, Los Angeles, 2004.

Unlike Dolby Atmos and DTS: X, which are object - based, Auro - 3D remains a channel - based immersive audio format, which mixes sounds into specific audio channels.

Because Dolby Atmos is an object - based sound format, when creating a soundtrack to a film, sound mixers are able to specify the exact place they want the sounds to be, as opposed to «left - channel» or «right rear - channel» of 5.1 surround soundtracks.

Dolby Surround up - mixer decodes and directs sounds to all of the speakers in the sound bar — including up - firing capabilities to provide a higher sense of immersion from all channel - based content.

It isn't mixed into several separate channels; instead, sounds are mapped to virtual locations in 3D space, and that spatial data is sent to your speaker system.

In old - fashioned surround sound a movie had its audio mixed into channels.

The addition of height channels to a surround sound mix takes your sense of immersion in a movie's world to a phenomenal new level.

Its take on channel encoding doesn't pre-mix audio for a specific setup, instead it takes an object - based approach to saving audio data which is mixed together right before the sound comes out of your speakers.

The DTS Headphone: X simulated surround sound offers strong lateral imaging, mixing the stereo channels to give a good sense of left - to - right positioning.

Audio mixing can produce some very compelling effects, but the G933's surround sound (and any surround sound on any gaming headset) won't be mistaken for a full 7.1 - channel speaker system; without the space for the sound to bounce around to produce the proper acoustic effects, the different channels can only produce a general sense of direction at best.

The sound mix makes use of the area directly above your head for spatial effects, and also gives additional weight to the centre channel we feel, adding clarity to speech, for example.

While the surround sound effect wasn't «genuine,» it provided the slightest illusion that the Heavy firing his mini-gun behind me was actually behind me, thanks to a clever volume balancing effect that mixed the mini-gun sound more softly into the action of the front channels (produced by both cups firing simultaneously).

The latest and greatest development in surround sound offers not only discrete audio for height channels, but also a new way for sound engineers to mix audio for the most accurate, hemispheric immersion to date.

Unlike a surround sound setup, in which sounds come from a limited number of channels broadcast through speakers arranged around a room, Atmos broadcasts each object of sound (such as a glass hitting the ground or a person shouting) to a specific place in the room, as designated by the engineers who mixed the soundtrack.

These use a front channel mixing process to produce a virtual center channel; the rear channels are emulated by a processor which «virtualizes» surround sound using the HRTF filters via the front speakers.

When the original surround mix of Emerson, Lake & Palmer's Lucky Man came out on DVD - Audio back in 2000, Keith Emerson's Moog synthesizer solo was furiously going back and forth in the rear channels, and that sounded very wrong to me.