Individual sounds, the so-called audio objects, rather than being positioned by certain assigned channel affiliations or movement instructions in the form of metadata that are independent of a specific speaker arrangement basically. This logic is reduces to a purely object-based mixture.
Primary information for each channel is not available in this case. While offering the possibility to convert such mixtures to other speaker AV set-ups has been around for a long time, here the only certain signal components from the original mixture are taken and distributed to the additional speakers. All votes are then positioned, for example, in the centre, spreading the orchestra of normal stereo images and assigning specific items to the surround channels. In a purely channel-based mixing all dialogue, sound effects and soundtrack are fixed for a certain number of channels – such as classical in 5.1 – mixed.
For a better understanding of these issues, let’s break down the concepts. These are often based on the concepts of “channel-based” and “object-based” distinction, although the distinctions are blurred in practice. However, since it’s known that many roads lead to Rome, it is not surprising that the developers of the formats pursue their own approaches to achieve this goal.
This results in a better assimilation of the audience into the action, known as ‘Immersive sound’ meaning that the intensity of sensation while viewing is even more pronounced.
Xear 3d vs dolby headphone plus#
The underlying principle of all three technologies the same: specific production on the one side, a corresponding decoding arrangement plus additional speakers in the mix meaning that these elements of the soundtrack can no longer be viewed simply as a set-up or arrangement but rather as a precisely constructed dome enveloping the viewer more and more.
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