My name is David Merrick and my name is in the alphabetical block of credits. But I did not work on the film and I am not in the film. Although I was not exactly in the shipping department of Dolby Laboratories in 1982, in addition to a supervisor, Bob, one might say I WAS THE SHIPPING DEPARTMENT in 1982 [Dolby North America]! . For the music box on the billiard table scene the director had brought a personal antique from home. I carried the music box over to the filming location from the labs, where the director, Marketing Vice President Ioan Allen remembered he had left it on his desk. The woman who sets the music box on the billiard table is Penny. The billiard table scene was filmed in an abandoned antique store show room next to The Labs [at 731 Sansome, in San Francisco.] As the technicians were aligning the Panavision camera to get the closest view that would appear straight down onto the billiard table, the camera's film magazine struck a crystal chandelier crashing it to the floor. Iaon, Welsh, and very sensitive to the nobility of status was horrified to ask me to do "the janitorial job" of sweeping up the broken glass from the floor and to in disposing of it. That's all I did. But for cleaning up a pile of shattered glass I got my name in that alphabetical block of credits! P.S. All of the people on the airplane worked at the labs. When I commented to their Technical Writer I wish I had been in the film he said: "Actually, David, you were." WHAT? On the airplane the employees of the labs were asked to talk to each other. The T.W. Joe sitting next to the MArketing VP's secretary didn't know each other. BUT THEY BOTH KNEW ME!!!! So Joe said: "In a way you WERE in the film, David. For lack of any other common subject, as we sat next to each other, DEBBIE AND I TALKED ABOUT YOU!!! The staff working on and appearing in the film were a virtual "who's who" of Lucasfilm's "Sprocket Systems" [sound department] and Dolby Labs employees.
My first connections into Dolby were Paul Hill (who worked for K-B Theatres in DC (where I started in cinema) before moving out to the San Francisco area) and Lenore Flores, who I believe coordinated setting up the first "Dolby School" I attended...which still had Clyde and Sam was the "new guy." Fun times.
I just noticed for the first time a couple of Easter eggs at 2:40: On the chalkboard is a figure showing the companding approach that makes up Dolby noise reduction, below which is a diagram of the ISO 2969 or "X-curve" frequency response Dolby developed in the early 1970s. Both were the starting point of Ray Dolby and Ioan Allen bringing the company into the cinema realm - before Dolby Stereo they introduced the Model 361 noise reduction unit (already used in recording studios) along with the E2 equalizer unit to improve on mono optical sound (in selected theates. 😉) To the right are the names Liszt, Russell, and Wagner, with "Rl1 leit motiv" written below. The first film released in Dolby Stereo was the rock opera Lisztomania about Hungarian composer Franz Liszt, directed by British filmmaker Ken Russell. German composer Richard Wagner's Tannhäuser Overture in turn is of course the leitmotiv for Listen. I wonder if the other things written on the chalkboard are also Easter eggs.
Beautiful demonstration reel, loved hearing Wendy Carlos on the synth at the end. This film reminds me of what I miss most about going to the movies as a kid, seeing movies actually projected from film. A 35mm or 70mm print has this wonderful look to it that you just don’t get from digital. It’s the film grain, the subtle jitter of the frame from imperfections in the sprocket holes on the film, the little specks of dust that you’d occasionally see flash on the screen, it felt like the image was alive in a way. Digital is great for its simplicity but the image looks too clean, too clinical, it doesn’t have quite the same life to it in my honest opinion.
Great to see this again. My favorite demo reel. Love the Wendy Carlos at the end. One of two pieces she composed for Dolby. The other WC composition (Bee Dee Bei Mir) was composed for the ending of the "Jiffy" test reel.
Dolby was hissed less stereo.it used the optical soundtrack instead of tape. It made it more compatible with mono sound optical tracks, but it was also applied to audio tape as well to reduced that hissing sound.
This is fantastic. Pre-SR days too. Good old Dolby Stereo encoded 4.0 Surround aka LCRS. Channels were full bandwidth so LFE was simply LPF'd from the screen channels, paired with 2 subs for a full 4.2 array this is simply incredible. Those 35mm prints were lossless with big dynamic range, the better the Cat.150 2:4 decoder (Original Pro Logic) and fidelity of the A/D chipset the better the quality. What's fantastic about the format is it scales up the better the decoding equipment and speakers are and the better the fidelity of the original recording feeding the MP Matrix 4:2 encoder the better the surround effect. More channels doesn't automatically mean better. Dolby Stereo/Dolby Surround technology is still very much relevant on any 2 channel carrier limited platform like RUclips. Yet you can still deliver great 4 channel surround. I never liked what Pro Logic II did to these recordings since the 6-Axis logic is more of a generic non encoded Stereo to 5.1 enhancer where as Original PL was designed specifically to faithfully decode these 35mm 4:2 SVA tracks back to the LCRS stems that fed to the 4:2 encoder for optical printing. PLII has this very awkward phase effect since it's trying so hard to create stereo surrounds that don't exist. As a result it totally messes up the screen channel stereo imaging and makes it sound like there is a hole in the center right/center left positions and you can hear how it trys steering screen channel far left and far right effects to the back simultaneously playing in the front in an effort to create stereo surrounds. It just doesn't work IMHO. Original PL isn't perfect of course but NONE of these flaws are present thus it is a far better sounding system. Late model OG PL decoders that had better and faster chips that could do much faster steering and create a very discrete like presentation. The mono surround would be played over an array around the auditorium for a nice ambient diffuse effect and on big SFX like fly overs it's quick enough to steer it to the back and keep the screen channels upfront without any noticeable shifting. Speaker calibration for measurements and delays are crucial to achieve the desired effect. The best sounding consumer OG PL decoder is probably in the Meridian 565/568 line of Pre-Pros. The quality of the chips used result in no noticable signal degradation like on cheap mass market decoders. Yamaha and Bryston included an emulated OG PL mode for years too. Accuphase also included Original PL on their VX-700 Pre-Pro as well. Amazing upload and thanks for sharing!
Wow! This is truly a fantastic find! I've never even heard of this Listen trailer until now, and I cannot wait until RUclips finishes processing this in HD (or 4K)!
Digital 4K Cinema is OK, nice and sharpy etc... but 35mm Film is Organic in a Fantastic way. Quite curious to watch a Stereo 35mm recording, nice sound actually, thanks for posting. -i’d really love to shoot in 35mm but every equipment seems so expensive...-
Amazing - thanks for finding and uploading this! The credits indicate this was made in 1982 - was it screened theatrically for paying audiences, or was it more aimed at studios/exhibitors?
Jonno 77 you bet! Think of this thing as a demo for a paying client that wants to do the audio mix for his brand new movie and don't know which format to use
It's 4.0 LCRS encoded. It would be possible to create a discrete 4.0 version by extracting the channels on a DAW and encoding it to DTS 4.0 or AC-3 4.0. You could even LPF and LFE or stereoize the surrounds via Mono stereoization to get it to 4.1 or 5.1. But it would sound best played as is with an Original Pro Logic decoder or mixed to 4.0 Digital.
Very interesting film & a good but not great stereo sound stage image demo -across my correctly placed and phased stereo speakers.. A lot of the Dolby stereo films I have seen (& I am talking film -not video) were poorly set-up in the cinemas (that were suppose to be playing stereo programs) and you never really experienced the proper stereo./surround sound. In fact 1 large luxury cinema I challanged over it's lack of proper stereo presentation, had in fact a faulty set-up which was confirmed when they got Dolby to check out their system. Obvioulsy it had sailed past their projectionst who was slightly perturbed over all the testing commotion (pun intended) I was present at the testing session, and the cinema wrote back to me (letter to hand) thanking me for bringing it to their attention...doh...
This would have been a great short film to show with many Dolby movies. Sure it is a little bizarre but it really shows how high quality Dolby Stereo (yes just good old Dolby Stereo; not Dolby SR, not Dolby Stereo Digital aka Dolby Digital; just the original Dolby soundtrack introduced in the 1970s) really was. BTW who plays the Physics teacher? He looks very familiar...
Never mind. I should have just waited for the credits to appear. Hugh Fraiser (the guy that played the man on the plane) does not ring any bells. However Tony Hartford certainly does.
The intention behind creating this reel was indeed to make it available as pre-show material. I've only ever known it to be used by theatre techs as test material though.
Dolby Stereo is awesome. Dolby Stereo SR even better. The better the recordings fed to make the 4.0 Matrix the better the quality and the better the effect of it all. Early Dolby SR-D 5.1 sounded terrible since it had an effective bitrate of only 320kbp/s or so where as DS and DS SR was for all intents and purposes lossless. Obviously DD got way better as the digital tech improved but when they first rolled it out I was not impressed, DTS sounded far better.
Probably standard mono surround, though a lot of the surround effects come from just the left when decoded with the current "Dolby Surround" format- my receiver doesn't include the original Pro-Logic decoding.
There is definitely something strange going on with the surround pans as they shift to the left in the mix. It could be imperfect matching of the phase delays between the source channels going into Lt/Rt causing partial cancellation in the Rt channel. The "one, two" voice however might have been deliberately mixed into both left and surround to create a pseudo split surround effect. I tested it with Pro Logic II and the Pro Logic emulation mode on my old Yamaha receiver, as well as a Sennheiser LUCAS set to act as a pure Pro Logic decoder. All of them get confused by the shift towards the left. Pro Logic II puts the "one, two" voice in the left surround as is appropriate with that phase and level relationship. At the time they made "listen...", Dolby were using Tate DES ICs in their matrix decoders (Cat. No. 150). Pro Logic was developed as a replacement with a simpler detection logic. It's possible worse in some ways than the Tate-based decoders. Listening over headphones, the foghorn around 1:27 is clearly mixed somewhat to the right. Pro Logic detents it into the center because of the simultaneous string quartet causing directional dominance towards center. Pro Logic II manages to keep the foghorn slightly to the right.
@@ZacabebOTG By the rollout of SR NR in 1987 the latest Cat.150E 2:4 PL decoders in the Cinema Processor's and Studio monitoring/production gear at the time had already surpassed the late 70s/early 80s Tate ICs in pure sound quality and processing power/speed. It took them a few years but they managed to do it as IC tech improved drastically in a short period during the 1980s. They had way better and faster steering than the Tates ever had. The Tate's were basically repurposed Quad decoders anyway, so their use with DS was never the best solution and I think Dolby knew it too. I think the original PL always sounded far better than PLII with SVA stuff. PLII always had phase issues in my view. The aforementioned issues are likely from a slight Lt/Rt channel imbalance error in the matrix. Speaking of which that those later model Cat.150s had so much better ICs they could rebalance in incoming SVA signal to prevent issues like that and from dialog leaking into L-R. PLII could have been better, especially with full range surround but it was primarily a non-encoded stereo to 5.1 upmixer targeted towards consumers so it had mixed results with SVA content despite Dolby's claims to consumers that it was better than PL when they purchased the 6-Axis tech. In my view it never replaced PL since PLII doesn't faithfully decode SVA tracks with their intended phase/gain relationship and LCRS presentation. I always thought Shure's HTS Acra Vector Logic decoder was way better than PLII anyway, that was a great product for the day. I had a chance to hear one of those and was really impressed with it.
@@ZacabebOTG Update six years later: I got around to investigating the issue and found that the likely culprit to be crosstalk between Rt and Lt as there is an almost equal, diagonally opposing shift of the front soundstage to the right. Subtracting Lt attenuated by about -12 dB from Rt rebalanced the soundtrack so that the dialog is more centered and the "one two, buckle your shoe" line is also more centered in the surrounds playing through Dolby Surround Upmixer, with both center and surround components aligning well as seen through the goniometer (i.e. Phase Analysis) in Adobe Audition. So, it seems it could be caused by a problem with decoding of the optical track rather than the MP matrix encoding on the printmaster or sound negative. It always seemed weird that a reference production mixed in the THX theater at Sprocket Systems and overseen by the top Dolby engineers themselves would have such an error pass unnoticed.
If you have any discrete surround recording you need to downmix it to Dolby Surround Lt/Rt 2.0. Any digital multichannel recording will work. It will encode it as LCRS. It's how RUclips puts surround sound on the movies they now sell for rent, it's Dolby Surround encoded! DS/DSrnd isn't quite dead yet lol.
My name is David Merrick and my name is in the alphabetical block of credits. But I did not work on the film and I am not in the film. Although I was not exactly in the shipping department of Dolby Laboratories in 1982, in addition to a supervisor, Bob, one might say I WAS THE SHIPPING DEPARTMENT in 1982 [Dolby North America]! .
For the music box on the billiard table scene the director had brought a personal antique from home. I carried the music box over to the filming location from the labs, where the director, Marketing Vice President Ioan Allen remembered he had left it on his desk. The woman who sets the music box on the billiard table is Penny. The billiard table scene was filmed in an abandoned antique store show room next to The Labs [at 731 Sansome, in San Francisco.] As the technicians were aligning the Panavision camera to get the closest view that would appear straight down onto the billiard table, the camera's film magazine struck a crystal chandelier crashing it to the floor. Iaon, Welsh, and very sensitive to the nobility of status was horrified to ask me to do "the janitorial job" of sweeping up the broken glass from the floor and to in disposing of it. That's all I did.
But for cleaning up a pile of shattered glass I got my name in that alphabetical block of credits!
P.S. All of the people on the airplane worked at the labs. When I commented to their Technical Writer I wish I had been in the film he said: "Actually, David, you were." WHAT? On the airplane the employees of the labs were asked to talk to each other. The T.W. Joe sitting next to the MArketing VP's secretary didn't know each other. BUT THEY BOTH KNEW ME!!!!
So Joe said: "In a way you WERE in the film, David. For lack of any other common subject, as we sat next to each other, DEBBIE AND I TALKED ABOUT YOU!!! The staff working on and appearing in the film were a virtual "who's who" of Lucasfilm's "Sprocket Systems" [sound department] and Dolby Labs employees.
Wow
Thanks
I definitely remember your name appearing on the packing list in numerous shipments going way back to 1984.
My first connections into Dolby were Paul Hill (who worked for K-B Theatres in DC (where I started in cinema) before moving out to the San Francisco area) and Lenore Flores, who I believe coordinated setting up the first "Dolby School" I attended...which still had Clyde and Sam was the "new guy." Fun times.
@@sguttag The new guy at my first class was George Douglas. He left Dolby for Meyer Sound...
I just noticed for the first time a couple of Easter eggs at 2:40:
On the chalkboard is a figure showing the companding approach that makes up Dolby noise reduction, below which is a diagram of the ISO 2969 or "X-curve" frequency response Dolby developed in the early 1970s. Both were the starting point of Ray Dolby and Ioan Allen bringing the company into the cinema realm - before Dolby Stereo they introduced the Model 361 noise reduction unit (already used in recording studios) along with the E2 equalizer unit to improve on mono optical sound (in selected theates. 😉)
To the right are the names Liszt, Russell, and Wagner, with "Rl1 leit motiv" written below. The first film released in Dolby Stereo was the rock opera Lisztomania about Hungarian composer Franz Liszt, directed by British filmmaker Ken Russell. German composer Richard Wagner's Tannhäuser Overture in turn is of course the leitmotiv for Listen.
I wonder if the other things written on the chalkboard are also Easter eggs.
Beautiful demonstration reel, loved hearing Wendy Carlos on the synth at the end. This film reminds me of what I miss most about going to the movies as a kid, seeing movies actually projected from film. A 35mm or 70mm print has this wonderful look to it that you just don’t get from digital. It’s the film grain, the subtle jitter of the frame from imperfections in the sprocket holes on the film, the little specks of dust that you’d occasionally see flash on the screen, it felt like the image was alive in a way. Digital is great for its simplicity but the image looks too clean, too clinical, it doesn’t have quite the same life to it in my honest opinion.
An amazing display of sound quality in one little demo reel!
Great to see this again. My favorite demo reel. Love the Wendy Carlos at the end. One of two pieces she composed for Dolby. The other WC composition (Bee Dee Bei Mir) was composed for the ending of the "Jiffy" test reel.
The composer was Richard Wagner. Wendy Carlos adapted it for synth.
Wendy Carlos also arranged for Switched-On Bach trilogy, A Clockwork Orange, The Shining, Tron, etc.
Dolby was hissed less stereo.it used the optical soundtrack instead of tape. It made it more compatible with mono sound optical tracks, but it was also applied to audio tape as well to reduced that hissing sound.
This is fantastic. Pre-SR days too. Good old Dolby Stereo encoded 4.0 Surround aka LCRS. Channels were full bandwidth so LFE was simply LPF'd from the screen channels, paired with 2 subs for a full 4.2 array this is simply incredible. Those 35mm prints were lossless with big dynamic range, the better the Cat.150 2:4 decoder (Original Pro Logic) and fidelity of the A/D chipset the better the quality. What's fantastic about the format is it scales up the better the decoding equipment and speakers are and the better the fidelity of the original recording feeding the MP Matrix 4:2 encoder the better the surround effect. More channels doesn't automatically mean better. Dolby Stereo/Dolby Surround technology is still very much relevant on any 2 channel carrier limited platform like RUclips. Yet you can still deliver great 4 channel surround. I never liked what Pro Logic II did to these recordings since the 6-Axis logic is more of a generic non encoded Stereo to 5.1 enhancer where as Original PL was designed specifically to faithfully decode these 35mm 4:2 SVA tracks back to the LCRS stems that fed to the 4:2 encoder for optical printing. PLII has this very awkward phase effect since it's trying so hard to create stereo surrounds that don't exist. As a result it totally messes up the screen channel stereo imaging and makes it sound like there is a hole in the center right/center left positions and you can hear how it trys steering screen channel far left and far right effects to the back simultaneously playing in the front in an effort to create stereo surrounds. It just doesn't work IMHO. Original PL isn't perfect of course but NONE of these flaws are present thus it is a far better sounding system. Late model OG PL decoders that had better and faster chips that could do much faster steering and create a very discrete like presentation. The mono surround would be played over an array around the auditorium for a nice ambient diffuse effect and on big SFX like fly overs it's quick enough to steer it to the back and keep the screen channels upfront without any noticeable shifting. Speaker calibration for measurements and delays are crucial to achieve the desired effect. The best sounding consumer OG PL decoder is probably in the Meridian 565/568 line of Pre-Pros. The quality of the chips used result in no noticable signal degradation like on cheap mass market decoders. Yamaha and Bryston included an emulated OG PL mode for years too. Accuphase also included Original PL on their VX-700 Pre-Pro as well. Amazing upload and thanks for sharing!
you say this video could be decoded with sdu4?
@@TheMazo02 Yes it can 🙂
@@mikaelchristensen5433 awesome, i have it.. so I will try
Given the year this came out, 1982, those horses in the movie may all have died since.
Wow! It sounds so clear. Thanks for the video.
Sweet! Another hidden treasure of a #skywalkersound project featuring Ben Burtt & Randy Thom! #soundmatters
IIRC this was the first thing mixed in Lucasfilm's THX dubbing theatre -- even before Return of the Jedi.
Wow! This is truly a fantastic find! I've never even heard of this Listen trailer until now, and I cannot wait until RUclips finishes processing this in HD (or 4K)!
Hey, Jonathan Froes. Can you upload THX Wow demonstration film in 35mm Scope, please?
Naminski there isn't one...thx is not a sound format
RkivUnderground yeah 4K would be a waste of time on this...barely enough for Hd
Jonathan Froes
Can you upload the movie trailer for The Hunt for Red October in 35mm Scope in HD, please?
Naminski don't have it
OMG YES
WENDY FRIGGIN' CARLOS
Sounds great on my Dolby CP200.
also works nice with Dolby SDU4
If someone put a music box down in the middle of my Billiards game, I'd probably club them over their head with the cue.
Jack Theakston oh don't even get me started with the fcups there...douchebag boat guy blowing that damn horn
Couldn't the lecturer draw that underline a bit more gentler? Almost like nails.
RkivUnderground how about the lecturer sounding like he's 5 miles away
He sounds fine to me. I appreciate the dynamic range.
Digital 4K Cinema is OK, nice and sharpy etc... but 35mm Film is Organic in a Fantastic way. Quite curious to watch a Stereo 35mm recording, nice sound actually, thanks for posting. -i’d really love to shoot in 35mm but every equipment seems so expensive...-
This is awesome! I was looking for something exactly like this!
The BEST EVER RENDERING
2:40 Carl Sagan impersonator has entered the chat LMAO
Is this what movies sounded like in cinema's in the 1970's and 80's?
The opening tune for the "The warriors" movie is great late 1970's sound. Have a listen. You ca find it on RUclips.
Amazing - thanks for finding and uploading this!
The credits indicate this was made in 1982 - was it screened theatrically for paying audiences, or was it more aimed at studios/exhibitors?
Jonno 77 you bet! Think of this thing as a demo for a paying client that wants to do the audio mix for his brand new movie and don't know which format to use
Hopefully this dissuaded plenty from going with "Ultra-Stereo"!
It was sold to theatres.
My friend Clyde is in the airplane scene.
Thanks for this rare trailer. Is it possible to obtain a 5.1 (or 4.1) version?
It's 4.0 LCRS encoded. It would be possible to create a discrete 4.0 version by extracting the channels on a DAW and encoding it to DTS 4.0 or AC-3 4.0. You could even LPF and LFE or stereoize the surrounds via Mono stereoization to get it to 4.1 or 5.1. But it would sound best played as is with an Original Pro Logic decoder or mixed to 4.0 Digital.
@@ELcinegatto87 I just played it through Dolby SDU 4.. really nice
@Jonathan Froes WHERE did you find this film.BEAUTIFUL 35mm remastered.
Paul Sharp this one probably came from deluxe
Jonathan Froes More movies need to me shot THIS. Let's slow down on so much digital.
What movie theater did you saw?
This was released on May 20th 1982.
Actually 83
Very interesting film & a good but not great stereo sound stage image demo -across my correctly placed and phased stereo speakers.. A lot of the Dolby stereo films I have seen (& I am talking film -not video) were poorly set-up in the cinemas (that were suppose to be playing stereo programs) and you never really experienced the proper stereo./surround sound. In fact 1 large luxury cinema I challanged over it's lack of proper stereo presentation, had in fact a faulty set-up which was confirmed when they got Dolby to check out their system. Obvioulsy it had sailed past their projectionst who was slightly perturbed over all the testing commotion (pun intended) I was present at the testing session, and the cinema wrote back to me (letter to hand) thanking me for bringing it to their attention...doh...
Where did you get this?
Eric Modzelesky friend gave it to me a while ago
dolby stereo.SR surround fantastique please
Aguilar Nava I wish this was for SR but it's just Dolby A...which btw it isn't decoded so there's no mono surround and bass extension
This would have been a great short film to show with many Dolby movies. Sure it is a little bizarre but it really shows how high quality Dolby Stereo (yes just good old Dolby Stereo; not Dolby SR, not Dolby Stereo Digital aka Dolby Digital; just the original Dolby soundtrack introduced in the 1970s) really was. BTW who plays the Physics teacher? He looks very familiar...
Who also played the guy on the airplane?
Never mind. I should have just waited for the credits to appear. Hugh Fraiser (the guy that played the man on the plane) does not ring any bells. However Tony Hartford certainly does.
The intention behind creating this reel was indeed to make it available as pre-show material. I've only ever known it to be used by theatre techs as test material though.
Dolby Stereo is awesome. Dolby Stereo SR even better. The better the recordings fed to make the 4.0 Matrix the better the quality and the better the effect of it all. Early Dolby SR-D 5.1 sounded terrible since it had an effective bitrate of only 320kbp/s or so where as DS and DS SR was for all intents and purposes lossless. Obviously DD got way better as the digital tech improved but when they first rolled it out I was not impressed, DTS sounded far better.
was this split surround or the 4.2 surround sound?
Probably standard mono surround, though a lot of the surround effects come from just the left when decoded with the current "Dolby Surround" format- my receiver doesn't include the original Pro-Logic decoding.
Format 04 -- 35mm 2 track optical SVA -- Lt/Rt -- 4:2:4 matrix with Dolby A NR -- when played back it would yield LCR and a mono surround.
There is definitely something strange going on with the surround pans as they shift to the left in the mix. It could be imperfect matching of the phase delays between the source channels going into Lt/Rt causing partial cancellation in the Rt channel. The "one, two" voice however might have been deliberately mixed into both left and surround to create a pseudo split surround effect.
I tested it with Pro Logic II and the Pro Logic emulation mode on my old Yamaha receiver, as well as a Sennheiser LUCAS set to act as a pure Pro Logic decoder. All of them get confused by the shift towards the left. Pro Logic II puts the "one, two" voice in the left surround as is appropriate with that phase and level relationship.
At the time they made "listen...", Dolby were using Tate DES ICs in their matrix decoders (Cat. No. 150). Pro Logic was developed as a replacement with a simpler detection logic. It's possible worse in some ways than the Tate-based decoders.
Listening over headphones, the foghorn around 1:27 is clearly mixed somewhat to the right. Pro Logic detents it into the center because of the simultaneous string quartet causing directional dominance towards center. Pro Logic II manages to keep the foghorn slightly to the right.
@@ZacabebOTG By the rollout of SR NR in 1987 the latest Cat.150E 2:4 PL decoders in the Cinema Processor's and Studio monitoring/production gear at the time had already surpassed the late 70s/early 80s Tate ICs in pure sound quality and processing power/speed. It took them a few years but they managed to do it as IC tech improved drastically in a short period during the 1980s. They had way better and faster steering than the Tates ever had. The Tate's were basically repurposed Quad decoders anyway, so their use with DS was never the best solution and I think Dolby knew it too. I think the original PL always sounded far better than PLII with SVA stuff. PLII always had phase issues in my view. The aforementioned issues are likely from a slight Lt/Rt channel imbalance error in the matrix. Speaking of which that those later model Cat.150s had so much better ICs they could rebalance in incoming SVA signal to prevent issues like that and from dialog leaking into L-R. PLII could have been better, especially with full range surround but it was primarily a non-encoded stereo to 5.1 upmixer targeted towards consumers so it had mixed results with SVA content despite Dolby's claims to consumers that it was better than PL when they purchased the 6-Axis tech. In my view it never replaced PL since PLII doesn't faithfully decode SVA tracks with their intended phase/gain relationship and LCRS presentation. I always thought Shure's HTS Acra Vector Logic decoder was way better than PLII anyway, that was a great product for the day. I had a chance to hear one of those and was really impressed with it.
@@ZacabebOTG Update six years later: I got around to investigating the issue and found that the likely culprit to be crosstalk between Rt and Lt as there is an almost equal, diagonally opposing shift of the front soundstage to the right. Subtracting Lt attenuated by about -12 dB from Rt rebalanced the soundtrack so that the dialog is more centered and the "one two, buckle your shoe" line is also more centered in the surrounds playing through Dolby Surround Upmixer, with both center and surround components aligning well as seen through the goniometer (i.e. Phase Analysis) in Adobe Audition.
So, it seems it could be caused by a problem with decoding of the optical track rather than the MP matrix encoding on the printmaster or sound negative. It always seemed weird that a reference production mixed in the THX theater at Sprocket Systems and overseen by the top Dolby engineers themselves would have such an error pass unnoticed.
When was this?
Noah Julius 1982
From 1982
I can tell that the children were dressed in the early 1980's, and the airplane was designed differently
Can Anyone Tell me How to Take a RUclips video & Turn it Into a 35mm Video Similar to This Video?
If you have any discrete surround recording you need to downmix it to Dolby Surround Lt/Rt 2.0. Any digital multichannel recording will work. It will encode it as LCRS. It's how RUclips puts surround sound on the movies they now sell for rent, it's Dolby Surround encoded! DS/DSrnd isn't quite dead yet lol.
5:26 wendy carlos
Wait, was that a young Hugh Fraser on the plane with a pornostache?
My R and L seem inverted.