M-S AND SURROUND SOUND .lust going from a more or less monaural plal"back to a multichannel frontal pial back does not take full adramage of the theatre space. .-ulOther important componem of the fulll" deI"eloped Requiem sound Il"as the surround sound system. It is extremely important in crcating this l\1Je of surround sound to ensure that the audicncc docs not localizc on anI" loud- LOUDSPEAKER PLOT FOR LES LIAISONS DANGEREUSES ~ n D. S- M n S+ REQUIEM MID SIDES (STAGE) HARPSICORD MID SIDES ~ D D S- n M S+ SYNTHESIZED SURROUND L (AUDIENCE) V THESE LOUDSPEAKERS AIMED AT THE CEILING L R D' LOUDSPEAKER KEY n MIDDLE lJ. D. SIDE+ n M L S+ n \ I SYNTHESIZED RIGHT SURROUND R SIDE- ~ S- 'H SYNTHESIZED LEFT SURROUND I I " " h 10&1 SUB WOOFER R L? spcakers in the audience. Three tcchniques can be emplol"ed to accomplish this. The first is to use as many loudspeakers as possiblc. For an artificial rel"erberation sl"stem. one ll"Ould idcally hal"e a loudspeaker located on el"ery surface from Il"hich a reflection could possibll" cmanatc. This is not possible on t\Vical thcatrc sound budgcts. although the technique has becn used for ycars bl consuhants such as Christopher Jaffe Il"ith much success. Our setup used a I"ery modest ninc surround speakcrs. _-\ second Il"ay to ensurc that thc audience does not localize on a single loudspcakcr is to proyide as diffuse a sound source as possible. This can be accomplished bl" locating thc loudspeakers as far all"al" (espccialll". bel"ond thc critical distance) as possible. and to aim the loudspeakers at diffusing surfaces. \ote that three of the surround speakers in the audience space Il"ere aimed at the ceiling. Finally. a third method used to minimize the localization is to electronicalll" delal" the surround feed such that the sound from the surround system an'il"es at thc audience after the sound from thc ~I-S loudspcakers. Since the harpsichord and Requiem scorings Il"ere ahral"s plal"ed separatell". t\l"O differem delal" senings could be employed. There MIS some flexibilil\- in creating the feed to the surround sl"stem due to the fact that the cues Il"ere electronically manufaclllred rather than recordcdlil"e. Since the S componems in scoring were deril"ed from ~l originals. the surround feed used primarily ~l componems. Il"ith S componems being adding onll" for particular cues. The surround signal. after delay, MIS further cnriched Il"ith elcctronic rel"erberation. Il"ith the reverberation output adjusted to its R f'-, full "ll"et"' position. (i.e. no input signal mixed [..-J Il"ith the processed signal). For more diffusion, the synthesized left and right "stereo" outputs of the effects unit Il"ere distribllled to alternate surroundloudspcakcrs. M-S TECHNIQUES IN PERFORMANCE From thc momem II"C fircdup the emire sl"stcm. I Il"as amazed! \ot onll" Il"as the sl"stem capable of localiZing to thc center of the action. but the idemity of indil"idual loudspeakers secmed to disappear. It II-as thc first cxpcriencc I'l"e had in ml" 011"11 sound score dcsign II"0rk in lI'hich I Il"as happl" with the spatial characteristics of thc sound. The underscoring Il"ith the Requiem sccmcd not only to come from Il"ithin thc visual spacc of thc actors. hut it also seemcd to he as lI'ide as the acting space-and from virtuallv every seat in thc audicncc. Thc nct rcsult of thcsc tcchniques Il"as to