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A
brief history of multi-dimensional audio recording and playback...
Do
you remember the very first time you heard stereo?
If you're old enough to remember monophonic recordings, you will
recall the thrill of experiencing the expansion of acoustic space, a
feeling of environment, not just a recording of musical instruments. It was
almost majestic to hear Peter on the Right, Paul on the left, and a sonic
image of Mary, right in the middle (created in the brain, by an in-phase
mix of two equal signals). There had been a few attempts to encode the
required two stereo channels into one recorded "track", that
could later be separated back into two discrete sounds but multiplexing
technology was not yet available to the home market. So, the fundamental
paradigm of recording and reproducing a musical performance had to be
re-engineered to create stereo. Suddenly, everything had to be doubled,
which meant two separate but perfectly synchronized recordings, two pickups
or transducers, two matched amplifiers, two sets of matched speaker
systems, and a method for the single stylus or "needle", to
transfer two separate signals from the respective sides of a single groove.
Once
we had all became accustomed to stereo sound, we soon realized that as much
as it was superior and more realistic than mere mono, there was still
something missing. After all, it's a three dimensional world out here. So,
with an understanding of how the brain interprets acoustic space from phase
relationships and relative loudness levels, audio engineers set about
reproducing the 3-D world by way of "binaural recording" and
stereo headphones. The thinking was that if the brain could comprehend
three dimensions with only two ears, two microphones could be positioned in
such way that they could capture sound the same way two ears would. Then,
with stereo headphones (separate speakers playing distinct sounds to each
ear), the person would hear all the sounds s/he would hear, if s/he were at
the original location. Viola, three dimensional sound, with only two
channels! Of course, that whole situation didn't stir much interest,
because it was only valid if BOTH conditions were met:
special, binaural recordings and a pair of headphones!
So,
the audio engineering community decided that they would opt to take the
same approach used to convert mono into stereo, namely add yet another pair
of discrete channels to record sounds that derive from behind the listener.
Admittedly, it works well, if somewhat obtuse. However, consumers were not
ready to pay for a comprehensive restructuring of its relatively new
paradigm of two separate recordings. Adding another two channels was too
costly. "Quadraphonic" sound was thus forgotten and the stereo
market receded into a "Stereo is good enough" mode of thinking,
which was soon supported by the new, high quality CD recording technique.
Its greater dynamic range and "no hiss, clicks, or pops" sound
quality seemed to improve realism and made us forget (for a moment) that we
were still stuck in a two dimensional sonic environment.
The
engineering sales departments regrouped and came up with a compromise.
As opposed to using four separate recordings to accommodate the 3-D
experience, it was now possible to encode a third "logical
signal" into the two existing stereo signals. The idea was to save us
from having to purchase a whole new sound system, like we did when stereo
left mono in the dust. However, the savings were only academic. One still
had to buy either a whole new stereo system with built-in decoder, or an
add-on decoder unit, as well as yet another stereo amplifier, AND two more
speaker systems. Also, and potentially far worse, the whole arrangement was
completely reliant upon specially encoded recordings, which were
themselves, costly and somewhat hard to get. The real tragedy of so-called
"5.1" encoding methodology is that regular stereo recordings
played through these systems offer no additional experience for the
listener, whatsoever. With such recordings, the best that can be gained is
an additional stereo pair in back, identical in signal to the pair in
front. So after investing in all that equipment, it is essentially useless
without the specially encoded recordings. Your entire collection of
records, CD's, tapes and even FM Radio is as good as dead. Even if
one could ignore the whole necessity of encoded recordings, the investment
remains substantial, due to the compulsory electronics in the
amplifier/decoder unit.
KICK-Surround
Breakthrough
technology
As our research division contemplated the concepts of binaural recording, a whole new model of acoustic space and the brain's interpretation thereof, began to develop. We realized that even without specific binaural techniques, the vast majority of stereo recordings contain considerable spatial acoustic information that can be processed and interpreted, using sophisticated algorithm, and represented through four speakers, to manifest the acoustic space that was hidden within the two channel recording. We realized, "It's already in there..."
It's
already in there... Get it delivered!
Armed
with that concept and the goal of making it real, our engineers created the
KICK Audio Surround
System. By analyzing the relationships
between the two separate stereo signals, the team developed methods of
extracting the selected components of the signals that matched those
resulting from actual environmental conditions. To keep the costs
reasonable, it was decided that the signal is best processed at the post
amplifier, or speaker level. Signal processing any earlier in the course of
playback would require more amplification equipment and defeat the purpose.
Processing the signal at the speaker level means that the only additional
equipment needed to realize true 3-D sound is the KICK
Audio Surround System
and two more speakers. Of course, the real value of this approach is that
your entire collection of stereo recordings, regardless of format, is not
only usable but will be enhanced significantly, when played through the KICK
Audio Surround System.
The
Experience
"Now,
this is where it's at. This is
the thing of this gig . . ."
When
your system plays stereo programming, you will immediately notice a
striking improvement in the "acoustic space" and Surround Sound
ambiance. Stereo recordings of
live concerts will often take on the depth and presence of being right
there! Take a moment to hear the performers on stage, in front of you,
while the ambient sounds of the concert hall and the reverberant sound of
the performance surround you. Studio recordings sound like you're sitting
right in the studio, surrounded by the musicians and performers. It
is a unique experience.