DMS3DS – Cinematic Sound For New Media Formats
Double Mid-Side 3D Surround Array by Daniel Meuser
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A new standard for immersive audio
Description:
DMS3DS stands for Double Mid-Side 3D Surround. This new 3D-Audio array was build and developed by Daniel Meuser in 2020. It combines a DMS (Double Mid-Side) array on the height layer, with an equally spaced 5.0 spaced omni array that builds the surround layer. Combining these very different sounding arrays that complement each other sonically, and placing them in the respective layers where it makes sense, delivers immersive and natural sounding 3D-Audio recordings.
Applications:
Music Production
Main microphone array for (classical) music concerts or band recordings.
Film Sound & New Media Formats
Ambience recordings for cinema, broadcast, VR-applications, games, 3D-Audio ear-plays, 3D-Audio installations for the Frauenhofer Spacial Wave system, etc.
Live TV & Sport Events
Main microphone array for large shows or sport events.
Key Features:
- Capture cinematic and enveloping immersive sound with this innovative new 3D-Audio Microphone Array for new media formats (AR/VR, Frauenhofer SSW, game engines and Audio Middleware, Dolby Atmos, Auro-3D).
- Combines versatility with sound quality: It is portable, plug´n play and suited for longer outdoor use. It can be carried and operated by a single person, setup in 3-4 minutes and only needs a recorder with 8 microphone inputs.
- No compromise in sound quality: The combination of a DMS array in the center height position supplemented with a 5.0 evenly spaced omni array combines all the advantages that coincident and spaced arrays offer in the most natural sounding way. The high-resolution Sennheiser MKH 8000 series microphones used in this array offer a natural sound, low noise, low distortion and a high sensitivity to capture all the details. The fantastic frequency response reaches from 10-60000 Hz.
- Flexibility and precise image on the object/height layer: The top DMS-Array is based on the principles of coincident stereo phony. Localization cues are mainly based on level differences between signals. The advantages here are: Small form factor, robust against wind, excellent mono compatibility, flexibility in post for spatial distribution for the object layer and a stable and precise image. The main disadvantages are a relative small listening angle and the lack of acoustic information/sense of space, due to the low free field decorrelation factor. But the surround layer is designed to compensate for all the height layers disadvantages.
- Large sound field and excellent spacial reproduction on the surround channels: On the most basic level, localization cues in spaced arrays are mainly based on time-of-arrival differences. This can only be achieved by choosing omnidirectional microphones. The main concern here is phase cancellation/crosstalk. Therefore, I’ve chosen a microphone distance of +1 meter, which results in a free field decorrelation factor of 0.13 at 100 Hz. The sonic result is a multichannel surround signal with great frequency response, a large cinematic sound field with an impressive depth of field that captures all the natural spacial characteristics of a room or space to the listener. The main disadvantages are: Size and setup-time of such a complex multichannel array and, with some signals, somewhat poorer localization accuracy and mono compatibility only as per channel. Size and setup time are significantly reduced by the compact plug-and-play design. The sonic disadvantages of the spaced array are in turn compensated by the DMS-Array in the height layer.
- The combination of a DMS-array with spaced omni’s as a design choice for 3D Audio: The basic idea here was not to generate two different signals by increasing the distance between the levels (which works great in the horizontal plane, but not in the vertical), but instead to generate two signals for the surround and height layer that have different acoustic properties, which complement each other optimally in order to create natural and great sounding 3D Audio sound image that is as natural as possible.
- Flexibility in post: Every production benefits from a center channel. That’s why I decided to go with 5 equal segments, each with a recording angle of 72°. That’s probably the most natural way to record a 360° sound field. The DMS and 5.0 spaced omni’s are arranged in perfect symmetry, which gives the editor more flexibility in post to rotate the image in the horizontal plane without phasing issues. The extended frequency range opens creative choices in post to pitch the material up- or down and get great sounding results. Click here to get a general introduction on how to work with DMS3DS file format. Please read up this guide on how to play back the files recorded with the DMS3DS system on speaker configurations following ITU-R
BS.775-3 preserving maximum audio quality. - Built to withstand the elements: Robust and lightweight carbon fiber and polycarbonate parts. All electronic parts are weather sealed. Only high quality cables by Sommer Cable are used, with excellent RF shielding. The triple suspension system effortlessly compensates for slight vibrations and movements caused by wind. The compact, heavy-duty tripod (secured with a sandbag) ensures a firm stand even in stormy weather conditions. The carefully selected and tested fabric and faux fur for the blimps can neutralize a lot of wind energy while maintaining great acoustic performance.
- Repairability: Most parts can be easily accessed and even replaced on location.
Specs:
Weight:
- Array with five DME01 custom blimps and a center DMS Cinela Pianissimo, all equipped with fur 6.4 KG.
- Heavy duty mic stand 2.6 KG
Dimensions:
- Dimensions folded: Base width 16 cm blimps folded width 42 cm, height 115 cm length. Base depth 16 cm, blimps folded depth 42 cm.
- Dimensions opened: width 205 cm, height 90 cm, depth 205 cm.
Demos:
| Product specs: | DMS3DS Demos 2021 |
|---|---|
| Audio files: | 16 files, 8 sounds. |
| File Size / Minutes of audio: | 4,16 GB / 40:07 min. |
| Sample Rate / Bit Rate: | 48 kHz / 24 and bit. |
| Sounds loop: | No. |
| Documentation: Metadata sheets are delivered in four different formats for your convenience: | DMS3DS Demos 2021.txt (tab-stopp separated text document to open and edit the metadata in an external programs like Excel or import as a new database into Soundminer or Basehead). - DMS3DS Demos 2021.xls, DMS3DS Demos 2021.xlsx (Excel, Win & OSX). - DMS3DS Demos 2021.csv (CSV for further compatibility). |
| Channel Configuration: | Height 5.1: HL/HR/HC/T/HLs/HRs. Surround 5.1: L/R/C/LFE/Ls/Rs. |
About Me:
Daniel is a graduated Sound Designer and Field Recordist from Germany, who completed his Bachelor in Sound and Music Production at the Darmstadt University of Applied Sciences in 2017. He has a passion for interactive creative sound design and complex field recordings. He has worked in the areas of game audio, library creation, advertising, broadcast and film.
His influences range from Pierre Schaeffer’s early Musique Concrète to the 8-bit chiptune sounds in retro video games, the powerful sound of electronic dance music and the hyper-realistic sound of Hollywood films. He also knows that great sounds can be found even in our daily lives. R. Murray Schaeffer’s principles of Acoustic Ecology sparked his passion for field recording and led him to the conclusion that he wanted to be a better listener and not want to distinguish one sound from another. And finally, Bernie Krause and Gordon Hempton showed him the wonderful world of Biophony and the sounds of nature, which are becoming increasingly rare.
Daniel Meuser
- Sonnenbergstr. 32
- 65343 - Eltville am Rhein - Germany
- Daniel@systematic-sound.com