DMS3DS – A New 3D-Audio Array For The Cinema

Double Mid-Side 3D Surround Array by Daniel Meuser

A new standard for immersive audio


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 a 5.0 spaced omni array on 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.


Music Production

Main microphone array for (classical) music concerts or band recordings.


Filmsound & 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:

  • A new 3D Microphone Array for Cinema (Dolby Atmos, Auro-3D), VR and Games. 
  • 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 sigle 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 stereophony. Localisation cues are only 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 of the height layers disadvantages.
  • Large sound field and excellent spacial reproduction on the surround channels:  On the most basic level, localisation cues in spaced arrays are only based on time-of-arrival differences. This can only be achieved by choosing omnidirectional microphones. Main concern here is phase cancellation/crosstalk. Therefore I choose 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 a 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 komplex multi-channel array and, with some signals, somewhat poorer localisation 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 is 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 a 3D Audio: The basic idea here was not to generate two different signals by increasing the distance between the levels (which works great on the horizontal plane, but not not he vertical), but instead to generate two signals for the surround and height layer that have different acoustic properties, but 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: The DMS and 5.0 spaced omni’s are arranged in perfect symmetry, wich gives the editor more flexibility in post to rotate the image in the horizontal without phasing issues. The extended frequency range opens creative choices in post to pitch the material up- or down and get great sounding results.
  • 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 neutralise a lot of wind energy while maintaining great acoustic performance.
  • Repairability: Most parts can be easily accessed and even replaced on location.





Coming soon!