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ASMR 3Dio Ear To Ear (Mouth Sounds, Sucking, Kissing)
Original design[ edit ] Sensurround involved the installation of large, low frequency, horn-loaded speakers which contained specially designed inch Cerwin-Vega Model ES drivers in custom black wood cabinets. The Model-C and -M horns required stacking in groups of four, increasing effective horn mouth size to achieve the low frequency target. They came with special extenders used to widen the mouths of the horns and take advantage of the theater walls to further increase low frequency extension. The Model-M horn had a dedicated "Mouth-Extender" available when it was used in the front of the theater. While installation was customized and varied in each theater, the Sensurround horns were typically placed beneath the screen in front and in the back corners of the theater. Often, rows or sections of seats would have to be removed to make room for the large Sensurround horns. In large theaters, up to 20 individual horns might be used along with custom-built bat wings and mouth extenders. Sensurround pseudorandom number generator circuit on the patent, to create low frequency rumble. The original Sensurround design used for Earthquake employed a pseudorandom noise generator , designed by D. Broadus "Don" Keele, Jr. The resulting rumble could be felt by audience members as well as heard. The control tones recorded on the film's optical or magnetic track triggered the rumble or surround sound effects as well as controlling their volume and the overall blend of the main soundtrack and low frequency noise effects. For the original version of Sensurround, prints were available in the following formats: This type of Sensurround print was not usable as a mono optical print. Unlike standard magoptical prints, in which the optical track was a mono version of the magnetic stereo tracks, the optical track on magnetic Sensurround prints contained only the control tones. For magnetic playback in mono, Track-2 Center Front could be used because Earthquake was mixed with mono dialogue, unlike most stereo films up to that time. Because no noise reduction system was used on magnetic prints at the time, and due to the lower technical performance of the surround channels magnetic track, this switching system was implemented by 20th Century Fox during CinemaScope's development to reduce the hiss and system noise heard from the surround speakers. For Earthquake's run in the United States, the surround speakers were disconnected and the Sensurround system was relied upon to produce all the surround sound effects; Track-4 was not used nor even connected to the Sensurround Integrator. In Europe, the surround track was used in the normal manner, being controlled by the Sensurround Integrator like the other magnetic channels. These were dual-purpose prints and could be used either with or without Sensurround. The optical track was a composite mix of the program and the control tones and were compatible with any optical playback system. All mono mixes of the Earthquake soundtrack contain the control tones. This was because the magnetic system could not reproduce the very low-frequency control tones reliably. Track-3 Center Front is applied to the Sensurround system for program sounds. No other signal is recorded on Tracks 2 and 4. In addition, Earthquake was the only Sensurround film recorded in stereo or issued with 70mm prints. Sensurround Mod-II[ edit ] Even before Earthquake ended its theatrical run, MCA began a program to re-engineer the Sensurround system to enable the recording of the deep bass on a standard 35mm optical soundtrack, with no external rumble generator being required, as well as improve fidelity and the overall effect and to simplify the system. In addition, dbx Type-II noise reduction was incorporated to increase the dynamic range and reduce audible noise created by the optical process. MCA also changed the way the control tones were used, allowing the Sensurround horns in the front and back of the theater to be controlled independently. This allowed for more creative effects, such as a sound being panned from front to back of the theater. Re-engineering the system was important to MCA because there were times during dialogue sequences when the sound mixers wanted the Sensurround running but did not want the dialogue to shift to the back of the theater. Having separate control of the front and back groups of Sensurround horns allowed this. The drivers in the Sensurround horns were improved to extend their frequency response higher so they could reproduce the low notes in music, thus allowing sound mixers to incorporate music into the Sensurround system this was used to good effect in Rollercoaster. As well, removal of the Academy equalization would allow the high frequency response to be extended upward by an additional octave. The addition of dbx Type-II noise reduction and its attendant increase in useful dynamic range created a high-fidelity sound from a conventional optical print. Dolby Stereo optical was just beginning to become known in the industry and MCA felt they had a viable competing format. Both Warner and Paramount later patented their own "special effects" systems to create Sensurround-type effects. Thus, scenes could have dialogue and other audio at standard levels, plus the effect of movement from the infrasonic rumble, creating sensations that had not been possible in earlier Sensurround films. Sensurround was a highly successful theatrical sound system. Worldwide, there were over Sensurround theaters. During the initial design of the system MCA figured it would be installed in a limited number of theaters across the USA—perhaps 30 in all—and that smaller theaters, or theaters in small towns, would not want to bother with the installation or the loss of seating capacity necessitated by the large Sensurround horns. This was quickly disproved: Earthquake premiered with 17 Sensurround installations and by the end of its run over theaters had shown the film in Sensurround. Midway opened with Sensurround-equipped theaters. Theater owners also had the option of purchasing only the Cerwin-Vega drivers and horn cabinet blueprints, buying the wood and making the horn cabinets themselves. MCA made these changes due to the success of the system and because the shipping costs of the heavy Sensurround horns were becoming very expensive. Throughout the history of the Sensurround program, RCA Technical Services performed the theater installations and maintenance. Because control tones were used to trigger the Sensurround horns, theaters could not generally use the system with their standard films unless a rewiring was done. Awards[ edit ] In , Waldon O. Leonard and the Universal City Studios Sound Department received a special Scientific and Engineering Academy Award for "the development and engineering of the Sensurround System for motion picture presentation". Patent 3,, for the Sensurround system. Drawbacks[ edit ] Sensurround speakers involved expense for theater owners. The extra expense was commercially justifiable as long as it appeared to provide an advantage in drawing audiences. Sensurround made Earthquake a popular "event" film in and one of the year's highest-grossing films. Sensurround presented practical challenges, though, in multiplex cinemas where separate theater spaces shared walls. The low-frequency vibrations rattled tiles and plaster, too, leading to damage in some venues;  a safety net was installed at Mann's Chinese Theatre in Hollywood to catch errant pieces of plaster falling from the ceiling. In Germany, Sensurround movies could only be screened in single-screen houses. Subsequent Sensurround films, such as Midway , also tended to play in single-screen cinemas. The success of Star Wars over Rollercoaster in the middle of demonstrated to theater operators the limits of Sensurround as a guarantor of audience draw. Saga of a Star World aka: Battlestar Galactica marked the final bow of Sensurround one year later
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