The moment thou hast been awaiting is finally here!!!!
Hubba Hubba!!!! Hooray!!!! burp.
Okay.... ya'll know how hard it is to convey audio impressions via written words but I'll try.
NuReality company. 1995. Model VHT-200 SRS 3D sound system. Basically, a decoder that plugs into a amp or receiver.
Luckily it has a bypass switch that routes the audio input PAST the internal circuitry and straight through to the amp, in this case a Sansui QRX-9001. Using it I was able to make easy comparisons between SRS on and off.
STS vs stereo. You know what plain boring stereo sounds like. When I engaged the Circle Surround circuitry the sound field did "expand." Closing my eyes I tried to "locate" where certain instruments were originating on various stereo CDs being played. Some instruments appeared to be coming from a plane higher than the speakers, which are at ear level to me. Also, the far left and right of the soundfield were extended around 3 or 4 feet beyond the speakers. I admit the physical characteristics of my listening area likely affect the soundfield. The area is small with too much reflective surfaces. Still, these limitations are equal for all playing modes.
There are two variable controls when SRS is engaged; Center, that adjusts the strength of voice or instrumented recorded so as to appear basically in the center of the soundfield and Space, adjusts the "ambience" and "width" of the soundfield. Both adjustments had obvious effects.
Have you listened to Dylan's quad Nashville Skyline? It is recorded for an ambient effect unlike what I hear in much of Santana's quad stuff. Well, SRS and its effect on stereo reminds me of the sound I hear on the NS Dylan recording. There is a sense of ambience and depth that I much prefer to plain boring stereo.
Stopping here so as not to "overload" the input. See next section.
Hubba Hubba!!!! Hooray!!!! burp.
Okay.... ya'll know how hard it is to convey audio impressions via written words but I'll try.
NuReality company. 1995. Model VHT-200 SRS 3D sound system. Basically, a decoder that plugs into a amp or receiver.
Luckily it has a bypass switch that routes the audio input PAST the internal circuitry and straight through to the amp, in this case a Sansui QRX-9001. Using it I was able to make easy comparisons between SRS on and off.
STS vs stereo. You know what plain boring stereo sounds like. When I engaged the Circle Surround circuitry the sound field did "expand." Closing my eyes I tried to "locate" where certain instruments were originating on various stereo CDs being played. Some instruments appeared to be coming from a plane higher than the speakers, which are at ear level to me. Also, the far left and right of the soundfield were extended around 3 or 4 feet beyond the speakers. I admit the physical characteristics of my listening area likely affect the soundfield. The area is small with too much reflective surfaces. Still, these limitations are equal for all playing modes.
There are two variable controls when SRS is engaged; Center, that adjusts the strength of voice or instrumented recorded so as to appear basically in the center of the soundfield and Space, adjusts the "ambience" and "width" of the soundfield. Both adjustments had obvious effects.
Have you listened to Dylan's quad Nashville Skyline? It is recorded for an ambient effect unlike what I hear in much of Santana's quad stuff. Well, SRS and its effect on stereo reminds me of the sound I hear on the NS Dylan recording. There is a sense of ambience and depth that I much prefer to plain boring stereo.
Stopping here so as not to "overload" the input. See next section.