Soundscape realization through standard surround sound.

Abstract

The need for both qualitative and quantitative analyses may be the key challenge separating soundscape efforts from traditional environmental noise practice. On‐site soundscape tours and interviews are a proven but resource‐intense method for soundscape study. A means to obtain a soundscape and reproduce it elsewhere for subsequent analysis could be an efficient way to collect data and increase survey sample size. Reproduction off‐site also makes soundscape modifications and comparisons possible, facilitating the measurement, evaluation, design, and composition processes. Standards specifying the full record and reproduce systems and procedures may never be able to anticipate the vast range of soundscape qualities that are salient across any and all soundscapes, loud to soft, low to high, large to small, transient to steady‐state, urban to wilderness. The more pressing need is a review of the merits and shortcomings of the many soundscape recording and reproduction techniques most likely to be employed, and one small contribution is offered here. Cinemas and home theaters, with a somewhat‐standardized 5.1‐channel surround sound reproduction capability, might serve as a useful playback venue. They are well‐understood by recordists and acousticians and have been used to fabricate a range of soundscapes in film and music, sometimes with great success. This paper evaluates the feasibility of using the 5.1 surround sound format for soundscape design.