1. SENSURROUND material.
2. Entire soundtrack in MONO.
3. A control track which triggers the SENSURROUND when fed into a device called the SENSURROUND BOXX.
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| SENSURROUND PT 3 | |||||||||||||||||||||
| Part of what makes SENSURROUND is the coupling of the SENSURROUND horns � black boxes in front and in back of the theater � to the theater itself. In a sense, the building structure itself becomes a huge speaker with sound pressure levels running 110 to 120 dbs. | |||||||||||||||||||||
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| For ROLLERCOASTER, UNIVERSAL tried something new be incorporating music into the SENSURROUND track, as well as some high frequencies. This added to the impact of the film and the range of the sound � which otherwise was MONO. | |||||||||||||||||||||
| An optical track mixed from a monaural three-track consists of �
1. SENSURROUND material. 2. Entire soundtrack in MONO. 3. A control track which triggers the SENSURROUND when fed into a device called the SENSURROUND BOXX. |
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| The SENSURROUND BOX controls the amplitude of the low frequencies responsible for the rumble. | |||||||||||||||||||||
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| Due to the enhancements, a quadraphonic effect is added by allowing higher range frequencies, music, or screams, to be raised in volume along with the SENSURROUND, steering it to either the front or the back of the theater. | |||||||||||||||||||||
| For EARTHQUAKE this was also done, but not as often nor with the same sonic punch. In ROLLERCOASTER there is about 13 minutes out of two hours of SENSURROUND. That includes music, sound effects, and rumbling of the rollercoaster. But MIDWAY tips the scales with almost every scene of combat rattling you seat. | |||||||||||||||||||||
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| Continue to SENSURROUND PT4 | |||||||||||||||||||||