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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.
243:.) Advancements by RCA in optical soundtrack recording led MCA engineers to the realization that an optical track could reliably record and reproduce bass down to 10 Hz. 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. MCA called this re-engineering of the system "Sensurround Mod-II" and the market name of the system was changed from just "Sensurround" to the "Sensurround Special Effects System".
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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
216:
Sensurround Horns and the 100 Hz tone on Track-4 controls the rumble effect applied to the
Sensurround horns. Like the other systems, the level of the 100 Hz tones varies the levels applied to the Sensurround horns and when both control tones are present, the Step/Hi-Gain function is turned on to increase the dynamic range of the main program by 8 dB. Track-3 (Center Front) is applied to the Sensurround system for program sounds. No other signal is recorded on Tracks 2 and 4. 70mm Sensurround prints were issued only outside of the US. In addition,
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allowed different effects to be activated when desired: the rumble could be turned on or off in the
Sensurround horns, the main soundtrack could be sent to the Sensurround horns, the level of both the rumble and the soundtrack coming from the horns could be varied by varying the level of the control tones and the theater's main audio system could be increased in level by up to 8 dB at select points to create a greater dynamic range (MCA called this the "Step-Gain" function.)
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control box generated a pseudorandom noise signal with energy between 17 and 120 Hz. The control track method was employed because there was no way to accurately record bass lower than 40 Hz on an optical or magnetic film soundtrack at the time. When receiving the noise signal, the amplifier and subwoofers responded with sound pressures ranging from 100 dB to 120 dB. The resulting rumble could be felt by audience members as well as heard.
289:, theaters could purchase the systems outright and MCA had begun to ship the Model-M horns to theaters un-assembled. 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.
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response of 16 Hz to 16 kHz and a dynamic range of 86 dB, superior to 70mm magnetic prints of the time. It also allowed a mono optical track to have surround sound effects and MCA began to market the system to other studios and producers as a truly high-fidelity sound and special effects system.
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Mod-III Sensurround was a further refinement of the system to allow more control over level, timbre and placement of effects. Instead of a simple wide-range rumble that could be felt and heard, Mod-III used more narrow band extended low frequency effects in the 16–25 Hz range, in addition to the
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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
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effect. 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. Two tones of 25 Hz and 35 Hz were used: these two tones
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The
Sensurround Control Tones were recorded on Tracks 2 and 4 and are 100 Hz instead of 25 Hz and 35 Hz. This was because the magnetic system could not reproduce the very low-frequency control tones reliably. The 100 Hz tone on Track-2 controls the program effects applied to the
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Throughout the history of the
Sensurround program, RCA Technical Services performed the theater installations and maintenance. If repairs or replacements were required, the RCA technicians contacted MCA Systems to order needed parts. Because control tones were used to trigger the Sensurround horns,
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Sensurround involved the installation of large, low frequency, horn-loaded speakers which contained specially designed 18-inch Cerwin-Vega Model 189 ES drivers in custom black wood cabinets. Three horn configurations were available, Model-C (Corner), Model-W (Folded Bass Bin) and Model-M (Modular).
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the control tones. If played as a standard optical print, only the 25 Hz and 35 Hz control tones would be heard. To control the
Sensurround System and its volume levels, control tones recorded on the optical track varied from −14 to −6 dB below 100% modulation and activation of the
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opened, there were over 800 theaters with
Sensurround capability in the US. Worldwide, there were over 2000 Sensurround theaters. During the initial design of the system MCA figured it would be installed in a limited number of theaters across the US—perhaps 30 in all—and that smaller theaters, or
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optical was just beginning to become known in the industry and MCA felt they had a viable competing format. While Warner Bros. and
Paramount seriously considered adopting the system, in the end only Universal Studios ever released films using the process. Both Warner and Paramount later patented
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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,
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soundtrack contain the control tones. To control the Sensurround System and its volume levels, control tones recorded on the optical track varied from −28 dB to −20 dB below 100% modulation. Activation of the Sensurround System occurred at −30 dB. For program sounds applied to the
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without Sensurround, the standard 12 kHz CinemaScope switching signal was recorded on Track-4 (surround). 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
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as a reference. Two low frequency control tones were printed on the film's mono optical or magnetic track; from the projector, the tones entered a control box in the projection booth, which fed low frequency pseudorandom noise to 1,600 watt BGW 750 audio amplifiers driving the speakers. The
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Unlike the original version of Sensurround, Mod-II (and later, Mod-III) were only for use with mono optical soundtracks. Due to the use of dbx Type-II noise reduction, MCA eliminated the standard Academy Filter traditionally used on optical prints, thus giving Sensurround an increased frequency
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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
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higher frequency program sounds and surround-sound effect. 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. Mod-III Sensurround was used in
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was screened in Chicago, the head of the Chicago Building and Safety Department demanded that the system be turned down or removed to prevent damage to city theaters. In Germany, Sensurround movies could only be screened in single-screen houses. Subsequent Sensurround films, such as
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Sensurround speakers involved expense for theater owners. Rental for speakers cost $ 500 per week in 1974 and their installation involved the removal of some seats. The extra expense was commercially justifiable as long as it appeared to provide an advantage in drawing audiences.
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Sensurround System occurred at −16 dB. For program sounds applied to the Sensurround Horns, Track-2 (Center Front) was used, with its level and timing controlled by the 25 Hz control tone. For magnetic playback in mono, Track-2 (Center Front) could be used because
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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
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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
155:, Sensurround was activated during the quake scenes to augment the conventional soundtrack. In addition, portions of the main soundtrack were redirected to the Sensurround horns to create a partial
79:. The low-frequency sounds were more felt than heard, providing a vivid complement to onscreen depictions of earth tremors, bomber formations, and amusement park rides. The overall trend toward "
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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:
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was the only Sensurround film recorded in stereo or issued with 70mm prints. All other Sensurround films were 35mm mono optical in the Sensurround Mod-II or Mod-III format.
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was shown in an adjoining theater. The low-frequency vibrations rattled tiles and plaster, too, leading to damage in some venues; a safety net was installed at
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is screened in "Feel-Around", whereby a uniformed usher touches the viewer in time with the action on the screen, including assaulting and kissing them.
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opened with 300 Sensurround-equipped theaters. At first, MCA only rented Sensurround to theaters at a cost of $ 500 per week, but by the opening of
102:. The increased awareness of extended low-frequency sound reproduction that Sensurround brought to film audiences was a factor in the increase in
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implemented by 20th Century Fox during CinemaScope's development to reduce the hiss and system noise heard from the surround speakers. For
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a popular "event" film in 1974 and one of the year's highest-grossing films. Sensurround presented practical challenges, though, in
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In 1974, Waldon O. Watson, Richard J. Stumpf, Robert J. Leonard and the Universal City Studios Sound Department received a special
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Sensurround Horns, the composite mono soundtrack was used, with its volume and timing regulated by the 25 Hz control tone.
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premiered with 17 Sensurround installations and by the end of its run over 400 theaters had shown the film in Sensurround.
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was mixed with mono dialogue, unlike most stereo films up to that time. For 4-Track equipped theaters that wanted to run
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in the middle of 1977 demonstrated to theater operators the limits of Sensurround as a guarantor of audience draw.
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83:" cinema structures presented challenges that made Sensurround impractical as a permanent feature of cinema.
143:, designed by D. Broadus "Don" Keele, Jr., to create the low-frequency rumble, using recordings of the 1971
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for "the development and engineering of the Sensurround System for motion picture presentation". The film
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The success of Sensurround as an effect led rival studios to develop their own audio enhancements.
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theaters could not generally use the system with their standard films unless a rewiring was done.
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526:, Matinee's film-within-a-film, was filmed in "Rumble-Rama", an unsubtle nod to Sensurround.
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For the original version of Sensurround, prints were available in the following formats:
765:"Earth-shattering: FJI salutes the 40th anniversary of Sensurround's quakes and battles"
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to enhance the audio experience during film screenings, specifically for the 1974 film
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sales and in the rise in the number of subwoofer designs in the late 1970s and 1980s.
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45:. The process was intended for subsequent use and was adopted for four more films,
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released a song titled "Sensurround" that was incorporated in the soundtrack to
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509:. The song makes several references to the innovation, especially as used in
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422:, a 20th Century Fox film, would see a limited release in 70mm Sensurround.
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369:, often complained to theater managers about the Sensurround effect when
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their own "special effects" systems to create Sensurround-type effects.
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Shared Pleasures: A History of Movie Presentation in the United States
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Entertainment Awards: A Music, Cinema, Theatre and Broadcasting Guide
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688:(3rd ed.). University of Washington Press. pp. 345–346.
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to catch errant pieces of plaster falling from the ceiling. When
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by the Sensurround Integrator like the other magnetic channels.
75:(1979). Sensurround worked by adding extended-range bass for
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where separate theater spaces shared walls. Audiences for
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Sensurround helped bring wider recognition to established
94:, and aided in establishing a strong reputation for new
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Sensurround logo (designed for the release of the film
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35mm 4-Track Magnetic with Optical Track (magoptical):
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circuit on the patent, to create low frequency rumble.
801:, reproduced from the Sensurround Model II manual at
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The Sensurround process is parodied in the 1979 film
418:(1979) marked the final bows of Sensurround, though
500:and (in a different, faster-paced recording) their
450:in Sensurround following Sound 360's failure), and
365:, which opened the same month (November 1974) as
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392:, also tended to play in single-screen cinemas.
715:(3rd ed.). McFarland. pp. 242–243.
31:is the brand name for a process developed by
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135:The original Sensurround design used for
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308:Scientific and Engineering Academy Award
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497:Mighty Morphin Power Rangers: The Movie
69:pilot, as well as the compilation film
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682:White, Glenn; Louie, Gary J (2005).
608:"Cerwin-Vega Historical Perspective"
416:Mission Galactica: The Cylon Attack
170:This type of Sensurround print was
72:Mission Galactica: The Cylon Attack
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763:Fuchs, Andreas (August 15, 2014).
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582:Hauersley, Thomas (May 25, 2011).
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57:(1977), the theatrical version of
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634:Extremely Loud: Sound as a Weapon
490:The alternative pop/rock band
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1:
794:In70mm.com's Sensurround Page
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213:70mm 6-Track Magnetic Stereo:
129:pseudorandom number generator
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339:for the Sensurround system.
141:pseudorandom noise generator
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799:Introduction to Sensurround
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236:dbx Type-II noise reduction
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770:Film Journal International
631:Volcler, Juliette (2013).
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818:Film and video technology
637:. New Press. p. 41.
333:In 1976, MCA was granted
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736:Gomery, Douglas (1992).
828:Loudspeaker technology
538:See You Next Wednesday
409:Battlestar Galactica:
375:Mann's Chinese Theatre
328:Melvin M. Metcalfe Sr.
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838:Film sound production
362:The Godfather Part II
336:U.S. patent 3,973,839
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709:Franks, Don (2004).
685:The Audio Dictionary
556:DTS Digital Surround
532:Kentucky Fried Movie
492:They Might Be Giants
411:Saga of a Star World
264:Battlestar Galactica
66:Battlestar Galactica
60:Saga of a Star World
35:in conjunction with
486:Cultural references
426:Competing processes
256:Sensurround Mod-III
833:Universal Pictures
551:5.1 surround sound
225:Sensurround Mod-II
201:35mm Mono Optical:
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749:978-0-299-13214-9
722:978-1-4766-0806-8
695:978-0-295-98498-8
644:978-1-59558-873-9
516:In the 1993 film
357:multiplex cinemas
351:Sensurround made
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659:"About BGW"
612:Cerwin-Vega
479:Superman II
476:(1981) and
446:(and mixed
414:(1978) and
139:employed a
110:Development
100:BGW Systems
92:Cerwin-Vega
88:loudspeaker
33:Cerwin-Vega
29:Sensurround
812:Categories
803:in70mm.com
776:2015-02-11
668:2015-02-11
617:2015-02-11
593:2015-02-11
588:in70mm.com
562:References
511:Earthquake
440:(1977) in
383:Earthquake
371:Earthquake
367:Earthquake
353:Earthquake
320:Best Sound
312:Earthquake
279:Earthquake
234:addition,
231:Earthquake
218:Earthquake
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191:Earthquake
186:Earthquake
182:Earthquake
153:Earthquake
137:Earthquake
42:Earthquake
22:Earthquake
506:S-E-X-X-Y
456:Megasound
443:Sound 360
434:released
398:Star Wars
379:Hollywood
343:Drawbacks
267:in 1978.
104:subwoofer
81:multiplex
545:See also
482:(1981).
470:(1981),
464:(1980),
98:company
51:(1976),
519:Matinee
467:Outland
297:History
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473:Wolfen
389:Midway
302:Awards
287:Midway
283:Midway
273:Midway
194:'s
48:Midway
524:Mant!
448:Alien
420:Alien
401:over
744:ISBN
717:ISBN
690:ISBN
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318:for
177:only
663:BGW
377:in
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